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T H E
MUSICAL WORLD.
VOL. XXXVI.
LONDON:
PUBLISHED BY BOOSE Y AND SO.CS,
24 AND 2S. 1IOLI.E3 STKEET. CAVENKISII SQl'ARE.
Digitized by Google
Mus 13. If *t
15.
/
panuxD by w. b. JoirHfioy, ••yutxv sham mrss," Co, bt. maiitin's nsr, ouwso t.oNrov, w.c.
Digitized by Google
INDEX.
A I I r\i. .- ii, Ai.ulms (VI ...mil, 71*
A r. i! ; .1111! :iu ;* I 'i ji,.iiii-i«t<T, 1"''
A (ii.'wl r,i I .p.,:.- i.'Mnv,>lli'< \T.ilrrarg
Oatette), G12
A Mi^-i f'i .<lll.-.i ur Folly.
A M ,.!,-! 1, Mi.r, rl, jfij
A Mn.iralBol.'ier. 47K
A Xlw Prima Dontia ( Uomltitr), .*>25
A New l'.'lit ..ii 1'um,'. | C' ;•■ .), 130
A New llmK-nl lutiiiimrnt, 710
A Palm Leaf j/'n.j. /..I. ins
A real l)«u«bUr ol Hie negligent. 590
A RiralfT worthy of bring nutid (I'unrl,), 315.
CM ol l',.:<7]
High HI.
i 1 1 -
i.03
Am
An Kaithen Veiacl Launched"
An Iii1-.iifir...nL'ij ■■niiT-.-l ( / 'ii.j jj 731
Abl. lltrr Franx, 12l>
Acl.icTine the Nimbua. 397
A..j in, 1 n.i'nii j, C,j;t:i'; iWnr Seore (Arit't
Uazttlr), '"
Ai-ii'i-'lr-, A .V-.v F.n't in, 1".)
Al u»1ir, ltr., I'W
Action agaimt « Dircvtur of a Theatre, 581
335
fie :;q,- M. Ti..;i:.ii-, m
Adclphi Ttietttre, The New, 461, 171. 7 M
A.lttoc to tlio C'ry.t.1 Palace (Jlcrul.i). jg7
A: ami. I 'J Ii'", 1 1",
Alary. A FUnjo for Signiir, 5.11
Allcrt>ft. Mr. W-. Death of, 70)
Aiiiui.-..-.- Bjjjjgj S ^Kty. WOm
Aiimlrur Theatricala at .S»axeli-y 73
Amateur Cniu-crt lit Healon Hull. TJi
American IS; .mtv, Ii09
An , vlmi i \ i, ■■■» ".ii Honcoui. 701
Anibro»im Client. The. 300. MB
A'' I'-"1'.-,
A»«einbly of llvo Wel-li Bard*. 4HG
A > - . iL-iat I. of Mi1 i- ' /' i -i..'!. \ i
Athena- ri., Xrwn f...r t :,■ (> ' r.'.j -i.'.ij/ Urrieic),
A S'T, till ft t 1 ■ rl, 1, ,
\ Slon.- ll.i ...wii ut Mr. III.', 510
A Si run jo Jumble ( li-iilu '.Vr.L .).
A '1'liirJ Italian (Jiwra, 3mi
A WT.V iii.' l/ \u:-t . .I.- (f/nr'i.'r T/rti/ia/f), 523
A \ i- .kuTo^t
A Work ■ i Shi i -n rogation (P,inrl>) G13
Kmluli PiiaaaMonnn lp High Lilc. 70
553
UlviIiotod. a line anecdote, 471
Dwllici>> i in. u Die arttubolen), 700
IV-itl.ov.n, K. n. :i • 1 1 i-'t > of (A'.k- I'ori;
Uatieal jaWw ), 814
Belli and aineere. 30O~
Benedict'*. M.. Vmul A»»noi»tion. 608. 753
lLini-tr, I'r
»»or Slcrndalo. 8-1S, 21*8. 3l»l
Umli 7., an ( 'lion i.y (( oitrier du lai }'/nu).CSl)
53 w, I , w
BvOiit U. Henri, 22J
Digolini, MaJIIe., 317
BUMfi Alexandre, 107, 201
llirmiiifliiiiii Muairal l'V»li».il,"Ni, 17''i , ."u'.'.'iSG.
Binnim/liM Journal, .Iri'.'t U.tztttel
587, 590, 013. C,i»
li nninglinm Urneuil UoaiiiUl. IH7
Uirhoi\ MiiiUimc Anna, 618, MM}
m., v.:. ~
Atlnnti? Cable. The (Dwiyht), Ct7. 003
Aubcr. bow certain g^rai 5? hji aaic lo bo
COlllti' -L-' i. j»!l'.)
A t.li- r, /. i Sir\,e (6'mi/e J/tm'iWe), 030
H»rli'» Panto* IBwfe at Uamburili. 681
llaoh. J. 8.. Chriilma» Untorio at liarihi. 38.
Uach, J. 8., Piannfotto Ciimpositiont, pub-
UV...n1 1 v I-. ^ ars -I..,.!, r, l^.i
Baolte. 1). alii of .\fr y. E„ 558
lijlle. a ii.. iN O|iorj liy, 17 l"
Balfe. Oiic' hui.i.lrodtlt Might of tbe Hate of
Catlille. ffoT
Bajdi of Mmir in t tie Army, 215
UariloT. Mr. Ueorye. Ueath of. 4»0
BcaU'a. Mr. Willert. Tour. 738
lie. lh >Ten to Czeray, four letlorn from. C34
ltccilmvcri'j Coiiii.letc Worl.«. uiiJtr the ren-
«iutl Of Li:Zt. (jj
| Bbgi ore. Mr. Di»tli of, 761
Itlooklrv r. \\ ise. UM
Itoieo, M.( XIEom*3 Suicide of, 237
Uoaio, Madame, 201, 710
Britannia Theatre, The New, 703
Uroiulirood and Soma' Piuuoforto Manufiu-turr,
789
gggjga Mr. Rubi ri K.. 218
Bradford Cliorm. Tl.c. I2ii
Hi ' ;i 1 I '• ■■'/. lllii;i>, .">'-'li
lii-..oke. Mr. <■. V , <V.'.->
Bnjinil Family, Tli.-- (Dtrhji Jltporlcr), 017
Burn* ( Vnteiuiry Kestiral, /31
Cuden/ft3 (I.y Alfred Mellon, meg by SouUie
1 'i- :v. Ill I, i "V.
Caiuilln, Madlle. lCririelietlo, 112.
Canterbury Hull, 375.
Ualfetroidio at Surrey Muiie Hall, ftlieulcld,
«>.'».
Characters of (lie different koy» (Dr/./A/), G08,
820.
diarubiiii'e coat. 99.
Chineae Mu.ir. 215.
L'liipn, Mr. Kilmund. 3tr7. 324.
I'll ,| in I AVr- .1/iMiV.i,' /.Vci'rir), 550.
' ,'ni i ' i j Kntertoiuniaata. 1 1 ■
C'iiUi\'!i .Mmv, .'Hi'.i.
Clnircli Bella. 711.
Comparatirc abturdity of the s.'ica, 30.
Canctara-—
Aauilnr, Mr. K., 340. Amateur M^mieal
■S eii'-y, 12:r. 10,'), ISH. 2M, 20!t. 29,.', 33! I,
77.^. A'vkiiu for WBtijg urplun>, 37TC
l)tt'»ano, Aliul., and JCulie, Herr, 113.
BeiK'.lii-l. Mr,. 413. H^uediv'C. Air.. Vmnl
A»»o<'ii>ti.in, 'J.11. 2 IS, gJO. 310. 371.428.
Bishop, Mad. Anna (Morning lit raid). MM.
lllvjrore, Mr, 11,3^:., 357, J(r>.i:'.int
Choral Sn nlv, 144. Brixton AimU-nr
llariiioriic Union, 29. 203. lliintun Anmlnur
Mutical Society, 50. 213,794. Bucxinnbim,"
Mill AdeU. 460. Carder. Mr. Alfred. 899".
I'i^, Mr. U., 211, 2Sn, Cli.ump.', Signor
\W' y*0^' a^r- J- j'- 300. L'or-
r--M Vi-i riiiiin. III, Crritjl Pi.Ii.--l'
Ci.no.Tl-, 76, i)>, 131.1, 171, 189, 203,~2tj7;
281. 308. 3 10. 373, 537 i (in hoof" °(, *nc
l'-n-.i ■■■»•. r.iniill. 77; (lK-oJ Fini-ivi,
(It.viu hiilian i)|..-r:.', nr.li. 3-S7 ; ( STF.
Beoadiefa). 459. 506 1 (Manila. I»iae5Io~-
mi,,i'. Farywem.633: /Winter). 746. 763.
7'.' I, *1-'. D. n loiiuiiii. H' "r, 3^;l 1),. hr.
Mitt, and SluiK-r. Mr. Lindaay. »». »87.
I '.vmiii ik" --, Ji.f, i'r '..iIliI' 1 1 1 •.' r ' ■ '■ ,
1. 'S. lv.-an., Mr, W. K.. 730. I . l r.i-1,
Sig'o 'r mid M >' I
.111
T7.
139. lf>3. to
■i.larii.', H'l '■ linili-
ay. Hi**, 3t>9. tlcar, llnrnl. '. St,
lili.MT. Mr. II nrnr.l. ;nr.i. > i.i.l.tnr.t. Mix
An , 'I i. !' 1 . 1 23. l.'.l. •.'.'.I. 2H3. 3u7.:i27.
llui;,-. i li.rl .. M„ :-,:.7, 37», ill, ill.
H. ni'ie. M J-i m-.l Miaa Starenaon. 379.
lli.li.il,'.. Mr.. 211, a/-l, -i^. 711. Ml.
Il.rhi'i'i. I'Mr ) Cr -l.."-ln.l C.iii.vru .'■'■>.
155. 188. 211. 267. Ireing. Mr. Allan, 37.'i,
Ialiwyt"!* Lilcr.«ry and Scicntitle soinctv, Z&t
l-iiii.'! 1 M i.-iiM r ■ T1' 1 >- 1. ,1 .ii.i ... 11 ■ 1 .
389. k.i.i. ''1, m. ^■ n 1. .i:-r. .Mi--..i:>.
). , neter. Derr. 1 13. I.....ii.. i Mr, Henry)
Cj, ,,r. 1 i.'.i I, I.VI. 1^7. 2-'S. 388. 412 1. It.',
777. l.n.LiI iiS.niv; I lni -11 111 Si ii.-u'i . 1 1 1 ',
152. MaAlj in. . M:r'.->, 413. Macfcenri,
Mi» f'lara.' AIM. M.alera. SV. C. Kilt.
A! . ■ '.All- nil I 1 ll -.11 da ; It: iii.l-1 ), 37 1.
M Ii |in-, ,11. .r I!.. 310. Xm-l'billiji-m..iiie7
20H. 2'js, 321. 3^5 387. Obtrtlmr, jierr,
310. O'l.jary. Mr. Arll.nr, 2-.i;t. t.inn.M^ii,
I'.rJ. 0\r..l.1, M ..I .111.1 Aikh.u', !'<' l'.ii, ~
M:..j;ie. Il.ul. ■:*■'. -Hi". l'liuei-. Il-.'rr, 2:>.',
: W5. l'i.ui..>- es.i.-.. ly.JoL'A'^l.:'.!':..
3;.'), 172, U2. 1 'ft-.--.lt, M ».i Miirmii, I > ;.
l: a. ii. tiin. ll.-rr 1.-. Ml. It. i,. luiiLlt, ll«.ir
4'J;). Hi in.i ,ii.i. » Arl», 10.32-"', 37l, l'i7,^2.l.
Ill ■■uil-.K 1 1 1 1 : 1 i . _\ , I K:', 21' I. lt..li:il .j - .11 ,
Mr,, U'ji. WEL H.'it I.uu.h, 112 K.
*<-n.ler.iy id M-.ii.n-, 213, 3it;\ 111 tO!'.
Koyal Si, ,l> of Mo iian*. ZH3t. Uoyal
Surrey fl.ir.li-r.-. 33;i S.u 111.1 . 1 1 .imiu-, 1.
2-!), .V I/, in. -I I, 77]
778/ Eii. 373; JgftjaA. 107; Uratl in
Sm .', 279; I- 'li'iet'ia ! •im> !(■ 7".v,-)i, 2'.. I
UfMint., So.n,, ... .Sm,.,'
Matrr ( Ro»»ini). 2't9; lland.-l Ki.->ti> al Cli»:r
H-l,. Mr-iil, 1 I, I>2. 123. Sal 1. -Viiliii...-,"
»ll. S. . .ii-».r, Il.-rr, ;1I. .lobn'a
Win.; Ll'ei'nry S.-.-k'tv, 7il.l. S:. Jaiii.'-*
Hail. 2i>2, 227. 3ir... 7II3. Stai.aa.-t IneaTrT;
I 12. Sk-t ii. y I'iiuil- Soi-T 1, Tit t-. T/.iirT.id . ,
.Mi;. .-ii1, 1 W :.-1.-lii„r.q Clnu"'', 3-'., 3 11,
412. lJ'..-.iilin...n. Mr. T. II., lioii. Tojiii-
S l-l'.i A-«o ■-..tUon, 20S 129. T'";'- Mi-.
H. .1- 253. 3'"'. 3-7S. VuliT.lii..-, Ma'lile.
Carjline, 371. Van Noonlm, Mi»» l/.un.i,
La
Concert at Bitcxiagham Palace, 75
C.Jin»rx'^utioiial Singing, 686.
COBBUSfOSBESC* : —
An Kngli'h Mniician, 218. Atnadis, 389.
Amateur, 138, 372. Anghcui, 7. Barcroft
and Wheelcy, 389. Batei, F. W. (Acci-
dent to (808. Baale, Wolfgang Amadeo
(No. 1, Moxart), 115, 134. 147. Birming-
ham Mtuical Fe»tif al, 631, 662. Bradford,
Google
INDEX.
not Yorkshire, 135. Bradford Fcttiral
Choral Society, 4*1. ltrilRMower, (Mas. 1
tcr, and The Krnlzrr Sonata, 75ft, 771. !
Cahen, K , 359. Ca.tellaii, Mad., not Mad. I
NotcUo. 389. Cathedral Music, 105. I
Conduct ing and Conductor!. 803. Davi- I
•on, Mr. J. \V., and •' Musical OritieUm," [
Cl(i. Dead March in Hun I. The. 61. I
f'ditr i.i [' Lti Pre".- <ir l.uuJn \ Klh
i> -tu mi,-, 7 'jr., K..«ii'. i >r. in nr.,
i:tr>, U7.li.iri, i\j«:. r, i' , 7.'.'.. i-'nni..-. J ,
7'.'"., Ct.xi blr.n 'aci.i both, '.Hi. 1 ieuhlard,
Mita. Arabella. 90. Ur.-ck S .,i:,..., t : ■ t- , sax
HeUer, M, St. p; e-u,7t". .iuv.-,i.. nil I.a.
Ma'-lio s lust appenranc*- at Uli ltoyul Italiun
< >[H-n. 'JtJ. LnNae-u' lit nil Up-'ra -t V ^ r ■ 1 1 ,
1 ir.. I..nnartir..- on ilie UriistteiU t-'o.if-.rc-PS,
'i'-2. I.^.iii,", 1 1 tie lull-) m.ii I'mlti (tin- pre-
-ml). 435. Marl, l'r , l'.<:>. .Mrnd. l«niii»"«
i" pi ' il-l: . .Vv , M 7 irl s llrT-
f'.tl. 5H1. (.15. Mll'l.' nlld lKIIin.n.'~
n nit. tX.Kl. \lu*icai ( r.t-.i i*ti:, Till. >alional
Antbcni, ihr, 117. Old I r.u.penny, 2\ 15,
n rrTTTTTT^r rrrr ( ^: : in nt si . Tt.n; i
•jit-rnii'v, Ip.j. Ur^an nt lincknci (LHni, <■
,.'.«', 135. Oiod. 1'antab, or I.uthIk tli, 99,
198, 333, 433, 750. Bonn, 197. Bordeaux.
198. Boulotrufl fur Mcr, 491, 639, 540,
579. Brookltn (America), 30. Brussels,
198, 238, 734". Coblenx, 637. Cologne, 7,
- 43, 197, 214. 2443, 358, 531. Cracow, 780.
Darmstadt, 195. Frankfurt on the. Maine,
55, 391, 047. Genoa, 253. Goettingen,
314. Got ha. 108. Hague. The, 115 Ham-
btirglyl'.Hj. K 1 1 ij--.ro:*. (( ,- . Y r :,3H1 . Leip«ic.
21)5? l.ngiin -, 711. U m: j. 711. Madrid, |jg)
■.»■.■ . V'V II, V illllMt', I ■ i I .t» I 1 1 <."> •/ > > , . ' .'.
Paucr. K.. 817. IVrfitu u n. Heethofenian
■ ii. BK ''"eger, J, P., 643 f.'.'J- I'n-
<i-tilur< mid their duties, li5i>, I'rfB'im.' j
giariinn, 147
Kub.lia'.i in. Ant..'
K.Ticie. Hobtrt. 1357
10,:., S .1 r.- i II iirr.oi-.ic
Society (Moticna), 740. Seiaman, (' , 83.
Second, .1 . .17-. Sl.pin'1-i, ('. K., in rr
" HfLinf«l«T," 7l'7. 725 lrl'' '' »"d Hie
1 1 . r : 1 1 1 ■ ■£ i . m r: v 1, ''I.I. U i.lniui.ler
A i ,, Kve»ing Serncef, Xlb. \Ve»tinuart«r
I'nlaow BolU. C92. 7uej. WiltQ»>, Mr,
lUviln, Tiiroo Booki, 51. Wilton's Mr.
llnvdn, A Fair l'rupo»itioii, ftl'j- < '"nr-
1.-I.IK V'. n..|.i.Ts;-.--» i /'-iitc^i, ■i'j7, iTii-
ii.. r. .T.ihi. ]:, ^ni. t'r\>t:ii i'jIj.-.i. :«rnT.
(ii 1. I'urir.ui Muinl q^SiSona [Tra
} i \ Musitral U-rieV'. li'.ir. i'ii.in«, Mr.
W.. 218. Tlie. H99.
1'ui^.jrt < f Tli-atre', A-''. {HuiUij.'r Sew*)
I SI. I',. Un.ii ''n- I'.. I .itni
T. ■•■>■> i, i ll I . IX-aniil (' irii^lf ami l'ir vi.l'.f
I/' h.l'jIuii .'I' t'drlulf ( 'nl I,, ilnil, S'.H.
1 i.'i *i 1 1 ii.1 ..-i l'n nt> Hi, i.n- i }'um-h\. 1 7.1. I'i'hil,
■Nir^fric.l Wilbelm. 291. I).- l.illlTTT union,
S. Dcmeur, Mudain- Ch^rt 'ii, 5U1. PR.
ia»on. Ibe. 50W. I>u-fcen«. .Mr, Lh rI7»,
BO, 6&7. Uon, Mir W iiaam on Jttiqnette,
Iji'i.t. l>oii < iinT^i)in < ' mlri >\ wr»y. I'm', UH .
uan at tbo PhS'ilrc h'ritneais. W,\'2.
In Jt'tl i. An ui.jiu Ii-m . M[vT3 I'', 311.
l> '-ih..j i.i i.-'i.-i. r'.i r \ '■■x ■.:[" N.ivi'.;.]-, ili.
Dramittc Oollafe, Th*. 664. Drayton, Mr.
and Mra. llenri'a Kntertainmant. 716.
[luprTit, M,,"lraj;i- A' i-nli-iil ii', M Ka»«fr
Ai.'iu-c'inii !.», 229. Knfi'M. Tlici il.T, 717T
/r.'irn't m LomiIdi!. 1 1 13- Klla'j. Mr.. MaiF-
f.i/ I '.lion (Athe aoiiMii. -H3. Ktidcriiohii,
Madnae. 109. Knglub At1i*U in tin- l inu i
Htatta. 814. KnterUinrpcnta [SMutiia*
•■' >S. 21 I. ;t U, :i:,9, UXi. .M .iiii-li. 517.
Xapl.-. l'.'S. 2ii2, i^4. ffew York. C2.
201, 2'.'2. iA:: 171, ilSt'i, ftt.'>, tte, 7767
.Ni-.-, 2'.>. '-jl I'ar.a. 11, 2!', 7l!. 'J.', 1577
RH 1QT,, 214, Zi'>9, 295, 32C, 848, 478, 516,
52 1. .•'■U. W!l. t'!51, 037. 700. 775. I'Lila'
ji . lpbia, 775. l*rag«e, 135, 407, 483. Boo,
637. Uomo, iH). Ko»»ini, 295. Kotterd am,
fl. 119. Kabinatain, Zltt. Ht. Petcriburg.
iiS t'.'s. I2:V :,fll. ?'.,,T
hr.lni. C/17. .Smtni\.Mr A J Tnri-i.
7. 71. 125. 151 2:il i/trecM, I'M.
Vienna. 40, I'.'H, 2.17, li'7, 12!) 171, 610.
535. 579. War>aw. 71. Wieniawaki, 2;i5.
Foreign Ragimentu) Hand», 4!W
r.uu^-, 1! "rr, 12, 27, 3Ui,TTrT
Fraud on a Pianofort e Mannfaeturer. 619
K5j35T Mudntue. 1H2
Frikell. lJrnf.-.wr Wilmlbn, 571, 082, S03
Frmu (rru-.c 1 i tiny I Punch), 749
Oeorgt V- King of IlanoTer, 461
(-tiil^ln.i, Sl.'lH-r, .ill
(ilaJitcn i-, Mr. W. ¥.., on Mu«ic, 676
Olinka. Micbaelron. and Mune in Himia, 117.
Gluuee»leriiwv Hereford (QfattWffrCTfoai'cfa),
Oluek. Some remark» on. 52
i: i 1 . i i.i. 1 . Mi-- AnSill., 121, L''-.1, 207,283,
2'.'7. A-:7. 57;', 1^27
(inl.l-. l,!, HE Mivi. KnnyLind, 43, 90,391,410
(K'Uiuiu ^ .Nim <>[ : -, 53
'irirolui Tu)..,'.' {p.^rht. 199
li-c.i I l'i :u .1 - 1 io) UaE run, -{23
lin Ir,ii;.-dv (Lr MrnntrtifT, 734
(jr.-i-i'-i ' •npi.iM'.MiK if -trtnir ttr Patii), 743
Jullien. 10, 235, 266, 294, 315,325, 345, 429
Jullirn Era, Commoncement of the (Spectator),
681
Jullian'i Farewell Concert!, 714,731,716,702,
778, 794, 810
Kainerl, Konigl, Polixie, Direkiion, 676
Klet?:rr. H.-rr, 165
Ullacbe. Life of. 85. 100. lit
1.3L,i i.i, MiiJaiiii1 231
l.nya \Frai\ -e jl/inii--i/'-) 518
L'Ar:n infi 1 .M. L>i.iiu.'Jii d'Kngelure, Ml
l.:,^.iri-.', M 1 Tl
1*- Numrau I'liT-Puff do Mosaoo, 115, 13fi.
— 213
Li;»l, Franz, 51s.
l.ki: :: ., A i . i l .. lib —
A wi»e man will acf ommodate himself to cirenm.
I- A .l'IdI.i i'.'n- itn-, Last iiu>>a of
. luoUW, 377. Albert Siuilli. 821. AatltT'a
iin i ill-.' V.jy • rtnii Diam.i, 666. Aylouii'n,
l'rufe»«or. UailatU uf Scot Ian I, f.22,' H:u !i,
■1. 3„ P,u»iu», 2C.M. jiacb Manb, The. W2.
i:.iiit- (M.'i. ...ill
■ .Nl :-, 1L-.1., i : ; I ' ". M. . I .'n,, |77'.
Boncaicfa Vocal Aaioctation, 780. Bennett.
l-iul.-»..r, iil.d l..j i'j.ut .t-raph \ .4th*ii*ui^\t
619. Hidwell. Mr., and ~TKi
171. Ha. LiMiic'j, Mr., Henrfit. 425.
^55n l^r l dh-itmIi- MiimmI Ktnmir-i-
S r''"'" >':>"°'"'(1'»' ).""" ''Tboroiigli
lL-i,1' lij-n-al cu:n-i-rt», ami tTTTJ
.(t'ifi , lot, 10-1. i. 'i.in i.'ily n. it iboul:!
SlfJ. Concert of La Prtut d* Ltmdrm^S.
n7t-, tV.n.rr Jj|.:i j)., 2<!1. ('rv^nl
i'jl.ii.c, 2...I, . 29, 7 1'i.ilino an. I fiiil of
Iho Britub drama and tin Prea». 138. 163.
Dickrnj, L uarlra, and )ii» readipg», 260.
llnlin's, ,\lr., :imu;t.-r rnncartat llierrjsT
lai Palace, oik>. l;ou U-.qtiiuiii, Hignor
s
/.VnVir}, 5 1.1 Kpi^nitiii-. 7-IH, 759 77 1 . 7li:..
I'-rj'-'j M"»-':. M4. Kriait, Herr.TiO".
711. 'rVilnn: of tl.e ■•S'.-ii. tf II. . Ultjt.
■ iji.J, l't-.:irui J'urf rniau I hr I /', v..,i Use
Ditpatch), 87 '■ Fi-Hiviii of i;tr Thr.-c flioir.'.
71 I in-, <). I i.e iin-.ii.nt «t;>l.i <■!' M n« u\
.S. l'H, 1.1, I l*. 2:;7, 27s, 2^1. I-i,-'il,
J-i.n ; I i" i, 7' 7, 771. 1 i 1 1 r- A : " S .-n.-ty,
I ■ i .r, . ,<S l'ir-:it .-i,nirr n I 'mi -I. iTo
M-- '<■■[. ■"'-■J '•' ' 1" " , "I V ■■-linlT
I. I.l i-r n ' I . H.7. I'. ■> .'.in i 1 ■ ■ -
stilt MlttcaU), 1 10. i-oruic», Ucrr Carl,
JSE
KrioiuMi.— 746, 759. 771, 795, 822'.
Kl'ITAPIIS.— M 1.
Kokeiok.— Ainaterdam. 193. Atl.cn*. 198.
Baden-Baden, 477, 683. Berlin, 135, 158,
ggjgStSi New Opera, T he" J/q.7ici>iine."lS3,2 1:1
lln-lili't, 'i I
ir.in.nirr, M..227
Handel'a Monument at Halle, 275, 810
Handel. Ode to (JWM. 257
Handel and Bir Walter Scott, 1 7ii
Hum 'iiniiii, Mr. W, K. Krr.'i-. 7T^i.'
H.irn-.m.y uml ( '..unterpoint, 716
I] '.'v ^1 M n;:, '!'! .-, 7f I*
Hiii", Ca'.'-ii-rin..', I'rj'.hof th<- liU'linnd t.f, 475
H.-liij'TP KfT.T., Lr-clittvoii CniircliMnai.-, "TTt
Heine. Henri, about Mum*, Ac. Quo, 5 II. 5m i,
Hfr7
Her Mtjeaty'e Chapel Royal. Windaor, 182
n-r \!i>.i;\T!:,:iir,-!t;:r,'vri —
Hereford Motical Fetlirnl, 173, 220, 476, 551,
r-i, r-.'i : , .
HtimJ * Mv!,tiT, -AW
ll.-r/, ll.-iin. I H.i, 2115"
HllU l , 1 I I r:i I ■ .1-10 »CS.,»t. 5
1 1 i«t T-.i-.il .N 1 t ! l. r I ::■ .-r; i' J l,-,|r. • in
\ 1 "R7T
Hcod'a (Tom,) Reasons for not ]iublUliing
PK 'i7-.
Howeil. Mr . 537
er, Mile. The TiolitaM (/V»r4). 509
n un l';. m- 11 . 11 11 . 7.'.'/
interpolation in Anbtr'a Crown Utoaionda.
—752
Jpte dixit, 195
JoMhin, Jlerr Jo«ph, 139, 493
Joan of Are, 630
aTTeraTlonj
S 458.
1 'r 1: 11M .-
I T.i'iij'.j-
rcAiimgii, 186. Dramatic CaHi-gc (The),
IV J. iin^liiiid nut a rni»ic»l miiion : 296.
Ku^iuli and foreign nrtjstf, 8j!S. >>-<lival
Licriormancci (Ilie), M', 121. Vv'.is.
pel lorm
Hi- |.r."i
ball, Mr
til
. M., on
tut.- ol imi;;i..jj nri, .113, I'iu-
Iv-'i j r 1 1
I I run.
•Thirtrflv
adaptor*, 1 1
unoiatiiii S3
Freucn poctrr,
Mr* of bii
tali
TTnl
tngnali
;. mm gggri
1 ' ■ ■ - : W 1. j 'i, 1 i;i, I..J.J, Ui ncraril.ralrii-.il
f inn], 21l'.. Ulttil.ti.ni', Mr., mi ruu>i.-, 0si)"
uoaaara, aiiaa ArnbcUa, and Hie A't FK*
UUra ana TTui I llr.i, 2Ho ; \ K Hcrninn
critic), wz; illerr KuM, MaUame Unry,
r.:iil T'.t' ttrtj'.f.H a„:,lU), 792. — Handel
• tatur lit ilillli-, Kl
"iTTT
8211. Handel (.
Ll-einonitration,
lU'turv and the Choral
l'rdt l"c»'b oQ.
HO. llirl,
lctir.l, 501
•5T77
zv.
408.
I'll. if,-
55''. H.
Ilortley,
llalmi npi-i-m
~~ lT7 1 j 1 : - 1 n.l.
Mr. John
ml JJaateal
Br. (Da»U»
(.'., and
"TT71
1W
T77^
330,
tn.Q.
:! l\
hlatu
M 'ji'-ly v iUratrj
J>i-»lli <>!, 72. Cm3S H
2 is,
waon, C97. Kettn. Mr.
1 !' fill.. I. 1 . -i it-. HiT
12, J...Ll-.oh'-,
<■»] I-V^tiral, 2:t2,
fund (toe), lio.
ri:.-'?, T
tfm'jer,
rarioui
ATjcT
5:i7.
Jo- ."I f.-
and ita theatricw
1. .;i.bii .lulncn in ^.rp~
l.v. .11111 1 hcatre and it*
*ii j2. ,'ii.i::,nvi, ,\rr.
I*--'. 505. Mct-lii 1I.1' iin-..-
■■■ 'iirr. Ml. 1, '.l, 1,,;, : „ .ii.', j.;: , ;hi.'.
tne .**«civd llarmonu' Society, 120.
Mendclttonn, and The Saturday Jttvtetc.
1 ' I- M" rin :.l..l i. ,,.'.llll I'1' ''f I'.A-l"-
P.rl..- p, a; If-O. .Mnr' .M rip, .-.el
C707 Music, htatc 01, (Season l»o»;,
121. Music liaa two path* to lucce**,
88. Musical Instruction, 821. Muaie in
America (Progress of), 58. Musical Season,
Google
INDEX.
The Winter, 729. Musical World, The, and
Hi " Sneer* at Comic Writer*, 284. Musi-
cal Festivals, The, 488, 552. Muaical Criti-
ci*m in this country, GOO. Muaical Society
of London. 808. Nisbott, Mrs. (Lady
lloothby) Death of, 73. Pariaian*. (The)
and Moaic, 136. Patereon, Mr., and hi*
" own life," 585. Pyne and Harrison, The
Opera Company, 8, 370. Pyne and llarri-
•on. The Opera Company, (at Drnry Lane),
584. Pyne and Harrison, and the Literary
Oaxette, 61 C. Kachel. 25, 73, 283, 297,
Red Tial (The), at the Olympic, 681.
Reeves, Mr. Sims, and " P/ne and Harri-
son," 712. Raid, (The) Commemoration
Concert, 106. Kobaon and Emden, Meiin.,
553. Royal Academy of M who's Concert at
St. James's Hall, 125. Saturday Scrieir,
and John's Life of Mozart, 201. Saturday
Seriem, and Dickens and Thackeray, 312.
Saturday Sevicv, and " The Mercbaut of
Vcnioe," 400. Selby, Mr. Charlea. and the
Strand Theatre, 619. SkeSngton'* (Rcr.
T. C.) Handy Book, 66-1. Smith, Mr. K. T.,
and the Panopticon, 105. St. Jame*'* Hall,
265, 297. The HramUd Race, at the
Surrey Theatre, 632. The dnllett season
in London, 568. The " Holy Family," by
W. H. Caleott, 40. The New Royal Italian
Open, 217. The Opera* and the Pre»s,
520. The Progress of Music in England,
74 1. The Star system at the Theatres, and
" Readings," 696. Tho Theatres and the
hot weather, 393. The Theatre*, 713, 7G1.
The present state of Theatrical Art, 793.
Various style* of Composition, and the
pleasure to be dewed therefrom, C17.
Zopff, Dr.. and hit " Characteristics, 169."
Leeds Musical Festival, 181, 283, 326, 383,
439, 476, 589, 595, 604, 616. 618, 726
Let-he's, Mr. Henry, "Judith," 493, B23
Lemcur, Dm' :f, 27:» '
Lust. 2 to.
Liszt, A Rh»p«odTon, 173,205
Litolff, Henri, 90,' 1 12, 219
Lola Montr*. 733, 803
London Polyhymnian Choir, 618
London Society for Teaching the Blind, 245
Lo«s of Voice (ffalFe Journal of health),
749
Lot er, Samuel, and the Athemrum Renew ),
728
Luroley, Important to Mr. (France Musical?) ,
523
Lniaa Millet {Leader), 533
Mu. Ut, Charles, 677
Ma.-Utrum Eipiorcil, The, 726
Majntenant ctonc (Pnnch), 263
.Manager, rTjman and 1 he" three Hungry
Yt: ri/-i:nt-ii. 7 V 7
Mapleson** (Messrs.) Musical Agency, 05, 5!U
Mario n« T> ,r, (i;, TllV . 2
Marl., I>r 13''. 331. 375, 435, 501. 698
Moliiine, Herr, and the Muaiaal TY-tival at
Prague, 3ll~
Monument to Wolf ran Von Eachenbacli, 701
Morley. Mr. II. K.. 157
Mornington ia_K„ 214
Mor.y M 5 ' of it true" UBjt "alt), 691
i rr mm* iiP»irmm*iP
M. Met-V. :-i II. it I '. L, 13".
M,.<jrt'» '■-;(•. h.v ilenlKi- lla'.r, 135
Mozart's Figaro in I'uris. 320
Mozart's " Co-tifan Uttr," 3U0
Muz.irt |UuV"-il by I.uKi.irtiiie, 151 |
M .z:irt, .li.j.il :- Syinr-hony {hivningliaiH
,/iiurn-;'l| ti<12
Mozart, Pianoforte Works (Fraur), 668
Moxart, Magic Flats (Dwiyhfe Journal), 796,
805
I Music at llimiingham, 758
Music in America (Leelia't Taper), 750
\ Musicians and Revolutionist*. 540
Musician* and the Country (France Mutieale),
438
Musician-, un.i Maniacs (Punch), 407
MWN of the Future (Atl.«n<tum), 3lW
Mutic, with Tune* iu it, 227
| Music in Passion W eek, 211
Music of the Anglo-Suxons, 183
Music of the Ancient*, Observations on, 14
Music Printing, 99
Musical Sketches (from tho German), 565
| Musieal Tale, 167
i Musical Jubilee at Cohlans, 616
I Must we all sing (New York M. IF.), 732
' N«ukomo>, The Chevalior, 247, 262
New Musical Tor, 824
New words to "fiatti, batti" (Punch), 214
New York model Don Giovanni, 78.
( New York Philharmonic Society's sixteeuth
annual report, 717
Newcastle Grand Musical Festival, 643
Night and morning at Malta, 695
Nightingale, The, SOT
( Nisbett, Mr*. (Lady Boothby), Death of, 74
Nugent, Mr., Presentation to, 172
Old Hundred (Dviyht't Journal), 558
Gn tho Construction of Public Placet of
Amusement (Times), 605
Opera of the Kuturc .The, (Punch). 749
t 'iynn at St. ,1 '..'V*. ji 'n;-l. t. 1M>
' ir^nn at St. John'*. Hackney, ivi
Orgm »t Archl.:«h..p Teni<oV. Hiiiym!, 121)
t Ir^ in :it. I y ;:;:n ' ':i n re 1 1. T">
OrLaii n' I furro w School I hi
60 1
tenher, 1 10
d Mr*. Charles. 581. 795
gjgjg Mr
.M 11' ':i ' -i M-. ll'l
.M Hirer. Lewi*. 315
Mendelssohn, in ItVlgiuni, 7
Mc;-,,ic!s-olin, AYii 5 Vienna, 22
Mendelsohn |.Vr K:>r,t Sf-iticat IIMil),
Mendelsohn and Onslow, 220
Mcndelsaohn, A Stone thrown of, 469
Mendelssohn, Symphony in A minor (Birmiuy'
ham Journal), 621
Meyer, Leopold de 332
Mcy i'; bct-r"- l'r:p
Meyerbeer. 471
M nit ar v
474. 681
■it Glogiu, 235
Bit
fe Mr.
r*7734
Miran
Mitleirlicinischei Minical Festival, Tlic Tltinl,
tis.'i. 7-i>
OrL'fiu n; I farrow Sclioo! rtiauel, 78
Oryuii :il M; i.3- u.rr .Nortcii, 172
Ort;a:i .-it IKqituigly 1'horch, 201
Orj-an .it Lccd* t»a Hull, 2c.il, -^t
Organ at SLiip»U>n-on-^i'uur, olTi
' irgan al Nrw-cii>tlc-oii-Tj tic, .">7"V
Orn-iu a'. In ■ Tia.le Hall, Manchester,
Ocean at Roman Catholic CatheJcai, \Valci*-
~ferTj;
Ortan at St. Paul. Walworth, BgO
UrL-miit llttml-Til t i.av..-',, near Rci.-Kdolr, 7-i'>
Ort;uii ■ •■ Hi. I'ntil'a Caihedral, 30
Organ at St. A'.kmuiid'a t'iiurili, De.-hy, 71-8
8 Mm .it Sr. .Mi.ri'e, Lnn.'ln, Sl:l
r<an tirindrr- I ,\cn- ) nr\ h'rrniny /*<«<), <H6
i ii-L'iiii-t, K!o-tii>;i of, :>' Sliorctliieb, 12, ts7,
ll.>, I m
I >tyanut~r~A:-*oriali' n. The Lady, 1.17
Otttrj'-, Mr., L. Ir.r.- on Art. HQ
Oulibi. if M.: SaflTog 154
Ovid Translated by Msrlow, 163
I'acini viewed throui;h a Yankee Magnifier,
(Diciykfi Journal), 591
FmI Mr. and Mrs. H-ward, 230, 52i
P. rfunetory, :<73, yyti. 12L»
l'vrgelti. 8ignor, 151
Pcrsiani, Madame, 810
Paul's, Mr. and Mrs., Entertainment, 682
Pavilion Theatre, Tho New, 749
Payment* to Singer* at the Italicne, Puis, 701
rhil harmonic Society of Urooklyn (Nen York
Mueieal Itetictc), "01
Phvsie e, Music, 535
l'teeolomini an dUIuglini (Illustrated Timet),
549
Piecolomini Fever in Dublin, 551
1' ' 1 ^ ■ . i - 1 1 - 1 -. in A-.i.-n 717
I'.m-iuy. - V 'imi.1 tre.iu tin; nrci-.eslm, t.177.
An am ii'i.'. concert (Hffi'. , 7'i'i. «';..!■ lrrn,
(Longfeliow), 070. Come when the flowers
i n- i.' L-| ui,', ul\K l'o-ti. Y. -Mie.'uel. 7n.7.
J :■ Kitty. H2. England's Tar sor^, 721.
(i-->.Maid. Miss Arabella, 310. (l"ve. To
l*redni>-k, 521, Hymn uf t'nivertiil liar-
llr.nr, 7"2 In mcmorism, H7. 1 ri-ljTi.T^s
welcoaneCto Ur. Mar It*, to- 008. Janet, tnw.
.fullien. Ode to (Punch), 733. Kmg (The)
of Castille'a watch and chain, 44. Lilian,
Miss, to Mr. Lumley (PimcA), 247. Mary
I'm thinking of Thee, 653. Organ (The)
in St. Paui'i.Cathedral, 30. O, say it again
(John Ellison), 710. Pel Faustiasinio Giorna
ouomattioo di Mario, 607. Piano at Evans'*
(The). 53. Reeves, Sims (To), 560. Sweet
Little Jenny, 675. Taraber.ik (To), 549,
Tho Countries that like may their marvels
boast, 815. Try it again, 13. Twin Star*
(TWA), 637. Village Queen (The). 163.
Wagner, Riohard, 727. A Wreath forChrirt-
mas" 884
Popular music in Loudon (&r«e llutical)
Prmag. Mr. Van, 250
l'rogtamme of General ltcul's commemoration
concert, lull
Pboti>chi. Altrinchasa.74a.8ia. Anvere-
ham.812. Armiey.8B3. ArundeL142. Barnard
Cjstie.rO'.i. Uarusley, 11. Uath,27!t. Itcdford,
77". Ucfa-t. -10." I S3, 727, Ml R.-rk-
7 :lti i - 1 - -a 1 1 , '.' IS. ll.nilCN, tit. I'.IITI.irL'lii-l'l,
525, 73!>, S12. liUth, 1k:i Itulum, r,:(7,
l: i-tou. 608. Bradford (Yorkshire), 27?
80. 510, 71G, 771. HQ7, kU, lirnnlin ■'
S2;t. Ilri^ht-Jii, 37, 231, 519, 715,
77S, 780. 803. 810. Hristol, l'l. 21G.
813, 821. llrixton, 733. Camhridge,
10, 163, 461. Carmarthen, 603. fAnpej.
town, bit. flydach, 815. < 'oT ''-ie«ler.
12 l)erl»y, 812. ' Dewaburr, 73 4. Dulihn,
13, St, "207, 31n, 37i>. Dundee, 3 12,
Edinburgh, 12 1, 172, 20 1, 31V. ITseear
It'1.'. l-.7n li, 2ii3. < iliisyow, 1 12. Olon.'er.
tcr, 75". Urar.ti-.i''.n, 5 lit, 57 K Greenwich,
13. Gucrn»ey, 618, lUlifiix. 583 621,
tiJll,h23. Harnioiidsworlh,"'jH.Hfmrl Hemp-
stea l, t'J t. Henlev-iin. 'n.a-n.-», 55. Here-
ford. 358. HolmBrth, Kt, 677. Hoy land,
253. HudJersSclJ, 13, oM. l|nfi;~TT.
Ipawicb, 12. Jcaraey. 6t9. Keighlrv, i;7ij.
Kidderminitor. 18. Lead*. 29. 77, ' 2 l ] 7,
148, 154. 178. 206, 221, 800. 310, 359, 810,
m, OS, (V .3, (JOfl. 766. 771. 807. Leicei-
ter, 2-7:, .171, v.h;, H.^. L,i8r::,n:,
12 1, 1 ,7, 1S2, 2(i3. 510, 639, 574, 579, Ut5.
653, "16, 731, 762, 780. Louth 812.
Lyric, 37. Mnnleihcsi, 13. Maidstone?
731. ' Manche.tcr, 13, -13. 55, 7S, !'3. 111'.
118 5 1" 037, 708, 733, 73 1, 7 12, 7')1. W j,
.Market Drayton, 6. Mnrlow, 5<i. Miilille-
wick ^•Sicshire), 698. Morley, 813. Mor>
liiouih, tilH, fis;t. Newca»t!c-on-Ti lie, 77S,
M"7. S'orthimi[itoii, 2tt, tisn Xot'l in^ham?
157,iri7,20t;, 6SI,7Dy.'.l),7li«\n07,V.'3 OTT-
haii., St. Ound.e. 1"1. <J\feul, 1 3, 757, 702,
tjueenshead, 742, Krndjng, 2-t. ItnViite?
8*38, 876. Rochester, 618." Ryde (Isle of
W ulil) 183, Scarborough. 605. 8elbT.740.
Sheffield, 183. 8iirewsbury, 119. Sipnth-
ampton, BK8. t384. HUlyoridge, 1.1, 171.
Btourport. 777. Btndler. 574^ Swansea.
ril'J. Ttiiln.Lirih-u, 5H? Tonbri-.iee, UU1.',
52 1 Torquay, 172. 873. , Twickenham. Hft
akcli-.'.J, ljj'J. Vi 'illiiife'tord, I'l. \\ igan",
INDEX.
67. Windsor, 43, 90. Woolwich, 7 18.
Worcester. 371', 637. 653, 807, 813, BIB.
York, 10, 2'.r
Punch a Poacher. 771.
Pyne, Mi»». and Harrison. Mr, W.'a Farewell
A L'-i.-e- - m I.m .'iuii Tln-<trv, U.
Unite o boro. 71G.
govaj English Opera. 819
Rachel. Ileal Ii of. 23. 457~68,
KarUI, If. r Hut...- in I'lini, HU.
U.i. In-'], j Ej l>b»C|..ue* ut, 51.
Km-ln-l. Relic* of. 863."
Knchcl, A Worshipper "f ll'»mi), 72S.
Km', .\ir. .1.. i :ii,.. . i.,,-' l-juiiurmonic
Society. 259.
Raphael, A Picture of (from the JJriaU), 182.
Recollection* of Califor. in and A <i -i r.il n, hi-,-,
236, 259, 277, 293, 333, 317, 305, 380, 401,
119, 436, 454, 408, 186, 409, U5, 531, 517,
663.
Reed's, Mr. a&.l Mi s. German, Entertainment,
77, 857.
Reeves. Mr. Sim*. Hcflcrtionj an {Morning
Adetriitrr), 462.
Bcercs, Mr. Sim*, nt (lie National Standard
Theatre, 619.
Reeve*, Mr. fiii. i-,' ami "Common Sense," Ac.
(Era), 811.
Reielnrdt, IJerr. 16, lti7.
Hendel, M. Anurias, 476.
RtTlBWS l —
Allen, O. B. Avery, Kllen, 371. Balfe,
M. W. 691. Buumer. II., 163. liealc,
JI. W. A.. 99. Uuiedict. J., 3. Heritor,
F., 3. llin.lt, W. II., 755. Bishop, Jol.u,
163. Brissae, Jules. 163. Brooke, J. 0.,
37. Browne, T.. 21. C. K., 371. Chap-
pell'a Music of the Olden Time, 21, 36,
132. Cooj>cr. X. C, 371. fox, P. B.,
691. D.i«ea, A., 36. Durrncr, J., 21.
Kicbler. llcrr, 37, 091. Kiider»»ohn, M.,
103, 371. Ewer ond Co.'sjAlbuiu (for 1858).
4. Forte*, G., 3. Fowlr, T. Lloyd, 67,
Fulcher.J.,133. Oabriel, V„ 37. Oeni.W'.,
163. (liugliui. A, 22. Glascock. Mi--
Kllen, 163. Glover, Stephen, G7. 99.
Craliam, T.. 21. II. (I,. If.), 37. liar-
tilt, C, 355. Heller. Stephen, 21, 723.
Holme-, W. II., ills. lJol.t, Matliia* Von,
691. Hordcm, F., 3. KcrUueh, Leo, 23.
Laurent, Mr. II., 789. Eugelke, 183.
Liidem, Charles, 789. Lysbcre;, C. B.,30,
37. Maerarren, O.A., 371. McKorktll, C.,
355, 618, 739. McMurdir, J., 20. May-
nard, Walter, 371, G18. Moore** Irish
Mrlodiei, Ac., 723. Mori, Frank, 371.
Nordmann, Rudolph, 21. Pelser, A. W., 3,
451. Bicharda, Brinley, 19.20,21,35,37,
S3, 131. Huhc.J.B., 133. Kummel.J., 51.
Ra.icll, George, GUI. galaman, C, 4, 22.
Scliultuce, \V., 21. Smart, llcnry. 739.
Thomas, llarold, 739. Torvers, John, 094.
Verdi, Album, 163. Wallace, W. V., 3,37.
Wilson, Haydn, 356. Wrighton, W. T., 67.
Zante, 133.
Rewards for the precise sienificaliou of, 01
Riatori and Revolution, 621
Rommi, 8 (nor, 650.
Ronconi, G., 8
Hos»mi'* * William Tell," by a Foreign Con-
tributor, 120
Rossini, 235, 331, 316, 106, 123, 471,518.
st. Paul'* Catliedral Service*, CG3
Sacred llarmonio Societv, Benevolent Fund,
139
Sacred Harmonic Society, and J. X. Harriaou,
E»q.. 715
Saint on, M„ at Mancliesler, 201
SaUman'*, Mr. C, Lecture*. 63, 201, 269, 297,
702
Sarretlc, founder of the Conscrraloirc of Paris,
316.
Schumann. Hubert. 318. 361
Scliuinnuu, K<d»ert, on Mendelssohn, 533
Shakcspere's llirthplaee, 177
Sinking becoming an impossibility, H6
Singing oondueire t j lieallh, 462
Sirori, Signor, 501
Smith's, Albert, New Entertainment, 332
Smith's, Albert, Cloaeof Mont Mate, 441
Smi-h, Albert, in China, 691. 718
S in1,, Mr. 1.. :mh
Smith, Mr. 10. T., a faint idea of his Speech,
170
.- i, M. V:..^-. lcit-.i of, .Vis
S|i lir, 123
Sloltz, .Madame, nt Lisle (As Ao.-rf MmieaU),
>;:;;
St. G.tjrijii'a, Mis* Julia, Entertainment, 230
St. James's, Wcstiuiuster, lite of the Clmir of,
477
St. James's Hall Company (Pn»c.\), '216
St. Janus'* Hall, opening of, 808
BE lim:-»'s IIiiU (.jrte^f-1..,J i. gBj
Lie Wallt. 517
Strect-l>oo.l>-\\ il, l:n>
S.iii .ay Minn1 in llie 1'iirli*, 315
Swc.ii'li N'.tt i.j:iiiI Sinjt-r-, ';'i.~r)24
Surzuily, Mulame (\Viliiclmttui l'lauis\ 2S5,
297
Tagliafleo, Siguor, ou Muaio in ilatanna, 797
Taiiiborlik. Suh.t, 2i>1. 21T7CT7
Lyctum. — Lover's Ainatemeuts, 61, Eitrcmes,
~~mY.
3/iJ."V/(
< >n *P*.-'K» R«i<l Vud. 067. Porter's Knot.
The. 779.
iVi'swas's. — Hamlet. 41. 01. Lgaajg XL.
lV: Ki:ii» Ijjr, ^ilJ, King John, lisTT
Mafboth. 710.
it'oy.i/ Ittili iH (.lp era i.— Tin' Pruspoitus (foi
IS-VS) 251.
BaglM fJWgg jjj Otniuin vf Oeldaytr), 582
lU un i ' ilch uml (lloo C.nb. 710
Boyal Academy of Muaie, -'7:., :U7
KiA.il Italian Oj'T-i, Rebiiildin^"oT, 26
Jtoyal oorrey Uanleae. 475
BubiiHtcin, A. Herr, 7, 40, 177, 639
Tariff for Ci
"lit
j h.:. rrg, A Yankee Athenian View of, 125
I Vieuxteinps at JiaalivilJe, 471
TnaI5u<
Tlialbert at Niagai-i.
1 in i I i.i aj —
JJtJpii.— TUv Poor Sttolh ri, 01.
AuW,.- —
Ih-cry Aii,-,, -.-I'nii., Mu., mnl H.irrUon, Mr ,
en 2I1.2J!, riuvit..re. 314.1587
S.<n-,ia:hl.iil.i. :H I, -ti:i. Iiiiviita, II21. Uiao-
I. ti.', M I. I! llirbierf. 895. l'nniiiiu, llu.
Don ljii-v<n:itle, 113. l.iinls tli t'haniomii,
■IjS. L-.iiiivU liiir-jni, l.'i.S. 1'rv.i' an. I
II . ,n-i. it I mi.uiiy, (HKI. lime of ( '.uti.le,
.Mnrll.a. 6..1. Lliiii. l'lrur d'amunr,
I'M, M in il.ni.l, 7i">, C.iu!i l'i.n;i;jtrl-,
7»1. Bohemian Girl. 702. Trovatore. 779.
Piglia ili i ll> ■L'jiiiicnto, Mil.
Hai/Mnltl.— War to Keep liini, 590. Tha
Rival', 633. The King's ("urdencr, 633.
Loiu on Assurance (Mr. and Mr*. Charle*
Mathews), 007. Tale of a Coat, 730.
Belle's St raugein, 779. Critic, 779. White-
bait at Oreciiwich, 779. The Tide of Time,
812.
tttr Hajtttg*.— Trotatorc, 10, 26. 157, 808.
Tr,iM i1n.' M, 2!tH. l.n. .a, .Mi 1' .~7T
K. .(t.ment", 2il. 2H5, 3'.U. F.norit.i, 211.
M l.-.th. 58. Hon.' of I '.laTi lie.. 5'J. XiTe
Festival Performance, 58, 59, 7k The
iuta, :il7. 127.
ll.ir.'.a, ii^.l. 11 Hur'ii r... H7'->. Fra Diavolo.
395, 15S. OIuIIj, 127. 412.458. .Martha,
-127, 112. Tiuviituif, I 12. Iton tiiovanni,
490. Zainpu, 5<N!. Termination of tlm
Se«*on, 523. Review of the Season, 633.
.^utters Writ:— The Winter's T*!e. 631.
St. Jti.H'i*. - Guy M.mnering, 35U. llun-'h-
back; (Mm Ue«'»ie >vaiingtiaro)."7TL"
■S'.'iii. — Amiilciii- IViforinaiiee. 12.
S(c,wl.— The Last of the Pigtail*. 691. A
.id o
Twice, told Tal.-, till Mail and the Mag-
pie. ti68,82t.
S»rfe</. - 1 11.. liraiKtei Race, 631
Thfiitro IUlicn. Pari*. 477
Theatrk-.l -m-, 12.1, 1 iT. 156, 1st
Tlioitricfll riu.-riiige«, 557
Tlie Apoilo ami M ar*yuI7 2 1 1
'I he ii.a. I. t Iprril, 5 12
'l li - ii- Art, in tho Ciuted State* (Quid*
Tl,. cf Bell*. 718
The »riiH' ul hi-anty. 516
'llir ..j.-terj ri. t.Uiii"ani| Annie, 330
I i - Mi..:n.l,nj p.>»t »r I he violin. 338
The churches of Stoke Nowingtou7TB7
The tlieatrra in Italy. 275"
T.-i- ti.iaitu- i-i ,S:.n SlU.-> (Iterlin Kcku), CMS
'ihoiusuii, Miia, 539
Tickling tl.o British jackals'* ears (Pitae*),
3ii7
Tonic Sol-fa Asscciaticin. 861
I'ii M: ■! 1 1 ■. .I . tt v, 10
Ti-ovatun-, 1...-. .-'iiiincTThi. Ma;i55, 717
I iniii;.'. i'rufe>>i)r >le .Mrirgan on, 651
I '.v ■> Ai.n-rii-in conipo.'i-rs (A'eie l orsV Mjaitftai
II arid). 215"
Tno opinion*, 185
Universality of electricity (Punch), 691
Vanilenbi)ir», Mr., Farewell Speech at Lircr-
)iot>l, 711
\ i i.u a, M . Farewell Concerts at Reading, 557
V, r.ir.- up. r..-. nr., M'F
Verdi, an Overture to, 813
Viardot. Madam. 87. Iu57l57
Vienitenii^, 236
Yinning, PS l.oui*a, 779
Vll-ll:if, S2-t.
YiTior, 107. 827, 379, 470
Wagner ( Heir), KK), 238, 621, 630
Warner's !.<>!<- tu/.-in, j n ■Irrrf.t i',-i/a.-tr -1/k.u' i ■
Ztitung). 052. 678. 098. 709. 7BO. lg5~
Hoheinian tlirl, TTTT
Weber, 230. nr., i5575or
W, l.-t. i- v Mniti.. l-'tl
Wi u.u-i^ I V .-i -i i ■■ 1 1 1 ■■ . mlh .-In .nil ten -' ■', '"1
\\< -!n .V- . ! ... .' ■ < .7""»
Srin li, 2IN. i l -i lliij-.:. u'.it, 2 21^'.,
.'ill, .'i'ii, 112. I) ni Pn-.piale, 2'hl. l'-.eur
ties < 'i.a-i.i , 2 I> ii <• i vaiilii. 315, 412.
II l:..|-|.'re .:l>. N,..-ie l'i;-i|-n, W.T,
362. Re. i.e ilea Soneos :IG2. Luisa M"!"^
37.s, 391, 427. Lucrfti* lt.irgm, 3..' I, 127"
l.'S. Zingara (lloliemian Girl), 458. Lu-
cilia. 475. Renew ol H'P ^caion, 4<o. TtTe
A It it Season, 522. ~
•i- Ui' i.f tin- \\ lute. Cement. 120
Wiel
.■l-i. M. it ,-■ >...iii,;-tl 537 725. "'""*>
unci utiiofin Hiiiniiarv, iw,
Wr. nthod Smile* / f,foW« Journal), TV \
Wrena (TViWe). 626
Var...rc» M inlmii upera, 775
Yankee D^outc. 615
V .iAi-e I'lariLLr (l'hQ. 726
Vn:'* X. i.a ,. .M t lli/. I.i ><'
Zoplf, Dr., anil 1..- critic*, 101
Google
SUB8CBIPTI0J:-8taaiped for Postage, 20s. per annum-Payable in advance, by Caah or
to BOOBEY &
VTHATBVEH IT
uare.
VOL. 36.— No. 1.
SATURDAY, JANUARY 2, 1858.
, PRICE 41.
\ STAMPED M.
PI CCO, the Sardinian Minstrel, baa returned i
where hi* performance* hare met with the moat I
engagement*, ad : reaa. 42, t;hureh.road, KlngUoad.
I Ireland,
CAVALIERE ANTONIO POLETTI, the celebrated
iMMa Profcaaor of Natural and rhy»ic»l Sciet.ce, wiU
Room* thl* day. Saturday, at 2 and S o'clock,
except Tiiur-day, andon Wedne».l*yandSiamrd
fckuU. 3a. : Back Seat*, S>. ; children lialr pric*
1». Old Bondatroet Picoadltly, aud at Wilues Room., King-aireel, St.
JUST PUBLISHED
J Op. I.
in C for the Pianoforte,
A MAGNIFICAT and NUNC DIMITTIS, by Edwin
H. Harper. In Vocal Score, with Accompaniment Price Ta. A NovcOo,
». Dean-atreet Soho,
bar
M
ISS JULIA ST. GEORGE'S SONG8. —
in " Hwn» and Foreign Lyric*. " Tho mo*t *(tr
Sung by
the lay— vide public pni*. T!w whole of the ma ale by J. F. D **¥&*••,
aj>4 Co , HS, .lUany-stTwt, N.W., .ui-i all Mu*itJ-**Jleri.
PIANOFORTES.— DEWRANCE'S COMPENSATING
PIANO mar now he fc ca at the deict. S3. Nohoeqiiare By tiie application
nf this principle a heavier •'nag can be uaod, the mult of which ia, that the full
unat of a grand i* obt*Ji»d from a cottage toMratnaut. at the aame time tiie
wiree and the frame on wliloh they are ■trans; expaitd ana contract with change
of temperature equally and together, ao that the neceaaity for frequent tuning, aa
la the ordinary inurnment, ia entirely obviated, ror fiilneee and rounduoae of
time the price la no higher thau that of an
HER MAJESTY'S THEATRE— "IL TROVATORE,"
" I.A TRAVIATA," "LUCIA," "LA FIGLIA DEL REOGIMENTO," and
FAVoniTA." FICCOLOMINI, BPEZIA. BEl.I.ETTl. LICIIESI. GIU-
GL1M. All the Roxea and stall* having been dlapoeedof fortherc|irca«atatlon of
the Opera, announced for the 29th and :U»t ol Deo-mber, and tad January, they
wtll be REPEATED in the . n.tilng week. Au additional Representation will be
given WEDNESDAY Hh January.
The onler of Performance will be aa Mlowa :—
y, IL TROVATORB.
LA HOLI A DEL RP.OOIMENTO ; and Uat Act of
LA PAVOK1TA.
THURSDAY, Tth ,. LA TRAVIATA
SATURDAY. Mil ., LCClA Dl 1.AMMERM.IOR.
Price*. -prts, alia, 12a M, ; B«x«» (to hold four perw-nt), Pit and One Pair,
*?* ta. ; Grand Tier. £3 Da. ; Two Pair. A ! aa. : Three Pair.
ItM ; Gallery Su'la, 3a Ad. ; G .Her , 2a. ; Pit. .V. od.
I to be made at tho Box Office at the Theatre.
Gallery I
NEW YEAR'S GIFTS.
'HE new style of French toilet bottles, fancy-boxes and
baaket* of perfumery, etc, from «d. to afS 6a. "
I other novel ornament*, con-alning perfume, for
I Almai »ek *d., by pw<t
l Palace.
►l'a, II*, Strand, and Crystal l
MUSICAL DIRECTORY FOR 1858.
Ooxtiehtb:
1. A.mMjaek with miicicavl ilala and blank •pioe-
3. laist of Mottncal r-ot letif* thratigh«7ut tho kingdom.
3. M u-it-iU l>«naactiofi« of the put year.
"Vhi> V'.fn.-al .if Pnil.»a.in Iff Tiai.'-.au 1 1 a"- •»(
u' •: /copyright only
and Uie 30tl, iwi^ber, lis:.
Mceere. RudaU, R,«. ^ ^ Co. will be
above l.eada. with
ad
v """he Namoa of Proleaaora, Muaic-avUera, and Muaical Instrument Manufacturer*
a j hi" '."aP"1 ,nD kingdom, with their Addreeeea, etc
*" „/U5a^/ffP^r*' ??.'*> P»Wtab«» b*«~" «*• "» "ow-t-jr. 1M
MAPLESON AND CO.'S
mma & imam msmi aww.
OrTICBS :
CLABElfCE CHAMBERS. 12, HAYKAROT, LONDON.
Tun Ageory baa been ea'abllah*J for the purpoae or
ao long reuuired both by Manacera and tiie M ajncal Pro
medium of eommunioatJou, and greater facilitaee for til
of aupplyi ig what ha« t««n
Profeaaiuti generally, via. :— a
Ui-3 tranaacticn of all t
eoniwcted with Muale.
Tl la Agency ii In a p.-»lUou to arrange, wltii tbe utrooat promptocaa. complete
Operatic "r Concert Ouoipinlva. and •upplr all ili«Chor.d. Orei.eetraL and other
requiaitea ; alao to negotiate engagarneaia of evi^ry kln.l rur Aitl»tra o? ability and
repute, both vocal and inatrutneutal. which cannot fail maleriali) loaa^atiu the
retnOTal of obeteclee and diBcu'.tiM which have hitherto greatly reur led the
advancement of the Uric art in tb'a country.
Roglntera are kept for the gratultona Uupcctiao of
«r tbe namea of vocal and lnatuimrntai artlata -
neoeaaary particulate, Ac.
Mt'aicat. RlritB»»a.— M.
Mxihcal RtrrjllK.^lotin liantinga. 1
H. Uremia— Charlia Mvldock. Baq.. 10, I
Ba» aaaa— Union Bank of London
, B. Maplcaon, K»i . T,
v-aler^troet, Rqre-it'i
OFF1CK TIOl Rri FROM KLEVK.V TV FOUR.
MAPLESON AND COS BRITISH AND FOREIGN
MUSICAL AGENCY.— Officee, Clarence Chambers, 12, Harmnrket, 1 /»,■!•«.
Aa the Reliefer Books are now ocmg comt ih'l, all I'Tofeaalonala OAaarou* of tuning
their mmca, *c, entered, can be ■uppltcd with forme for the miimi, j<»t-fnx-, or
on application
lleccmlier 91, 1S57.
GEORGE CASES CONCERTINAS are preferred to
•11 «»th«rs oa evcooant of their ranvuhilDg *» long In hum mid in flood
repair. Hu|»>?ror workawn eind intent toivoii iwTy are cmuiojed in tlv.1T mtuiu-
t .i.rp, wliich Is amprriaieuried bv Mr. Grorp;-) Cm?. Prlcea from 4a. to 13
Kulocau eacli, with full ampa** of 48 kcr^. AU»\ I'.y--** C«inii>rini:i lii'tnu ttoi-*.
thlrtl twin ton, 1 rtoo im , ' • t oncer tina Metvo l.any. piiUiMhrd month,
phew 2a, 6V1 (3iJ numt>«r. nr* puhiithstd). Full j»«r»ic-iluni from I* .•*••> uul inio».
R.
a PRATTEN'S PERFECTED FLUTES, on ;the
• Old eyatem of fingering, na need by Mr. Pratten at M. Julllen'a coliiejrta.
and eUowbcrc IImbo iuaTrumenta, aa th.lr n.nin iwplka, are tl« moat iwrfect
ai«dn»-na of the old Rngbah flute. The mantifactory U aujiorin tended, aud every
liatrum. lit la uatcl and gttarantewl, bv Mr. It 8. Piattcu Pricca from four to
aeventecu guhi aa each, rull paitlculare from Bo .-cy and Hone, 2* aud CS.
'PI!K VKKDI ALHUM.- A Sui^rb Pic*ont-
J Pub
kont Verd
v«ery .lcKripiitm of v ice. Ti c Bng'.iab traoalattou» have beVn made i-xprenaly
J uat
5.-v«e4
ubllabe-l. prlca ««.. In a haauilfid volume (c-t-l nning III page** cmb.
eovtr. glltudgoa. THE VERDI ALBUM, a choi-e colic. tlmi of ii rx^ailar seat
from Verdre "peraa, wit > Italian and En.lnli worda, aowl 1 kcyaiullab e Wnuarly
thia work t.y lkamo.id Ryan, E*|.. and art engraved t
to In u-i fere with the lull m w. nla. The Syniithattk* and Aceompaainiente nave
oven arraugcl In ihe inoet popular atyle hi Signur Piiraetdai. Thia Albnui include*
all Veril'a tmait favourite eoikga, in addition tn aeveral beautiful eompraitiotiH
hitherto uukjwwn m thia country, forming tiie mo.t aitractlve volume nf vocnl
rauarc ever publleliod. Content. ; — 1, Ernani Lnvdanu, Ernaui ; >. TUlte apreav..-,
do. ; 3, lutellce 1 e tu cred. vi. do. : 4, O vrcvhlo cor, 1 DueFoacrl : 5, Quoatu dnn-
que. do. ; 6. Srmpre all' n!b«, Ginvar.nl d Arc; T. La mia letira IxBlhardl ;
8. N' n lu avgno, .to. ; a. Qtuuido la acre, Luiaa Miller ; 10, Plcte, laaiieli i ouore.
Macbeth; II, Va pcnalero, Kal.nea. 12. Cm. jnei.ao, oberto; IS, ft II pi %U'-
anima. Rhjolctb. . 14. la donna e in. Wle, do ; If. I^uceta !
dl Italic nrluto. Klnioii B. « < «uevra ; IT. ''1,1..
TrarUta ; If, Secui rc libera, do. ; jd, I.ibntnx
II Troratore : M. It balen. do. : 23, IWOn* La
S5. II eemro l«wger, Lr» Vcprea Su-lllei
l'., l^/elViro ..-.•ger,
•a, dc
liUmo, dc
Ate, do, ;
.. ipiel- i, ilo.*-ft5Ck9i; .
. A i . ! ft \ ln>, i.i
21, A,h: ieVtau
i. I>t-*la»» i
THE MUSICAL WORLD.
-
[Jan. 2, IMS.
LA SCALA,
A popular and uerfnl edition of the matt favourite tomat from the
nd revised by a
of Singing.
L Lac
2. Caro nome (D) ..
s guu.ui urn
45 Belt, f gll> <1. il' am
e mobile (P and A flat)
Honnaoibula.
Lock <11 kunmerrooor
rVgUaddl'amore.Aflat)
44. B 11 »ol del' anUna-Dua*
<W ,. 8ot»ir(P)
0t>. Klgllo mU> padre— Duet (D)
4 Au 1 percbo nt*u poaao l It flat)
ft. Ah! nan duogu (O) . . ..
4. Com* prr aie M'r*no(K flat)..
7." VI rarvfcaofA flat)
63. D' uu penaicro— Duet (C) .,
44. A fbaco deln— Ihicl (It flat) . .
44. Pmn.1l I' «nel— Durt (A flat). .
0. Km |ioco ii on (A) ..
». Rcunava ucl alenzin(C)
10. Quand Je quittaia (
, to! one J
»uc*(Di
■to (AMI ..
>j'*liua<F) ..
Brgai
Quar*
11. RoWl
12. Mk
13. Bun rcrgin reuoaa (B flat) . ,
14. A te, o Cera (A flat)
14. In que»to aeuiplloe (C)
1". Ernanl. Bruani. wrolarni (
07. Ah t it ttir p*
LucreaU Borgia.
84. Come nigui.ia (A)
67. Iulclloe e iu (A flat)
M ■<> Trd'tmo (Vtani ine
17. Nolle 6Uai<B tumor)
14. Dl pcacaioru (D and F
111 II KV»tO<C
S». Com o bcllo (
21 Vat
iD)..
(P. flat)
ff Kdiml*irgo.
Aodronli-ic
Maria Put I
I] n.arti!^n'
I! Puri.iao.
ft CLiaciui lo i
21. Apparrl ■
24 Ctoi.ilai partir(D)
Quand.. le acre al plad.lo (E flat and F)
73. Leslie— l*irt<E flat)
id. Bceaa dal del (0 and Q
ft. A taato aranr (D)
«. O mlo Fenmn to (CJ
2». CaaUdira(D)
Ml Dch con te— Duct (Ol
SO. O dirina A*-neac (0)
81. Una limn- lamina (H flat)
32. Sulla l*)|'pa (A I
01. Dorml, d ran (F)
IS Com o tcntil (P)
34. La moral* (II flat)
34. Aldoloeg.ueUnil iRllat) ..
34 Olucc.il quoet'aulma (A) ..
71. Da quel dl- Duct <U)
69. 8r tautotn tra(F)
37. Stride la ranipa I D minor) . .
SS. Di quclla plra (0)
90. Ah ai, ben mki (B flat)
44 Deacrio aulla terra (0) . .
41. D' amor mill" all r. .are .0)
41. Tacaa la uottc ptacida ( P ;
43. II balm dal euo eurrieo (A)
44. Ah * che la raortc cemaraTE flat) , ,
70. 81 U Stancheiza— Duct (F) ..
44. Uo HI tallro (F)
47. Peritd, o can— Duct (F)
44 Di ProTctusa II xiol (C)
40. UMaWM' lieli cnllcJfO) ..
40. rV una pudica rcrgine (Ci .. ..
al Uo dl quando l« »c tn <E minor) ..
b'i. P»ira alftxitm* Mil i.Ik^do(O). .
M. Dltaatlai.-P.rln. (C) ..
74. A liiio del pon-ito (A tnUwir)
75. Ah I forac 4 luliD minor) .. .,
7(1. IM aprrxno degco <C)
77. Wot alamo Ziuuan-llr (E mluor) ..
88. Quando del cm! (B flat)
40. Ah! Mtadormi.BlUt) ..
(taiTelmaaio^Aflat)
72. Al. • flaOl . In^U-Dift (D)
a. d'
1 0
1 0
1
0
<i
fi
I
0
I
I-
t
o
1
0
1)
0
0
I
..
o
0
•J
i
<.
0
...
I*
I"-
I
•
i;
i-
I..
o
0
I'
0
6
6
*
«
1
0
li
li
:«
t
I
•••
a
1 0
Tie «A»/<r 0/ tAo D«*/a, Trioe, and eoncerttd mm
are published and told by
BOOSXT AID SONB. 24 and 2S, HoUm itreet.
Optrat
VERDI'S OPERAS.
IN A DETAOhED
Including the u-hoU of II Trovatdiix an,
FOrtM.
other Open* in the
LE« VEPREB
Hul .Ti.lal della marina. Bar.
Au Kill dea roera, Aar
Vjuul cut t ti noro! Dno
Pakrma! 6 mw pa> *i Air
Comment daua ma t
Jo ir d tvreaao ct de
AUHOndeUl
Ja c'au pula
SICILLEKKZS IK ITALIAH.
..501 Fatal motnento. Aria
.. Id 11 Zcfllro I
.. 3 0 I E tnl
YH FRENCH.
.. 1 •
..3 0
..3 0
. Duo.
2 0
.10
,.40] Sort
8T1TTELI0
Cwt liny .i« Mcm fort, Air
I». »uirroux rt d'"rTrt4. lino
Ami \ le ixrur d'ilelene. Hum.
Adieu, mon paya, Quafc.
Herd, Jeuue» arnica. Blclllenne
La bnaa »nlt1» au I. ..n. V
a. d.
.20
.34
. SO
. S 0
. 4 t
. 2 0
.11
■A%
.40
A k ranter part of thta
aiKceeati J w...rk " Atol.
A to aacanda. Pregh. ..14
Ah: dafll acaunl, 8c od Aria ., S 0
Coll* wuero diaperavi.
Coufido in te, higuor.
LTJISA
Lo v; ll e 1 priino. Ronuuua ..It
Ah ! tutto m' arriiie, Hacit. ..20
II mlo aaiiirur-, Aria .. ..10
Sai-ra la a^rlta. Aria .. ..2 4
D IT alio na«vkanu. He « Duet ..30
Sotto al tnio picda, He • Dual ..4 0
a opera ha* boon introduced in the cowpoacr'a now and
\d, lately performed with tlx grcateat «.ittiu*la*m in Italy.
1)1 qua varrando. Bare. .. ..14
Due che il full. . a Uajrrr. 8c e Du. 4 0
Iina, peaaai che uu angelo. Aria ..IS
Oppoato I II can*. He. • Du. ..4 0
KILLEK
Tu riuuiaclmi, o aivnore, Aria . 3 0
L' altro rctafvio. He. e Duet ..9 0
P-xlra riocvl 1' catrcmo ad.iU\ Terx.
Preaentartl alia DucUaaaa. Quart.
Piaiifl. piai.tfi. II too dolore, Prcg. a Du.
I 1
ido. Aria
Quando le aar
IX TB0VAT0HE.
SOVG8. Ai., Tn\XSr06ED AND POPULAR EDITION*.
8lnde la rampa (Scola. ") ArU ..10
Di quella p.ra" iSm/o. i»\ Aria ..10
Al. at. b*t. mlo (Ante i9\ Ada ..10
ttullft t»itTm ( Hetti-*. 4«a*X Ari» 1 0
(Scuia.41)Ar. 1 0
THE ORIGINAL EDITIONS.
Tacoa ji u. >tt* (Aoala, 42)
D'amor aull' all roar (AVola. 4IA
M la alanehrzu, Darttino
44)
4 0
1 0
1 0
t •
1 4
Di J tie figli. Com a Cavatina
Moil dl paura un a- rro del ronto
Tacea la iiMI*. oeaoa e OaraUna
l>ea. rt.j aidla U rra. Hcena <• Rom.
ii.ft la. qua! Tone. Sceua f Til
Vertl ! I. foacbe. Com dl 1
Stride la rampa. C
Meat'a e la t»a ran
Colvd.it. o ell' era. Sceua o I
Mai mnren lo. Hoina e I
J ...
3 ;i
3 .
1 4
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5 0
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Qual roce 1
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Llhlamo no* lUrti, Brtndlai. t.
Di Prornnaa II mar. He oil Ana. n
Llblamo DO* IkrU.
Di Pn.Tnnaa II nu...
Llloamona'lhiU, o(l
Un <ll Mica, r. do .
Un dl quauil.. umin.. ilo., Cantab.
Dlto alia Kl<niue. o. do., Cantabila
Di Proienaa U mar. c. do.. ArU .
RIG0LRTT0
2 0
poaao crodrrlo . . ..40
Or cn dartl ro* fra po--o Coro ..30
Oiorni poreri Tirea, Tenetto ..60
All '. ai ben mli\ Horn* ad Aria ..4 0
D' amor aull' all roaa. Soma ed Aria 4 0
I oome t Srana a Duetto 4 0
DueUIno .. ..10
8c e TertatUno 3 0
Ti ' »i»u • i.i i r.-»p > i 'in tin. » u
TSAVIATA
Addlo dal J
He una j
o. do., <antal.Ho .. l «
Ah I torn 4 lui. r. do , Aria ..14
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I 4
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4 4
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1 «
1 4
1 •
dal paaaato. c. (tranapd.) Aria 1
. pudieo, c, do.. Malodla ..14
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Hi aprcaio desno. r, do.. Trio
Caro iwime che 11 mlo core. Hce Pol. a 1 4
C rllk'latii. vlll raua. Aria, R ..4 0
Fulia ! miu Fa-irc ! DutUo, 8tB. 4 4
La Doona 4 mobile, Canaone, T ..10
Parmi Teder le laarrime. Aria, T. ..2 4
Qutatao quella. Ballata, T . . 1 0
Hbjnor, ne prinel|». Duetto, T * 8. 4 0
Oli. aomroo Carlo, Sett.. Fimilu 3
lo aort Onnte Duco Bono Ar.neliFin.31 B
Come ruglaila al .capita. He e Carat- 1 ti
Ixi Ttdleroo, Or. Be di Ar. ..10
Qui me tni-ao anxi ponaclite, Duetlu 3 0
Vila Aiuruata" Che ra la! ..4 0
Tu »c P.n.ml ! Tei a. ..SO
Ernanl. Enunl liiv..|aml Sc. oCav. 1 6
W»l. acegU aevuimi, Du. fin. Me 4 0
frilingo trr-nte mi«t,, Ten. fin. 3 0
Oh 1 di xTd' annl tolet. Bcena e Car. I 0
Boraiglia un Apollo. 8c Terr. eTatn- 6 0
Tutta W f«ate ai Timpio, Sc. * Duet 4 0
Un dL at Unnuurouticoil. Quartctto
HCT cR. so
V ho innannato, 8c. a Du. fin. ..44
rcaaeote am r mi chlaml, Mrlod T. 2 «
Z.tti, aitti, mcviaoK,. Tent.. 8 T.*B. 3 4
EBNAKI.
SO Oli ! <li Tcrd'anulmlci, Socrate Car
in F, with rwir aocooif 14
Ah I inurir potwaooaac, Duettioo 2 0
NoTcodeltapiti trrmeiid-Ht ..U-LTrra.4 0
Or ... quant' oro ogn' arido Ten. .. s 4
Infclice' etucre-leri, Oir.n. IFln lalol f
>«.»li tome il buou Tet,'liard.v SeU.
neU Fin lino 4 0
Intri-d. — Ah! mcrli
In original Ice
DI
Oh tu .lie dcatl i! fumlne. lnt.,ITe«. 2 0
Dlgll ch' > aangiir Itallcn. 8c c Du .10
Fra qucate .lenae tei.el rc. Introd. c
Hco. a del l).iir..mtn.i. .. ..3 0
Per la aalv ita Italia. Crnd. He. Ten. 4 0
A che an.iirriti patltdr, Qto. Flu. lmo 3 0
E Tvr? aci d' altn. Duetto .. ..4 0
B00SEY AMD SOU B'
I.EG5AM0 (LA).
Tutto. giirriam ilifcrr*
Ah'd'unnflia.Mc
Li Ida mate
Ahl m'al'
Quant.
..olleMtreet.
Digitized by Google
Jan. 2, 1868.]
THE MUSICAL WORLD.
REVIEWS.
" Sonata," for the pianoforte. Composed aud dedicated to George
Hogarth, Esq. By George Forbes.
This is evidently an attempt to imitate the leaat ambitions
essays of Dussek, Steibelt, Cramer, their contemporaries and
immediate followers, in the sonata form. That which is effete,
however, can only be revived by a galvanic process of which
Mr. Forbes has apparently not the entire secret. Though only
produced to-day, his sonata has the old square-cut regularity and
prim reserve — without the spirit, fluency, aud graceful melody,
which even now render the models he has followed acceptable
to amateurs interested in contemplating every individual
phase the musical art has assumed since rhythmical tune was
admitted by the pundit* and took so large a share in its develop-
ment. It was no doubt an agreeable recreation for Mr. Forbes
to compose this sonata : but it was scarce ly wise to publish it.
All who may bo in want of such performances will have
recourse to the composers above named They have left us a
whole library of them, aud for the most part hi tter, because
more genuine, than the specimen manufactured by Mr. Forbes.
But not to deter our readers from eaamining his sonata,
we present the opening bars of each movement, which may,
to make acquaintance with the whole.
The Andantino thus:
There is no minuet To conclude, the praise we can con-
scientiously award to Mr. Forbes amounts to the fact that his
is written throughout with the ease and correctness of
Dubajcs of m Fast." By Franoca Horde rn.
These " dreams"— consisting of a dozen waltzes— would be
" but"
:EJE
m I \ I.
til-. 1-
m
r.-i
which cannot be tolerated even in dreams. Why will uot
amateurs consult a Doctor (professor* before submitting them-
selves to the tender hands of the engraver 1
EEs Champs" (Mrlodit).— Tour pirn* Par Jules 1
Of these piece*, the last — F/eur df Champt (dedicated to Herr
Kuhe)— is likely to find the greatest UMDMV of admirers, since
uot only is it an excellent and useful study lor the distribution
of "arpeggios" between the two hands, while a melody is sus-
tained, but a composition instinct with grace aud charm. The
March* du Templur. (dedicated to M. Stephen Heller), is bold
and vigorous, somewhat more difficult than its companions, and
requiring great decision on the part of the performer. The
nocturne (dedicated to Miss Louisa E. Davis), is also very
graceful, though less directly captivating than the aulotlic. An
episode— tf<icctfto— developed with musician-like skill, is that
part of it which we prefer.
"Paxs Kosis." By Francesco Berber.
A "polia dt talon" for the pianoforte, brilliant, and of mode-
rate difficulty, without a single commonplace bar from end to
end. What more can we say in its favour ? We really wish
M. Btrger had christened it less fantastically. « Pale Roses " ! !
By W. Vincent
"Hon, Swwrr Home,"
Wallace.
"Tub Gloomy Night," and "The Lass or Gowrie,"
for the pianoforte. Bj W. Vincent Wallace.
The simple, beautiful, innocent, and unoffending melody of
" Home, sweet home," so familiar to all of us, is here prefaced
by a short introduction, and twice varied in a brilliant and
effective manner. The first variation, though showy, is com-
paratively easy ; the second is difficult, and addresses itself to
pianists who are masters ol the bravura style. This arrangement
is quite as effective as that of M. Thalberg, which Miss Arabella
Qoddard is now playing, for the advantage of the publishers,
rather than for her own.
We admire the form of the fautasia on the two Scotch airs,
which is symmetrical, as well as the method employed by Mr.
Wallace in (as the term goes) "transcribing" them; but we
cannot accept the following treatment of "The Lass of
Gowrie
Com gratia.
telfiittifc:
The "con grazia" placed over the peccant harmony (with
cunning blandness) don't mend the matter. No guileless " lass"
whatever, be she of Gowrie or of Chirk, but would wince a little
under this application of the F sharp c(h)ord.
Ballad. Com|»»ed by A. W. Feller.
Song. Composed by A. W. Pelser.
The first is a simple ditty "after" the Scottish manner ; the
second is a scene of some elaboration, of which a dying aud
- It would be impossible to point to an
" l)WKA
"Foa Esolajid's 8a si."
devoted soldier is the
Digitized by Google
THE MUSICAL WORLD.
[Jan. 2, 1858.
original
well wr
of being
, ».v„»., but both possess the
merit always to be
"Lot* li aim to Battlb." Song
Composed by Bononcini.
" I>I»TI MR Mto tohbei." Aria, from Alrteamdro is Pertia.
Conqmsed by Leonardo Leo . arranged by Charles Salaman.
Mare Autonio Bononcini, in the early part of the eighteenth
century, waa the rival of Handel — which proves that the aristo-
cracy of those times (the mobocracy and shopocracy being inno-
cent in the matter) were just as bad judges of music as our owu
" Upper Ten," who prefer the Troeatore to Guillaume Tell, and
the Traviata to Don Giovanni. The present specimen of Marc's
genius, which Mr. Salaman has "arranged'' (whatever that
may signify) for his lectures, is bat sorry stuff.
" Some »sy thst Signor ltononeini.
Compiled to Handel, i» a ninii
i lay thai,
Ii hardly lit to hold a
While others |
Strait?* thnt
'Twizt Tweedledum and
that, to him, Handel
should he
have
of A Tale of a Tub, wbo-if he could
on from Pluto to come lock to earth and
visit the Crystal Palace, last summer— might have written
another squib for the entertainment of his companions down
below, upon the great Tweedledee Festival. We have read A
Tale of a 7W> some half dozen times, but should never think of
advising M. Schatlcher to write a biography of the author, or
Mr. Bowley, of the Sacred Harmonic Society, to get up a grand
commemoration, at Sydenham, for the centenary of hi* demise.
■ Dirti ben " (avannt Mr. Puuch !) — " Dirti ben " (also
" arranged, at performed at kit lecture*" by Mr. Salaman), is
much more to the purpose, being melodious and beautiful.
Everybody has heard of Leonardo Leo, fellow-pupil of Durante,
under Pi ton i (who had as many scholars as " the great Tritto "),
and one of the chiefs of the Neapolitan school in the last cen-
tury. But everybody does not know his music (does anybody,
not a hookworm ?), of which the aria before us (composed in
1741 for a pasticcio in which Oaluppi, another forgotten cele-
brity, had the largest hand) is a very favorable example. Let
ua then make sataams to Mr. Salaman, and recommend him to
' arrange " the following point, which we an
t be in the genuine style of Leo :—
(I
unless Leo waa a worse musician than the late Aleasandro I*e.
"Bkiatav KiciimnV Skw Vocal Also m."
Here we have a Christmas gift from the Messrs. Cocks, and
one which will recommend itself by its absence of all pretence.
The volume comprise* a sacred song ("The Pilgrim's Path,") in
which some liues by Bishop Heber are set in a kindred spirit ;
a duet for aopn.no and bass (" How beautiful is night,"— words
no* by Southey, ami still less by Shelley), which though some-
what long, is extremely well written, and contains some effective
passage* ; a quartet fur soprauo, alto, tenor, and bass (" There's
not a heath";, the gem of the whole, words (see further on^ and
music being equally engaging ; and two little trios for ordinary
voices (" Sweet day so cool," and " How gaily goes our bark"),
the one expressive, the other as merry as morning. Mr. Brinley
Kichards selects his poetry with discrimination. Listen, for
example, to the He v. Ueorge Herbert (HixO), who supplies the
words for the first trio : —
" Sweet day, to cool, so culm snd bright.
The bridal nf llw earth and »ky ;
Sweet dew ihill weep thy fall to-night,
For thou must die !"
Which
an idea "embodied" by
better are the words of the quartet
"There's
But hath some little flo
To brighten up it.
no end of poets
" There'* not a heart, however east,
By grief and sorrow, down,
But hath some memory of the
To love and call its own."
No wonder such simple, touching
, genial melody to the composer.
lines should have
Kwm akb Co's * Allien ui Piaiio," for 1868.
This collection of pianoforte music, comprising twentv-six
pieces from various sources, may be fairly recommended a* a
handsome Christmas gift In such compilations we look rather
for quantity and variety than for abstract excellence j and in
the desired respects the publishers have been most liberal, be-
sides realising another condition indispensable to success — a
tempting exterior. The volume is handsomely bound in cloth
with gold ornaments ; while the music is printed in blue ink, on
pink-satin puper, gilt edged. What iaore can be desired by Pater-
familias, who, when a music-book is to be purchased for his
daughters, regards the coverings and " fixings,'' with a more
" anxious polyscopity" than the contents. Let the mind of
Paterfamilias be at ease : the annual volume of Messrs. Ewer
and Co., will not disturb the literary glitter on the surface of his
drawing-table.
To dissect the elements of a keepsake at this jovial period of
the year would be as much out of season as to criticise a
Eudding ; and even should the contents of the book prove as
ard of digestion to the musical as those of the pudding to the
abstract stomach, they must be swallowed all the same, for the
sake of good company. Certainly modern Germany is not
wealthy of invention or remarkable for ingenuity, where music
is concerned j and, had we the task imposed upon us of ana-
lysing one by one the pieces of which the volume in hand
consists, we should scarcely know which to single out for praise.
A spark of original thought is to be found on the first page —
the fac-eimile of a brief impromptu, which, probably, Men-
didasohn wrote off (with his accustomed rapidity) for the album
of a friend— or a friend's wife, or daughter. Herr Ocorgo Fcsca
has contributed a Grande Polonaise Triumphal* (Op. 1), remark-
able chiefly for its length ; Herr Charles Even an Andante eon
ptoto, more agreeably distinguished for its brevity, and leas
agreeably by a variation in which the noteB of the bass, being
retarded a quaver behind their time, seem, for the most part, to
come in the wrong place ; Herr Abt a " Doux Souvenir, which,
if the fact of its recalling things already heard suggested
the title, not ill deserves it ; Herr H. Berens an " Idyll«"(!* the
opening of which, in 3-4 time, is pretty if not new, and the
episode, iu 2-4, not new if uot pretty , Hen- Campanella an
E. D. Wagner no, Herr E. D. Wagner a " Campanella" (!)
which sounds like one of Captain Harry Lee Carter's variations
on the flute ; Herr H. A. Wollenhaupt a " Polka-Etude," the
affix ititde boing warranted by the fact of the melody for the
right hand being given in double notes ; the late Robert Schu-
mann a " Houiance"— which lias rendered necessary an extra
bass staff to commit to paper — mysterious at first sight (key F
sharp major — orthodox Schumann), but, wheu examined closely,
found to conceal — nothing; Herr C Schnabel "Cne reverie,"
under the influence of which, at bars 3, 4, last line of first page,
he must have been thinking of the second theme iu the first move-
ment of Mendelssohn's trio in D minor; Herr Charles Mayer
a "Novelette," in the moat graceful, easy, and expressive manner
of that ingenious pianoforte composer (but in the name of Sir
E.B. Lytton, why "Novelette?) ; Herr W.Kruger a "Chanson du
Soldat, vigorous and well written, besides being characteristic
of its title and boastiug of a good broad tune that any soldier
might sing ; Herr C O. Lickl an " Elegie," in which occur*
(twice) the following curious point : —
Digitized by Google
Jan. 2, 1858.]
THE MUSICAL WORLD.
" elegiac," perhaps, but not pleasant ; Fl err Rubinstein a '• Bar*
carole," graceful and plaintive — the tpirit of the first part, bow"
cver.^comirjg^directl^ from Mendelssohn, _ who would hsrdty>
i.2_r
Herr Julius von Kolb a " Najade," who, in the course of her
, ia caat upon thia hard rock :—
but ia pretty for all that, and offer* good remedies for those
to whom the expansion of either or lioth hands is difficult !
Friar Liaxt, a "Consolation" (a aort of nottuno in the peculiar
style of the prophet of the Zutnnfl, when he want* to appear
condescending and cant for the life of him be amiable)— dreamy,
vague, unsatisfactory, and ouly half musical ; Ilerr H. A.
Wollenhaupt(No. 2), a "Chanson sans Paroles"— pleasing, tune-
ful, and well-written, but continually raising the impression of a
Btrife to avoid appropriating one of the melodies or / Puritani ;
Herr C. Eckert, a very spirited "impromptu," which has evi-
dently coat him some pains in preparing for improvisation ; M.
Stephen Heller, a charming little — what t — a charming little
" Aubade" (!), which might have found a place among the Sail*
HUhJuu. or Promenade* Solitaire*, of the same thoughtful writer;
Herr H. Schonchen, an engaging little romance entitled " La
Fleurette" — a real musical fleurette, whieh should have been
christened "ScAvncAtn," after its composer ; Herr H. A. Wollen-
haupt (No. 3), a very graceful " nocturne," which might almost
pass for one of the bagatelles of the author of Der FreitchUU, so
closely is the least pretending manner of that genial musician
copied; Herr A. Lanner, a "polka moderate"— a moderate
polka ; Herr W. Taubert, a " cauzonetta," just as dry as it is
pretentious; Herr A. Jungmann, a nocturne, entitled " Le
Bcpoa," which will not disturb the slumbers of any one, being
quiet and unobtrusive to a decree ; Herr Francesco Brrger, a
serenade, called " Lena," which begins very agreeably and softly,
but, on arriving at the subjoined point :—
tnpelled to lay it aside, and take breath ; ncrr B.
a pah* tetUimentaU, " Pour prendre conge," which ia
one is eomr
Willmcrs
not sentimental and not original, but pretty and unaffected for
all that ; and (to conclude) ilerr George Fesca a galop brtltutU,
under the title of " Au re voir" (Op. 2), which ia within three
pages as long, aud within an inch as dull, as his " Grande
Polonaise Triumphale," at the begtning of the b«ok.
We have unconsciously analysuJT the contents of the
pudding after all. .Vimporte'—it only our i
to purchase a slice or two.
album-
FERDINAND HILLKRS "S,VUL"»
Tm Second Gessellschafte-Concert took place in the large
room of the Glintenich Establishment, on Tuesday, the 15th
December. This was indeed an elevating, festive evening. Not
only in the history of the musical matters of the City of Cologne,
but in the annals of music generally, the lath December, 1837,
will be mentioned as the day on which a uiaslerwork of our
own age was performed for the first time ; the work is one
which will move and delight generations yet to come, when the
flood of ephemeral productions in the MM department of art
shall have long passed by, without leaving a trace behind,
and when the names of the false prophet* shall have died
away.
The work in question is the oratorio of Saul, by Ferdinand
Hi. It. .It achieved a brilliant success, such as, in the ease of
go serious and grand a composition, we have not witnessed since
Mendelssohn's first appearance on the banks of the Rhine. Th
audience of the Geaellschafts-Coueerts, whom it is not, ns a rule,
an easy task to warm, was generally excited in a manner we
have scarcely ever seen : wherever a pause in the music allowed
it, there was the moot lively applause, ami, at the conclusion of
the first part, the fifteen hundred individuals, who, as auditors
and executants, filled the room, the musicians* stage, and the
galleries, broke out into a real jubilee of delight in honour of
the composer. This operation was repeated with the same
enthusiasm at the end of the second and third parts. The
oratorio is long ; it contains fifty pieces, aud lasted from forty
minutes past six o'clock until ten, including a pause of twenty
minutes, and yet the anxious interest of the public was the same
from beginning to end.
If we seek the reason of such a success, we shall find it, first,
in the combination of the priucipal conditions necessary for the
success of every great vocal work ; iu the appropriateness of the
text, the rich imaginative power of the composer, and hiaperfect
maaterv, by sterling education ami natural capabilities, of every-
thing pertaining to composition. Iu the present case, however,
there are two additional causes, which, in our opinion, contribute
materially to the effect of the new work — a masterly combina-
tion of polyphonic labour with a free style, which pervades the
whole ; and secondly, the genial treatment of the orchestra.
We can no longer write like Bach and Handel ; we cannot do
so, from deficiency on the one hand, and superfluity on the
other. We are wanting in the creative power to inspire, as
they did, purely intellectual forms ; and, perhaps, too, iu
that trusting belief in the spirit which actuated these heroea
when eugaged in the task of creation. On the other hand,
Haydn, Mozart, and, above all, Beethoven, have opened for ua
the romantic domain of music in a manner of which the old
authors had no notion, and the direction thus given to music
has, in its torn, produced an abundance of musical means to
which we are now so accustomed, that not to employ such a
mine of wealth has become a perfect impossibility.
i the Kolnitche
Digitized by Google
6
THE MUSICAL WORLD.
[Jan. 2, 1858,
When Mendelssohn revived the oratorio, ho again joined the
broken chain to the old traditions of Bach and Handel, but he
felt that his time, which was a child of the French Revolution
and the War of Freedom, had produced, even in music, an im-
mense chasm between the Past and the Present, over which it
was BO longer possible to spring back. He endeavoured, there-
fore, to take a middle course, and was successful. In his Zert-
Wrung Jrrtuufem*, Hiller followed tho same path, and his work,
too, made the round of Europe. At present, however, he has
gone a step further. His last two great vocal works. Die Weike
des Fruldinni and Saul, have altogether banished the epic
element of the oratorio, and are especially dramatic, so that the
lyric clement, on the whole, only lays claim to the same place
which it occupied in ancient tragedy.
While in the first-named work, the antique subject — the
mystic historical background of the building of Rome, in conse-
quence of an oath — rendered the new musical form and treat-
ment less striking, that form, in connection with the biblical
subject, in Said, to which, accordiug to the usual traditional
ideas, it constitutes a contrast, is much more visible and inten-
tional ; and pretty nearly the same is true of it as of the grand
D major Mass of Beethoven — instead of the usual and dogma-
tically sanctified, we have the ideal and elevated element,
appealing to our purely humau feelings. This same Saul is only
an oratorio inasmuch as the subject is borrowed from the Old
Testament ; the style, in spito of all its freedom, possessing,
at the same time, the essential qualities of the oratorical style,
that is to say, polyphony in the choruaea combined with serious-
ness and profundity in the melodical treatment. A more appro-
priate name for the work would be, " A Biblical Drama, set to
Thus, by these two oratorical woHcb, niller has created a now
kiud of vocal composition with orchestral accompaniment; its
roots are struck in the character of the present time ; it is
modern music, but it everywhere pays homage to the laws, of
what is musically beautiful, which laws the development of
music has established by means of the classical masters. It
differs materially from similar efforts of Robert Schumann and
Richard Wagner; from those of the first-named composer (in
Paratiie* vnd Peri, Iter Hose Pilgerfakrt, etc.), by the grandeur
and dramatic character of the subject; from both by the sterling
polyphonic style, and from Wagner's style more especially by
the mclodically and harmonically beautiful treatment of the
orchestra — a treatment which endeavours to produce its effect*
not by abrupt contrasts of chorda and absolute noise, but by
harmonic combinations, which, from their variety and novelty,
never offeud the ear — and by tho beautiful melodies that twine
around the principal musical ideas.
Tho space and nature of this paper do not allow us to go into
a deUiled analys.s of Savi. For this we must refer our readers
to the next number of the Xiederrheiniteh* Itutik-Ztitung. The
execution was admirable, and reflects the greatest honour upon
all engaged without exception. It is something to say that,
during a three hours' performance of a work of such difficulty,
there should not have been a single hitch. But the excel-
lent manner in which it was conducted, and the zeal of
those engaged, were not the only things which contributed
to tho complete success of the work; there was another
important causo — namely, the fact that the composer had not
overrated the capabilities of the voices or the instruments.
The only thing which might have been better, was not in the
execution, but in tho insufficient power of the tenor part of the
chorus, which was stronger at rehearsal than at the concert itself.
Most probably that arch-enemy of singers, namely, the influ-
enza, which is pretty severe here at present, had kept many
tenorists in their rooms. The ladies' chorus was, on the con-
trary, brilliant, an I both portions of it full of fresh voices ; the
basses, too, were strong and sonorous.
It is scarcely possible for any one who has not seen it with
his own eyes and heard it with his own ears, to conceive the
powerful effect of the choruses in the large hall. The verv first
chorus of victory sung by the people : " Saul hat Tausend jrcschla-
gen, David zehn Mai Tausend!" opens the action in au im-
posing manner. The other more remarkable feature, tn the
first part are the chorus for female voices : " Wecki i'Aa nicAt,"
whilo Saul is asleep, and the entire chorus : " Wche, die Oeiate
der Nacht sind neu erwacht." We may, also, mention as a
perfect gem in a melodic and harmonic view, the hymn of
thanksgiving for David's preservation from Saul's lance : " Der
Herr hat seine Seelc vom Tode errettet." Yet this is surpassed
by the finale of the first part, a piece for three voice*, Michal
(soprano), Jonathan (tenor), and Saul (baryton). The beauty of
this is so soft and moving that it almost revives and stiengthens
the belief in the creation, now-a-days, of melodies full of soul.
In tho second part, an admirable effect was produced by tho
chorus of shepherds, who accompany as warriors the fugitive
David into the desert : " Werft hin den Hirtenstab ;" then by
the destruction of the population of the eity of Nob ; by the
chorus " Wic achon und lieblich ist es, weun in Eintracht
Herrscher wohnen :" but, above all, by tho mourning chorus for
Samuel's death, and the final chorus, which is one of the most
spirited in the whole work.
In the third part, the battle-picture in the orchestra, with
the chorus of women, who observe tho fight from the heights,
and describe its various fluctuation*, is truly grand. The
mourning choru* for Saul " Streifet ah die Prachlgewande" is
especially original. A brilliant hymn of David, with the chorus,
forms the conclusion of this powerful work.
The characters of the drama are : King Saul, barytone (Herr
M. Du Mont-Fier) ; Michal, his daughter, aoprano (Mdlle.
Remoud, of the St.ndt -Theater) ; David, tenor (Herr Giibbel*) ;
Jonathan, tenor (nerrPiitz); Samuel, bass (Herr Reinthaler);
the Witch of Kndor, alto (Mad. B.); a servant of Saul, a war-
rior, Jesse, David's father, baas (Herr Schiffer).
The vocal solo piece* are partly recitative* and ariotot,
immediately preceding the choruses, or appended to them, and
partly more important compositions in the form of air*, duets,
and trio*. They are all impressed with a serious and noble
character, and many of them are melodic embellishments to the
whole work. A most extraordinary effect was produced by
the anointing of David by Saul; the scene where Saul
falls asleep in the cave, admirably given by Herr
Du Mont-Fier; the aria of Michal in the second part:
the trio, already mentioned, of Michal, Jonathan, and
Saul, at the end of the first part ; David'* arioio in the first,
and the Hymn to Jehovah in the last part. The recitative
passages are full of truth and musical expression. We perceive
in their treatment, and especially in the accompaniment and
intermediate piece* of tho orchestra, the hand of the master,
especially if we compare their lively declamation with the
psalmodies in Lohengrin.
Among tho soloists, tho palm U due to Herr Du Mont-Fier,
for imparting to each intention of the author of the text, and
of the composer, the most striking expression, while bis powerful
voice resounded wonderfully in the large hall. Madllo. Remond,
too—who is especially successful in the highest passage*, where
her voice is heard to the greatest advantage— as well a* the other
gentlemen, sang their part* excellently, and were deservedly
applauded.
It is to be hoped that the respected mature, of possessing
whom the city of Cologue and its musical institutions must be
prouder than ever, win- field to the general desire for a speedy
repetition of his magnificent work in a concert given for the
purpose.
Market Dratton. — The new Singing Classes are likely to
prove successful under the direction of Mr. Arthur Evans,
especially as singing has been at such a very low ebb in this
town for some time. Mr. Evan*' method of teaching is the new
figure system. The elementary part is taught bv T. Rees Evan*
Chsadle.
Rottkruam. — On the 18th inst, there was a very sussessful
performance, under the direction of Herr VerhuTst, of F. Hiller 'a
oratorio, DU Zerttorung son Jerutalem, the executant* being
the diviaion " Rotterdam " of the Society of the Netherlands
for the Advancement of Music. The part of Jeremiah was ably
■ustained by Herr Schiffer, of Cologne.
Digitized by Google
Jan. 2, 1858.]
THE MUSICAL WORLD.
7
MENDELSSOHN IN BELGIUM.
To the Editor of the Muacal World.
Sir,— The Prfcurteur fAnvcr* of the Slat, contains the fol-
lowing paragraph : —
" Lb (trend concert d'abord organic pour le 26 courant, »u profit de
l'Hospiee 8t.-Charlcs, Went, ptr suit* de diveraea rirennatanoca, d'etre
•jourtii an moil de FeVrirr prochain.
Cette iolcm.iip mutinle rencontrera la sympathic general par *on
but d'abord, rt pui> aunti pour aon importance musirale.
"On y ei&raters, entrc autre* grandes osuirea mooicale*, le magni-
fique oratorio No. 1 de Mendelssohn.
« On parie de 50 chantcura, et de 40 cbantruica. aana compter l'or-
cheitre dn theatre. Lo festival sera pUeee •«»> la direction de
M. Eyckena.
"Nous a«iron» occoiion de rcparlcr de cettc bonne u-utre, el <lu but
qui l'intpire,"
Paris, the paradise of the civilised, has allowed Mendelssohn,
with the aid of interpolations and excisions, admission to her
polished circles. 8o onr 14 little-big" friends in Belgium are
seised with a spirit of emulation, and " emtre autre* grands*
etuvrtt mutual**," will introduce Mendelssohn's magnificent
oratorio "Number Onel" (Query— the first part of the Elijah f)
Yours obediently,
Asoliccb.
ANTON RUBINSTEIN AT VIENNA.*
At his first concert, Hcrr Rubinstein selected only composi-
tions of his own. Should we not be justified in supposing that,
by the adoption or this course, he wished in the first place to be
recognised and judged as a composer t We are left in un-
certainty as to his intentions. Il llerr Rubinstein wanted to
bring himself forward as a composer, wo do not in the least
blame him for selecting exclusively pieces of his own composi-
tion, but then he really ought to have chosen something different.
He lias, if we are not mistaken, written many things possessing
indisputably no inconsiderable merit, relatively speaking, at
least ; works incomparably superior to those he performed on
the present occasion. If it is, however, in his character as an
executive artist — we say " artist'' — that he is impelled to
gather laurels, then his programme was still more exception-
able. We expect that an artist shall keep in view only
the one great object, namely, art ; that his own personal
interest shall be completely merged in this, aud that he
shall, therefore, pursue it in the exact proportion and degree
that he feels himself, in bis efforts, nearer to or further from
its high, pure claims. Would it not have been a nobler kind of
ambition had Hcrr Rubinstein showu he was influenced by a
desire to make the pnblic appreciate some of the important
old or new works— but little il at all known-in which piano-
forte literature is so rich, and in the triumph of such composi-
tions to perceive the greatest triumph for himself as well,
instead of boring the audieucc with bis own inane and flashy
compositions, and proving, at the most, that he is a very extra-
ordinary bravura player, and can produce a piano that is
scarcely audible even to the persons on the third liench in
the pit.
Hcrr Rubinstein played a new trio in B flat major. This,
with the exception of the ingenious and original tchtrto, and
some clever touches iu the finale, U altogether an insignificant
work, in whieh a wliirlwiud of rapid passages conceals the
nothingness of the original idea, and a curtain display of out-
ward force supplies the place of inward energy. " The Melodies"
which came next belong to a sort of which there are millions of
examples. The " Oapriocio " and the " Polonaise" — the latter,
by the way, being no polonaise at all — are merely a series of
senseless aud tasteless pasHOges up and down the key-
board. In conclusion, we heard a prelude aud a fugue.
The prcludo is a clover piece, full of beautitul harmonic
combinations, but was completely distorted by the incompre-
hensibly rapid fewi/*> in which it was taken ; the fugue, how-
ever, is not a fugue, since the repeated part -introduction of a
• Translated from the Nitderrkeintche MtuUcZeitmng.
contrapnntally-arrsnged theme doos not stamp as a fugue a
piece of music, which, in other respects, lies completely beyond
the limits of the form in question. Apart from this it contains
sonic clever points.
That Herr Rubinstein is an eminent virtuoso was shown on
the present occasion, brilliaTitly enough ; but we should like, even
in an executive artist, to have an opportunity of admiring some-
thing more than the victorious accomplishment of the greatest
and moat superfluous difficulties, and the virtuoso-like perfec-
tion of the piano and pianiuimo through every nicety of gra-
dation.
Couooxi.— The third Gcsellschaft'a Concert took place on the
22nd instant. The programme was as follows ;—
P*BT I.— Symphony in C, Mosart. Ilecilaiive and Aria of Juno
(Imui Semete), Handel- Millie. Jnuiy U ver. "A»s»crum" (for
eliurus and stringed in»trumenta), Mosart. Aria, " Dure aono
(Figaro), Mosart— Mdlle. Bemoiid. Second concerto, in F minor, for
pianoforte anil orchestra, Chopin — Herr Ferdinand Breunung. And
Aria, " Qunl piacrr," Itoisini — Mdlle. Jenny Meyer.
Part II. — Overture and introduction to (JailLwme Tell, Rossini.
The symphony went very well, although the first two move-
ments were taken rather too slowly. This, however, is pre-
ferable ti> the manner iu which they are sometimes hurried
over. Madlle. Jenny Meyer was very successful in the recita-
tive (Semrle), and was greatly applauded and recalled after the
air. One great feature in the first part was the rendering of
Chopin's coucerto by Herr Ferdinand Breunuug, who was heard
to the best ail vantage in the last movement, which he executed
brilliantly, and without the slightest affectation of manner,
without a glimpse of the Rubinstein and Bulow " business."
The overture to (JuiUaume Tell was performed with great spirit,
and — thanks to the members of the chorus, with their fresh
voices, so different Irom the worn-ont voices of theatrical cho-
risters— the marvellous beautiful introduction produced a deep
impression. How far does this music surpass all the patchwork
stuff of modem times ! Here are three composers having
names which end in ini, and for whom every one who wishes
music to be written not for the eyes, but for the heart and
ears, entertains the greatest respect — Chcrubiui, Spontini, and
Rossini. To write like these Italians requires gentu* : all the
arts of mere fabrication are here of no avail.
Thu audience warmly applauded the whole performance, and,
despite of the preparations |>eople" were making for the festivities
of Christmas — the room was quite full.
Tunis, Dec. lUth — (From a Correepondent). — I have no mu-
sical event to record this week, for the Theatre Carignan is
closed, and at the Theatre Roes'.ui (the only opera houas at pre-
sent open) the company is so far below mediocrity, that I have
not had sufficient courage to assist at another representation
since the tortures I endured some time ago during the perform-
ance of, or rather the selection from, / due Fotcari, for many of
the principal scenes were omitted, from tho inability of the
prima donna, Mdlle. Kallerini, and the baritone, Sig. Cologne, to
scream and shout high enough. However, managers and
singers, and soene-pai liters, are now all fully occupied with pre-
paration, aud on December 26th we shall have two or three
first-rate theatres open : and it is asserted that the artists who
are to appear here luring the Camivnl are superior to those
engaged in any other city in the north of Italy, Milan not ex-
cepted. At the Regio, w hich is the principal theatre, the season
will commence with Rigoletto, which will be followed immedi-
ately by the Prophite, the production of which is looked forward
to with unusual interest, as it is announced that it will bs
brought out in a manner worthy of its illustrious composer
(which, by-the-bye, it certainly has not been in any other Italian
city). The prime donne are Mesdlles. Moreau-Sainti, Marai, and
Lancia— the last a dibutante ; tenors, Signers Mnss'uuiliani and
Mirate ; baritone, Sig. Pizxicati, and basso, Sig. Benedetti, of
whom report speaks tavourahly. It was rumoured that Signor
Beneventano and Vialetti, with whom you are well acquainted,
would be heard here this winter ; but I should think there was
no foundation in the report At the Vittorio Emmanuels I
hear great things are expected. The two first operas will be,
Digitized by Google
8
THE MUSICAL WORLD.
[Jan. 2, 1858.
Most and Quglidmo Tell. The prima donna in Mdlle. di Cartello
and the tenor, Sig. Carrion : baritone, Sig. Merly, who was at
the Grand Optra at Paris ; and the basso, Sic- A try, the only
artist worthy of the establishment, at the Canobbiana, at Milan,
during the autumn season. I do not hear much in favour of
either of the ladies, Mesdlle*. Scotti and Rosie, engaged at the
Teatro Nationals, but the tenor, Sig. Caste Hani, is highly spoken
of. The first operas which will be given here are La Traviata
and Attila. From the list of operas with which the various
theatres open, I think you will agree with me, that the mana-
gers have shown good judgment in providing entertainments to
suit all tastes. I doubt not that every theatre will be filled for
many a night, which was impossible a few seasons ago, when
they were all giving either 11 Trovaior,- or La Traviaia.
Gkorgio Ron con i. — This great artist appeared at the Ha-
tha 16th of November, as Figaro, in the Barbiere,
1 a prodigious success. Signor Tagliafico, the same
evening, sustained the part of Don Basilio. The papers aro in
raptures with Ronconi, and no wonder.
M. Gaston db Lillk — (Communiqui), — This popular com-
poser of dance music has this week arrived in London. His
latest works, " Yeutre k terre " (Galop), •• Rayons de Soleil "
(Vahw), " Columbine " (Mazourka), and "Polka des Singes,"
have created a furore in Paris, at the balls, this Christmas.
THLATRE HOY A L, H AYMARKET. — Under
the m.\uagoiii<,i.t i f Mr, DuiAMuoe. Ou Saturday. January -u 1, Monday,
January 4tn, atnl ilsnup 'be week, tu commence at T o'clock with Mcirtnn'n
Cutnwi. of SPEED THE PLOUGH. After »• ich. a new grund comic Chnitu.ua
Paul mime, hi'. '1 UK SLEEPING BEAUTY IN TI1K WOOD; OR, HAR-
LEQUIN AND THE SPITEFUL PA IKY. Tl.» H i»ry h> Mr William Callctl.
Hju-leouui, Mr. Arthur Lacleic i , t o.u.ubliui. Mi*» F.uiiy Wriarht; FiUilol-H>u,
Mr Mackay , C'lowu. Mr. Churl** Leclorcq ; The I'rinc «* ou her trareU. Miaa
Louiau Lectorcq
NEW AHBANOKMENT OF TRICES — Orcbntra Sulk (which mar be rc-
taiued the W'.ole uf thu evening/, uud (or which tl.erc will bo uocl.arge lor booking),
6a. each. Fiatr Piuck.— Draaa Itoxea. fta. ; Upper H-.xca, 3a. ; Pit, 2»- ; Gallery, la.
Hicj.it. Piticc— breaa Bxxca, -1» ; Upper Boxe* Sa. ; Pit, la; Uallery, ad.
Prlr.ita Boxea, Two O'dneaa ami Oh Uumea aud a half each. Stag«-M»i>.i«er.
Xr. C.uppeodale.
ROYAL PRINCESS'S THEATRE.
UNDER THE MANAGEMENT OF MR CHARLES K.EAN.
DAY, 4th January, Shaksiiere's tragedy of
wi 1 hr performed narnlct, by Mr, C. Kean. b hur bu flrac
ON MONDAY
lUMI.ET
apiiaaruwe in that character lor two yea-a ' Ttieaday .'it'>, THE CORSICAN
BROTHERS Wedneotav, «t;i (hud Uuw), RICH AHM THE SECOND. Tlnroliy.
: li (a Ju.eulle Nighi) thcjietl « nwuody, in t»o acta, of IUB WuNDEBr'UL
WOMAN, wul. the PANTOMIME. The wh..le l» coocln to by Half-poet Ten.
Friday nth. HAMLKT. S-.tilrday. tllv. THE OORS1CAN URoTHEltS. The
FANTOMI II E every E oimig.
R
OYAL OLYMPIC THEATRE — This evening, the
will comment* with THE TKAOEDY QUKBN. AfU-r which
of TnE UOflK OF DUHALTO. To conclude with
T.
tl.e new dlMUniiii
THEATRE ROYAL. ADELPHI — This evening,
.„ J.HK WEPT OF THE WI8H.T0NWI8H After which HARLEQUIN
AND THB UlVEi OF CUPID AND IttYCHB. Harlequin. Mia. M .rie wTto.. ;
Hits Mary KeeLy ; PuuchllMllo. Mr. LeUarr; Ckwu, Mr. H*, ler*«;
Mr. B.cklngluun.
GREAT NATIONAL STANDARD THEATRE,
8HOREDITCH — Pr pr1et.w. Mr. Jolt" DoiiGLaaa.
Ou Monday and duHiur the wi-ek to n.mm ure with the if' and irovetnia
OhrUUruia Cmiic Paulou.ime called OKIlKOKY I-ORUEY PUDDING AND
PIE. OR. HARLEQUIN DADDY LONG I.EOS, 1o cone ude with a farourit*
drama, in which Mr*. R ll .i.ncr will perform. Moraine- Perf.rmaneea arary
Monday at Half.paal Twelre, r~ ■
ST. JAMES'S THEATRE — PROFESSOR W1UALBA
PRIKELl, P|,y.,ciTO b. th^lr MiJ -tie. the Emperor and Emore** of
Rn.«U -PHYSICAL AND NATURAL M tUIC, witi out the aU of any Appil-
ra'iu, 1WOHt)|IRiloFII.LUSION9. Wodneaday and Hati.r>i»y afbrlnoima at 3.
and everv a»»-.ir.g it t s-ada. Sa ; Ralony SulK 4a.. Boxea, 3a.; Pit, la.;
', Two "
iatMr.
TO CORRESPONDENTS.
T. M. M. akd J. D. (Edinburgh).— Tn* voter has been married
to the rpiriti. The native customs of such notices are to be
respected. The recipe is of extreme efficiency,
tion is facile. " Such brooks are welcome."
MARRIED.
On the 26th December, James
daughter of Charlaa Lues*, Esq.
THE MUSICAL WORLD.
LOUDON, SATURDAY, Jaitoabt 2»n, 1868.
la. Private
i to be
A DMiTTiNo everything that has been said and published
in favour of the recent operatic campaign at the Lyceum
Theatre (to which we have ourselves afforded all the Bupport
in our power), it is nevertheless essential to consider the un-
durtuking from a point of view hitherto ignored— although
of vital importance, if, as we are told, a permanent national
musical theatre be contemplated. We promised last week
to " resume " the season J but on second thoughts there is
nothing to " resume"— nothing to say that has not been said
already. The historical facts are these ;— Auber's Dia-
mant de la Cowronm (or rather an English version of
it, with certain interpolations by no means compli-
mentary to Aubcr), and Mr. Wallace's Maritana were
very successful ; the Hwjiicnots and the Trovatore were just
the contrary ; the Bolumian Girl and the Sonnambula (in
an English dress), brought great houses, at the benefits of
Mr. Harrison and Miss Louisa Pyne ; and Mr. Balfe's new
opera, The Rose of CaetUle, ran upwards of forty nights.
Tacitus, in the first book of his Annate, presents a
retrospect of Roman history, from Romulus to the
Empire, in twenty lines ; and without pretending to rival
Tacitus, we have given the history of the recent Lyceum
enterprise in lees than half as many. Now, the com-
pliments lavished on Miss Vyae'a singing, on Mr. Alfred
Mellon and his orchestra, and on the "ensemble" (there is
no equivalent in our language) generally, were amply merited
We joiucd in the chorus of praise as heartily as any of our
contemporaries — only with an " arriere penste," to which
(we are inclined to believe) our contemporaries were strangers.
" Of what use all this success, unless it is made the
foundation of a national opera, — an institution of which
Paris can boast three examples, while
times as big as Paris, does not possess one F
our orrt'eV« pensfe — such was the reflection that arose to
qualify what would otherwise have been our unrestricted
approval of the Harrison-Pyue management. The ques-
tion then suggested itself — "What is a national opera V
And the answer came readily enough — not the Lyceum, as
hitherto conducted. A national opera is not the Uugwmott
and the Trovatore, mutilated and travestied — not the Crown
Diamond*, with absurd interpolations — and not an opera
by Mr. Balfe, or any other composer, "every night till
further notice." A national opera should resemble the
Optfra-Comique in Paris. Foreigners may compose for it
as well as natives, but the vernacular tongue must be the
medium of representation. If a new work is successful, give
it a fair chance (as at the Opera-Comique), by running it
twice or thrice a week ; and on the off-nights present other
operas that have not merited oblivion. Mr. Balfe is a
man of brilliant talent. But Mr. Balfe is not the only British
and if we are to hare the Rose of CattilU
Digitized by Google
Jan. 2, 1858.]
THE MUSICAL WORLD.
9
thirty or forty times without mtenniaaion, for the sole
profit of the music-publishers, we get, instead of a
national opera, a music-publisher's opera — which is quite
another thing. Mr. Bunn gave us an opera, for many years,
the advantage of which was equally apportioned between
himself (as poet) and Mr. Balfo (as composer), on
one side, and the music-publishers, who had bought
the copyright both of poem and composition, on the
Of course the oftener a new work was played, the
number of copies were sold of certain popular ballads,
and the more productive were " author's rights to the joint
concoctors of the work. It would be diflioult to find
any larger degree of nationality in such a concern than in a
joint stock company for the exclusive benefit of its own mem-
bers; and our apprehension that Miss Pyne and Mr. Harrison,
whose beginning promised so well, may insensibly glide into
the joint-stock system, induces us to withhold for the present
our uirufualified adhesion to their cause,
To the above argument, and its corollary — that the prin-
cipal gainers by the Lyceum enterprise have been Mr. BaLfe,
Mr. A. Harris, and those in whom is vested the copyright
of The Rote of CaMille, —we are quite aware, abettors
of the joint-stock system may reply, that the enterprise could
not be made to) pay in any other manner, and that, but for
The Hote of Cast if tc, Miss Pyne aad Mr. Harrison would
have bean considerable losers, instead of considerable win-
ners. So far as it regards Mian Pyne and Mr. Harrison, this
retort would be a clencher ; but in connection with the true
interests of art, and the genuine prospects of a national
opera, it is unworthy consideration. The Lyceum managers
must not hoist false colours. If they sail under the national
flag let them be national ; otherwise, some fine day, they may
incur the risk of being arraigned as pirates. Their address to
the public (which will be found in another column), talks
largely about the establishment of English opera. On this
they lay stress, as the main argument of their appeal for con-
tinued support. They pin their faith to English opera — in
which they repose, and have always reposed, entire confidence.
Here is one passage, among others, with which the •• farewell
address" is, as the term goes, " bristling —
" We bare both of as bean all our tire* Ann believers ia tbe vitality
of English Opera. Paring tbe long year* it hu been •lumbering
amongst ui, whoerer may hare deemed it dead, we nrrer once loet
faith in it, nor erer for a moment gare op tbe cheering hope that
English Opera would awake one* more, possibly all the stronger for iti
long repoae. Finn in this belief, «* entered into partnership, en-
deavoured, to the beat of our abilities, to organise the moet efficici
company we could obtain to aid as in the work, and hare
all oar energies to the realisation of the hope we hs.
of once more establishing in our
nl
tongue. Knoouraged bj your kind support, suy »• not look upon that
hope as accomplished F"
Certainly not yaf. The great events of the first campaign
were the singing of Miss Louisa Pyne and the administration
of the musical department by Mr. Alfred Mellon. But these
were only means to an end which is even now only
" looming in the distance," and which a threatened re-
turn to the system that ended in the downfall of the
Bunn rigime leaves further off than on the night
when the theatre opened so auspiciously under your
united management. Had you presented such English
operas as the Mountain is'ylph, Charles II., or the ffight
Dancere (which were all to be had for the asking — ready
copied, and familiar to the majority of your company), on
the ofT nights, instead of parodies of the BvguenoU and tbe
Trovatorc ; had you, during the latter half of the season,
given The Rote of Cattille three nights a week, in lieu of
six— thus affording opportunities for other works which
deserve the honour quite as well ; and had you done other
things, too numerous to mention, which you omitted to do,
you would not only havo saved yourselves — Miss Louisa
Pyne and Mr. W. Harrison — a vast deal of physical fatigue,
you would not only have gone to the provinces fresher
and stronger, but you would have gathered round you
true lovers of the art of music (who are also inclined
on all reasonable occasions to be its firm supporters) J and,
last, not least, the " end " to which allusion lias been made,
and for which you profess to labour — the permanent esta-
blishment of a national opera — now " looming in the
distance! " (almost beyond the reach of the largest telescope)
in all probability would have been " looming " in the near.
Be persuaded that a joint-stock company, with no other
object than the personal benefit of its associates, is not, and
be, regarded as a i
The following was the 14th clause in an examination
paper of St. John's, Cambridge, at the beginning of last
" Bach's • Well-tempered Ctarier ' consists of two
taming tbe same number of fugues. In the first book, instead of
baring (as usual) one subject, one fugue has two, and another has a
prime numbrr : in the second book, two less than half the number of
fugues in it have two subject*, and one has the same prime number as
before, which is a measure of the whole number of fugues, and also of
the whole number of subjects diminnhrd by 18. If the whole number
of fun
rea-ed bj 1, l-7tb of the result (wl
an integer)
is less by 2 than l-3rd of the whole number of »ubjects in the first
book. How many fugues are there, and of what kind P "
When the Director of the Musical Union has solved the
above, he may rub his bands and exclaim, " How is it these
big-wigged professors look down upon musicians T I defy
any professor, of any college — no matter what he professes —
to decipher one of my analyses of the works of the great
masters ; and yet, here am I — a musician if anything, and
if not a musician nothing— just as au fait at the 14th
clause of 8t John's examination paper as if I had prepared
it myself There are 46 fugues in the Clavier bien Tempcre !
— of what kind may be seen in my Record.''
Thus might the Director (having solved the enigma)
triumphantly apostrophise those arrogant professors, who
(may they receive absolution !), until Dr. Bennett and Sir
Gore Ouseley came among them, had probably never heard
of Herr Rubinstein's oratorio.
But — to leave burlesque — we are pleased to see the
of John Sebastian Bach on a university
It gives rise to many reflections,
the rest to one not exactly favourable to men
of science and learning who have been in the habit of
ignoring music and snubbing its disciples. If these ciphered
and lettered pundits could only form a notion of what kind
of man was Bach — how far hie science went beyond theirs —
how to master the entire secret of harmony was a task more
difficult than any they could accomplish — and how to use,
as he used, the knowledge his indomitable perseverance
had acquired was the result of a genius to which not
one of them can pretend, they might perhaps be dis-
posed to modify their tone, and incline their heads when a
genuine musician passed. It ia after all, perhaps, a benefit
that God has conferred upon musicians, to whom (we mean of
course the intellectual class of musicians) he has given the
faculty of knowing why Bach was as great as Bacon, while
they who despise them are unable to perceive why Bacon was
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10
THE MUSICAL WORLD.
[Jan. 2, 1868.
as great as Bach. Well inight Handel exclaim — a man
of greater imagination though of less profundity than
Bach — when, in recognition of the worth of his Athalia,
he was offered, at Oxford, the diploma of doctor of
music — " Vat de dyfll I trow my nionoy away for dat
which do blockhead wish f I no want ! " Had he ac-
cepted it (and paid the one hundred guineas), he would have
stood no higher in the estimation of philosophers to whom
hi* grandest music was no better than a tinkling cymbal.
M. Bchceloher, his biographer, asks aptly—" Of what service
could such a degree be to Handel!" We have been getting
a little wiser in these matters since the music-master was
abroad, benefiting his species, in his own gentle and innocent
way, just as much as the schoolmaster in a more common-
place and directly utilitarian manner.
By the way — to resume burlesque — the vnry examination
j>apor alluded to offers a proof that the heads of universities
are at a stand-still for subjects. Clause i is as follows :—
"Whst h meant by di.connt f If the diwount on £567 be
£S4 14#. a S-7J., timpla inlerott being reckoned it 4* per cent, jurr »nn.,
wbon if the sum due ? "
As if thero was ever a gownsman so opaque as not to know
what was meant by discount, and when a given sum (or
rather a sum lent) became due ! In such a dearth of complex
problems, the director of tho Musical Union might gracefully
(and with dignity) forward, by tho uoxt Cambridge mail,
a complete copy of Tlte Record.
Cambridge. — At tho last University concert, which took
place on the 4th ultimo, the Requiem of Mozart was performed,
under the direction of Professor Sterndale Bennett. Siuce the
appointment of this eminent musician to tho chair, art has
besn decidedly "looking up" at -Cambridge.
Madlle Jetty Treffz has returned to Vienna. This
charming and intelligent lie>ier-tangerinn must have been
deeply gratified with the enthusiastic greeting of her English
friends when she took leave of them at tho last concert of
M. Jullien.
M. Jollisk's Concerts at Liverpool.— {From a Corre-
spoadsaf.)— These performances have been attend*. I with even
more than usual success during tho week, the audieuee having
been nightly crowded, and the applause enthusiastic. Besides
tho most salient points of his recent London programmes, the
popular director has had tho powerful additional attraction of
Madame Oris!, rendered exceedingly interesting by her singing,
for the first time, an English sung. The piece chosen by tho
great prima donna for her first essay in our language was a new
composition of Mr. Macfarreu, "O, weep for Holland's daughters,"
which she sang with a power of declamation and depth of feeling
that delighted all who heard her, and proved to them that
the language of true sentiment never had a better interpreter,
whatever the vernacular in which she may express herself. It
would be redundant to describe the reception of this admirable
performance ; all who know the power of the artist know also
now irresistible is one of her very best efforts.
Reunion Deb Ann — (From a Corrttpondent). — The last
soiree of the winter season, on Wednesday, the 16th lilt, was fully
attended. The concert began with a souala for piano and violin,
by Beethoven, performed by Messrs. Lchmeyer and Kettenus.
Madame Weiss sang Beethoven's " Per Pieta " and a ballad
called " O, would I were the honey bee," with much success.
Songs were »l»o given by M. Schmelzer, Mr. Wallworth, and
Mr. and Mrs. Pa»et. Miss Elliot played a new piano trio with
Herr Gofrrie and M. Vieuxtempa, M. Yienxtemps (brother of
the celebrated violinist), introduced, as solo, a violoncello fan-
tasia, by Servais. The members, satisfied with what Herr
Goffrie, the manager, bas effected for the institution, have
promised to support him next season, which will commence in
HER MAJESTY'S THEATRE.
A Christmas season at the Italian Opera has not been known,
for upwards of thirty years. An opportunity at last presented
itself Parliament convoked brought numbers to London,
and these " numbers " were, in turn, convoked by Mr. Lumley.
Three "extra nights were announocd at reduced prices;
and these have proved so successful, that yet another "three "
aud one extra are to follow in their train. So that, within a few
days of the first announcement, seven nights were " fixed f and,
in all likelihood, these will generate others a<l infinitum.
Tho performances begau on Tuesday with the 7Voi*tfor«, in
which Hignor Giuglini and Madlle. Spezia sustained the chief
parts. Signor Aldighieri, who appeared for tho first time at
Her Majesty's Theatre, was the Count di Luna, and a Madlle.
Soudiua made her debut as Axucuua. Signer Aldighieri
nervous at the outset, but in the familiar " Ilbalen" he rec.v
confidence, ami sang with such effect as to obtain a unanimous
encore. Of Madlle. Sondina we can say nothing favourable.
Madlle. Speria, in Leonora, exhibited all the energy aud pas-
sion of last season. Her voice has rather improved than dete-
riorated in quality. Her performance throughout was powerful
and dramatic, Signor Giuglini was in splendid voice, and roused
tho audience to enthusiasm in " Di quella pi
cored in the air, ■ Ah ! si ben mia" The "
encored.
On Thursday, the attractions of La Trariata and Madlle. Pic-
colomini again filled the theatre in every part. Mr. Lumley's
" pet" (and the public's) was received with the usual honours,
and went through the character of Yioletta with the same irre-
sistibel effect as ever. There were three encores— the brindui,
" Libiamo," by Mdllo. Piccolomiui and Signor Giuglini ; the air,
" Di uiici vollenti," by Signor Giuglini ; and the duet, " Parigi,
o cara." Signor Aldighieri was Giorgio, and Signor Castelli,
from the recent Opera Buffa company at the St. James's, of
whom, on men1 than one occasion, wo have spoken in high
terms, the Doctor. Signor Castelli has a good voice, and is a
good singer. Ho will make his way in due time.
To-night Lucia di Lammermoor, in which Mdlle. Piccolomini
and Signor Giuglini and Itelletti will r-
ira," after being en-
"Miserere" was also
Van Noordbx gave a concert at the Hanovor
Square Booms, on Thursday, the 3rd instant, under the patron-
age of the Earl of Westmoreland. She was assisted by Miss
I^ouisa Vinning, Miss Leffler, Miss Ada LeflSer, Mr. Charles
Braham.Mr. Elliott Galer. and Herr Richard Deck, as vocalists ;
and by Herr Goffrie (violin), and Mr. P. E. Van Noorden aud
pupil (pianoforte), as instrumentalists. The concert opened with
Osborne aud De Beriot's "Grand Duo" for pianoforte and violin :
an aria, from Ouiliaunu Telt, executed by Mr. P. E. Van Noorden
and Herr Goffrie. Then followed several vocal morftauj; the
most worthy of note being " Come into the garden, Maud," by
Mr- Elliott Galer, " Dove sono," by Miss Louisa Vinning, the
rondo "Nel dolec incanto" (encored), by Miss Louisa Van Noor-
den, Madame Glover's serenade, " Wake, dearest, wake," by Mr.
Charles Braham (fur whom it was expressly composed), and the
air "Ah ! fors' c lui," from La Tnwiata (encored), by Miss
Louisa Vinning. The concert terminated with the song from
the Role of C<i*tille, "I'm hut a simple peasant maid," unaffec-
tedly rendered by Miss Louisa Van Noorden.
London Hacked Harmonic Socibtt.— Handel's Metriafi was
performed on Monday, the 38th ult„ in the lower hall, Exeter
Hall, which was crowded with the friends and subscribers. The
Soloists were Misses L, Gilbert, Vernon, M. Wells, J. Wells,
Messrs. Dyson and Lawler. The oratorio was admirably exe-
cuted. Mr. Surtuan conducted, with his accustomed zeal aud
ability.
York.— On Wednesday evening tho Festival Concert Room
was crowded to excess by a fashionable audience, who assembled
to hear tho Mtssiak performed by the York Choral Society.
The principal vocalists were Mrs. Sunderland, Miss Newbound,
Mr. Moulem Smith, Mr. Hinchcliffe, and Mr. Lambert, who
acquitted themselves in. a most satisfactory manner. The
choruses went remarkably well.
Digitized by Google
Jan. 2, 1858.]
THE MUSICAL WORLD.
11
pains.
Thrrc
LYCEUM THEATRE.
TnB following wu the address to the public circulated by Mr.
Harrison and Miaa Pyne at the laet night of their first season : —
Ladiss jsc GsHTLlimt,— In taking leave of too on this, the last
night of onr operatic season, we cannot allow the 'opportunity to pass
without thanking yon most warmly and roost sincerely for the very
great and liberal patronage you hate bestowed upon our attempt to re-
establish an Kagluh Opera in the English metropolis. We bare both
of as been sU our lives firm believers in the vitality of English Opera.
During the long years it has been slumbering amongst ns, whoever may
have deemed it dead, we never onee lost faith in it, nor ever for a
moment gave up the cheering hope that Knglish Opera would awake
once more, possibly all the stronger for iis long repose. Firm in this
belief, we entered into partnership, endeavoured, to the best of our
abilities, to organise the most efficient company we could obtain to aid
us in the work, and hsve ever devoted all our energies to tlie realisation
of the hope we had long entertained, of once BON establishing in our
native land tn opera in our native tongue. Encouraged by your
kind support, may we not look npon that hope as accomplished P
Far bo it from either of us to join the senseless cry of want of patron*
age to native talent. Far, indeed, is it from our thoughts to begrudge
one single cheer of the applause bestowed by a discriminating British
public upon the admirable artists, collected st such cost, and with sueh
tins, from every nation upon earth, to sing at our Italian theatres.
' undent room for all of us, and your kind patronage, for
which we are row thanking von, proves that the English people will
support their countrymen and countrywomen in any well-meant endea-
vour to set on fool an opera in a language all can understand, and at
prices all can pay. Of the past season little need be said. In com-
mencing our undertsking, it was our determination to present each
opera with all the completeness of detail in every respect which it was
possible to attain. Tins determination we have, to the very best of our
ability, honestly carried out ; and for the ready and willing assistance
rendered us in this undertaking, we here publicly tender our heartiest
thanks to every individual member of the company, from tt>e highest
to the lowest. To the gentlemen of the press our most especial
thanks are due; the flattering terms in which they hare one and
all spoken of our enterprise, and the invaluable aid they hsve
afforded it, by directing public notice to the operas produced, will
ever bo remembered by us with heartfelt gratitude; and the
praise they hare been kind enough to bestow upon us for the
past will stimulate us to renewed exertions to deserve it for the future.
And now, one word about the future. Our tenancy of the Lyceum
Theatre expires this eveuing, consequently, though we would gladly
prolong a season, rendered by your kindness so propitious, we are com-
pelled to leave you for awhile But we hope not for long. We trust
that we tnsy soon return to London, and rstabliah an English Opera
npon a more permanent footing. Your generous support emboldens
us to hope that the I'yne and Harrisou English Opera Company
has made a "name;" all it requires now is a "local habitation." N elo-
cutions are pending, by which we trust that " local habitation " will be
secured for us ) so i hat, though wo are now reluctantly cuut|>cllc-d to
say farewell, we are encouraged by the feeling that we may add, "an
rtvoir." It hat erer be«n a maxim in our management to refrain
from making promises, the fulfilment of which a thousand unforeseen
circumstances might render impossible. But firmly belietiug, by the
kind interest you have shown in our undertaking, that you, too, share
with us the hope of seeiug English Opera permanently established
among us, we think it only right to impart to you our intentions for
the future. In tlie first place we are most desirous of producing
original operas, written in the English language, for English singers;
and wuula most respectfully invite the aid of native composers, whose
work* we shall ever be proud to receive, and, if acceptable, to place
before the public in the bc-t manner that our abilities will permit.
We have now by us an origioal opera, written expressly for us, which
lias never yet been represented in Eugland, but which it was our full
i to liave played this season, bad not the unprecedented success
of Balfo's Bote qf Cattilte prevented it. This opera, the work of an
American, Mr. George Bristow, has met with the moat enthusiastic
reception everywhere in the United States; snd next season we bop*
the verdict of a Loudon audience may confirm that of the young,
vigorous, and generous nation amidst which the oysra in question first
the light. Wtiilo speaking of the future Doreiaeuta of our coin-
-, with mingled feelings
, that
Her
auspicious event, the marriage of the eldest
Gracious Queen. And now, ladies and gentlemen, apologising for I
passing so lung upon your attention, allow us once more to return you
our most sincere and heartfelt thanks ; and in our own name and that
of the entiie company, to bid you respectfully and gratefully farewell,
Louisa Pr*i.
Lyctnm Tktatn, flee. 19fa, 1857. W. Hannuo*.
e l^oommand
CHRISTMAS ENTERTAINMENTS.
Pt^TOWnn thli year is decidedly in the ssccndnnt ; every theatre
in the metropolis, on this and thst side the Thames, eschewing bur-
lesque and extravaganxa for the olden entertainment, excepting the
Olympic and the Strand. Tlie Olympic, of course, had an eye to
|hc services of Mr. Kobson, who, having made some of the
greatest hits In extravaganxn, could hardly be dispensed with
even in the Christmas performance. The Lyceum provided both
specie* of entertainments, turning the opening, or introductory
part of the pantomime, into a burussque, which is by no means
sn improvement on the snciont fashion. — The Drury Lane pantomime,
is entitled Little Jack Horner ; or, Harlequin A if C, and is written
by Mr. E. L. Blanchard. The opening is not very brilliant as to the
writing, nor clear as to the plot. Mr. W. Beverley's scene of the
"Orand Aquarium, or Palace of the Water Nymphs, !• perhaps one
©f the most daxxling and effective ever witnessed. Mr. Flexmuro is
again the clown of (modern) clowns.— At the Hsymarket, Mr. Buckstonc
baa taken the charming fairy tale, The Sleeving Beauty, and fashioned
it in his own artistic mnnncr into perhaps the most striking pantomime
of the season. The introduction sparklea with fun, and there are some
capital hits in the harlequinade. A few songs interspersed, however,
would have enhanced the effect, since music is an indispensable clement
of pantomime. Mr. Buekstone takes care that his visitors during the
holtdaya shall not be stalled off with mere pantomime. A good old-
fashioned comedy— Speed the Plough— leads o(T the performance, the
east embracing the Hit* of the company.—Tho title of the burlesque
pantomime at the Lyceum, Lai la Booth; or the Prineeit, the Peri, and
the Tronhadour, is from the pen of Mr. William Ilrough, to our
thinking, the neatest end most humorous ho has written. The story
follows Moore'e poem in the main features ; hut the incidents of the
" Fireworehippers " and "Paradise *nd the Perl" are amalgamated
With the fortunes of Lalla Rookh. Mrs. Alfred Mellon make* an irre-
sistible Feramorx ; Mr*. Charles Dillon plays Lalla Rookh; and Mr.
Toole, a brigand flrewor»hi;iper. The lost character is unusually well
drawn, and is sustained with eapltal effect. The scene leading to the
transformation, the palace of the Peri, is exceedingly beautiful. On
Monday, Mr. Charles Dillon appeared in Bulwcr's play, Bicheliru.
The character of the wily cardinal ia not well suited to him- He was
seen to great advantage, on Tuesday, as tlie hero in Don Catar de
Basin. — [he Princess's pantomime, hv Mr. M. Morton, is called Har-
lequin White Oat, It is taken frnm the well-known fairy talc. — In the
Olympic extravaganxa. The Doge of Ituralta ; or, the Jimrhanled Kyee,
Mr. Robson plajs a kind of burlesque Daddy llardacre part, and, as
may he imagined, is tho mainstay of the piece. Mr. B. B. Brotigh
is the author. — Mr. Selby has furnished the pantomime fur tboAdrlpbi,
ind has dived into classic lore to fish up his plot. It is named
Harlequin and the /.ore* of Cupid and Ptyehe. Miss Marie Wilton it
Capid, and Miss Mary Keeley Psyche. The Sadler's Wells' Pantomime
is entitled Beauty and the Beatt; thst of the Surrey Theatre Uueen Hab;
or, Harlequin Romeo and Julliet . Astley's, Don Quixote and hit -Steed
Rotimante ; the City of London, William 11. and ye Fayre Maid qf
Hamnc; the Standard, Oeorgy Porgey Pudding and Put ; or, Harle-
quin Old Daddy Long Lege: and the Victor!*, Harlequin Prince
Lore-the-Day and Queen Bmy Bee; or, Little Bed Biding Hvod and
the Hlfin Wrtlruni hero wo pauso to take breath. It is only neces-
sary to add that every place of smusemrnt on Jloiing night was
crowded to suffocation, and that all the theatre* are reported to be
doing well during tho week.
Barks', sr. — On Wednesday evening the 83rd December, the
members of the Mimical Union gave a grand miscellaneous
concert in the hall of the Mechanics' Institute, on which occa-
sion the following v oculists assisted : Miss Whit lam, Miss
Ooesland, Mr. Pyrtvh, Mr. Parker, and Mr. Dclavanti. Mr.
Wood, organist at the Pitt-street Chapel, presided at the piano-
forte. There was a moderate attendance, and the whole of tlie
a most i
Digitized by Google
12
THE MUSICAL WORLD.
[Jan. 2, 1858.
AMERICAN VIEW OF HERE FORMES.
Herb Formes has Appeared in three operas already at the
" Academy of Music," as the Italian lyric theatre is entitled at
New York— in Roberto U Diawolo, Flotow's Martha, and / Puri-
tan*, Although labouring under the ill effect* of a cold, he
appears to have been eminently successful. In a notice of his
second performance of Bertram, the A'ev Fori Timet publishes
the following aptrfu of the famous basso's qualifications
generally :—
" Herr Formes tu jn better voice, but he has not fully recovered
from the ill effects of his cold. Hi* aoting was unusually dramatic. At
what degree on the art-harouieter Herr Forme* will arrive in the future
we cannot foresee. At present ho di»playa the capacity of an artist of the
first cUm, snd delight* ratlier than attoniahea. The eompsaa of hia voice
ia immense, but, from cold or otherwise, it i» a little tremulous iu the
lower note*. Of cultivation and execution be baa enough ; and some
refinement* of vocslitstion which he urea sre quite unusual in the bsaa
voice, and impart to hi* singing sn agreeable vein of purelv delicate
sentiment. Indeed we should judge that Herr Formes is s bono of
feeling ruther than force j a man who suggest* qui'c aa much a* he
expresses— who overoomea without overpowering. This we s*y without
stint. ng the measure of hi* voice, which ia bounteou* ; or it* quality,
which ia glorioua. The deficiency which we havo noticed iu hia t*o
performances of the opera is, in what is culled tone-stroke, or in other
word*, the power of seizing on a detached note or the opening note of
a phrase with immediate vigour and accuracy. It ia a gift which demon-
strate* the highest perfection of vocal organisation, and is therefore
rare, even in the best singer*. All that art can supply ia accentuation |
thi* i* nstural, *p >ntaneou* emotion. Herr Formes never indulge* in
it. He get* on bis phrases with extreme cuution, snd expand* when
he feels that he is safe, but not before. Unlike moat bassos, he ia
scWom heavy, and rarely drags the time. On the other hand, we may
add that he is occasionally faulty in toi.e, and that *omo of hia notes
"* PS much ''ke 4,10 b,M "0,e» on modern pianos, difficult to distin
guish by name, but generally useful iu their place. Apart from iliesc
■lis matters, llerr Forme* stand, before u. a magnificent exponent
of
c
of a magnificent claas or voice, and we are sure tbat~whoe*cr listen* to
htm will bo delighted."
The same journal write* of Herr Formes iu the opera
Martha as follows :
The feature of the performance was of course Herr Forme*, snd once
more this gentlemen gave u* s dramatic treut, sa well as a musical
sufficiency, nis make-up was admirahlc, and his bearing hesrty aud
full of individuality. As an actor Herr Formes deserves to rank with
the best on the .Uge. and oi. voice in light rile, of thi. kind is
wonderfully telling snd effective. The performsnce was well received
aud will, no doubt, attract a fine hou.e to-nig'
The other papers speaks of the
favourable terms.
The 8m York Herald— which, for circulation and
may almost claim the title of Yankee Mueical Wortd-im in tike'
beat humour with Herr Formes, as the following will show :
"Tho first German opera for the season— Fiotow'a Marina— was
singer in no leas
given st the Academy last evening, to a ipleudid house. The crowd
ZK . u £' ** on the 6nt ^ of llokfrt '* DMte.tnA proved
tuny tiiat Herr Formes hss made a thorough success, under all the
circum.tanees, crise*. and other impediment.— perlisp* the greatest
triumph of his career, which ha. been a aerie* of successes. The opera
is quite fsimhar to the public here, having been given in a slip-shod way
several times st the Academy and elsewhere. It was done Isst night belter
The" Trill , T."* U 0"n«e'» ""*«» S pstent.
Ihe great attraction of the night, Hwr Form*, in Plunkett. fulfilled
proof of bia artistic ability ana great versatility, passing st once fro,,,
the heavy melo-dramalie music of Bertrand to thi* light comic roV*
lie sings in German with more facility than in Italian, and gave the
moat thorough dramatic identification with the character. The duet in
the fast s* with the tenor. Pick.ne.er. who is much Improved, wa> so
admirably long „ to command an sweor* from an audience whirh knew
iw., T . i 7 10 ,pi,Uud •ud-b«™ 'o condemn; and so on
throughout the performance, was a perfect triumph— a grand tucceaa.
With the Jfe* York Herald to hack him, Herr Formes may
new of \hatT"^*»-,2.0n* " *W1W ofthu ^tirc disintcrestcJ-
Irswicn a»d CotcH«ST«R. — (From a Correepondent). — Two
concerts were given in Ipswich and Colchester by Mr. R. W.
Foster (professor of music), with the object of introducing a
more classical programme than usual in those towns, for which
purpose he engaged from London the following artists : — Miss
Hansford, Miss Lascelles, Herr Goffrie, M. Paque, Herr Schmidt,
and Mr. Webb. Besides these, the daughter of the concert
giver. Miss Kate Foster made her dibut as pianist. The pro-
gramme included one string quartet by Haydn and one by
Mozart, performed by Messrs. Goffrie, Schmidt, Webb, and
Paque, a trio by Beethoven for piano, violin, and violoncello —
played by Miss Kate Foster, Herr Goffrie, and M. Paque. Miss
Kate Foster greatly impressed the audience with her talent for
improvisation, of which Herr F. niller, who instructed her at
Cologne, spoke in high terms. Herr Goffrie and M. Paque
played solos in their best style, and Mias Hansford and Miss
Lascelles were much applauded iu their singing, and the latter
encored in a Scotch song. Mr. Foster accompanied on the
HvDDRRsri Kt.D.— The Amateur Vocal Union, which already
numbers about 70 members, gave n grand entertainment on
Tuesday evening, 22ud December, In the large room of the
George Hotel. It was the first " ladies' night," and the at-
tendance was very large. The programme consisted of selection*
from It Troratore, and the nieces assigned to the professionals
and amateurs were executed in a highly creditable manner.
Soho Thhatm.-- An smatcur performance took place lately st tits
above establishment, when the smstrura were assisted by Mr. Frank
Matthe*. and Mi.. Man* Ternan. The piece, were the farce of John
liatbt, the comic drama of The Wonderful Woman, and the farce of
Tie Tkmmping Legacy. In the first piece nothing could be more full
of humour than the sctinii of Mr. Charles Wilkinson as Peter Pater-
noster. In the comic drama, Mr. Chsr.es Ksigh displayed bia accus-
tomed tslent as s light comedian, and Mr. R. Morris sdmirsbly
sustained Ihe part of Creasin, the cobbler. Mr. Chsrlea Wilkinson's
seting as Kodolphe, the young artist, was exceedingly geutlemanlike, and
iu every respect like that of an experienced artiat. The Thumping
Legacy finished the evening's entertainment with eclat.
Election or OnaaxtST — (Communicated). — In consequence of the
decease of the respected Mr. Giles, a v.canry hss recently occurred in
the pariah church of St. IxMnard'a, Shoreditch, for the office of
organist. A meeting of ratepayers took place in the vestry of the
church, on Friday, December 1 8th, for the purpose of making pre-
liminary arrangements for selecting s qualified musician to perform the
musical service of the church, and to instruct the children in singing.
At this meeting a committee wss formed, consisting of the Rev. T. a.
Evan*, vicar, the two churchwardens, the six overseer*, snd twenty
ratepayers. It was agreed that the organist's .alary should be forty
pound, per annum, with an additional ten pounda for teaching the
boys and girl, the vocal harmony, as it is usually rendered st Ihe
mother churches. Csndidaies are to be invited by public advertise-
ment to .end in applications, from which six sre to be selected, for
whom a day of competition will be appointed, slid also s professional
umpire chosen. No canvassing to be allowed, it being understood that
preference ia to be given to auperior talent only. At first, there wss s
disposition on the part of the clergyman snd of some member* present
to exclude female candidate*, even from competition ; but after a sensi-
ble speech from Mr. Oeorge Pearoe, sn old inhabitant and trustee, it
enforced, and against the arsnting of which there have already appeared
strong demonstrations. In the present divided state of the parish of
St. Leonard*., Bhoroditch, it is possible thsl some difficulty msy bcre-
sfter srisc on the point of fund, for defraying the organ snd other
incidental expenses, connected with the church ; and it is not nnhkely
that these circumstsnces may deter certain organist, who sre acquainted
with the facta from offering themselves a* candidstes. But there sre
many to whom, perhaps, '* Salary it no object," lnd who weuld be
diapo*ed ti> undertake the duties for the sake of practice, snd as a
means to sn end.— (We trust that no such person mar be fonid. The
salsnes of organiats are generallv pitiful enough a. it i* ; and only to
"2? W,° h!T" De,er b~" «d consequently. b»v. P"<»
nothing for education, can •• .alary " bo » no objeet."-£n. M. *».]
Digitized by Google
Jan. 2, 1858.]
THE MUSICAL WORLD.
13
TRY IT AGAIN.
M DV pain J
I place reliance,
ry it again!''
A Song for all
Br Jaati* Hirxros.
At life'* early crosses how often we murmur.
And think fste unkind to bring trouble so eoon i
We •brink from the task when we ought to be Griuer \
A rnoriiiag well spent bring* it» pleasure at noon.
Then flinch not from trifles, and paralysed I
Whj stern opposition throws 'round in h
Well nrrred for the conflict, it's eaiue tear i
If foiled in the conflict— Try it again !
** It cannot be done !" is the cry of the coward,
As trembling he goes to encounter the foe j
Ilia nerve* are unstrung, and his courage is lowcr'd—
His future is darkened with picture* of w»e ;
The hrarc man shrinks not, tho' oppression impedes him,
He Ihink* in this wide world there's nothing in Tain ;
As ke has progressed, so another succeeds him —
There's nought but what can be rlone— Try it again .
Whrn storms pour their wrath over the high-foaming
And threaten the wreck with a watery tnmb,
The mariner look* on the scene with emotion.
And siclis fur his kiivlrcd, and drar native home ;
His heart uace aroused, he criea out with defiance,
" 7'Anf pleasure is sweetest preceded by pain i
Once more to the pump*, and in God j "
We're righted her once, let us— Try
Despair not while flowers of promise are blooming.
Though clouds oTershade the bright sunshine of day j
.nd though dreary winter with death'touch is coming,
'TwiU pass and bring joy with rite beauties of May.
Tie folly to slumber when duty is calling,
The idler's loss becomes industry's gain,
Adversity's frown, though it's chilling and galling,
Heed not, never mind-Try and brave it again!
Cottage, JVesc Year't Are,
K i Dnr.FiMi nktkr. — The second concert for this year, under the
auspices of tho concert committee, was given in the Music Hall,
on Tuesday evening 22nd December, when the Lauda Sion of
Mendelssohn, a selection from the Mount of Olive*, and other
music, was performed. Mr. E. Saunders and Master S. Smith
were the solo performers. Mr. Taylor officiated at the organ.
Oxford. — A performance of Handel's Me**iah, in aid of the
Indian Fund, took place at the Town Hull, on Wednesday
evening. The vocalists were — Mrs. Alfred Gilbert (soprano),
Mrs. H. Pnget (contralto), Messrs. Badcock and Thomas (tenors),
Messrs. W. H. Wheeler, 0. Bliss, and M. Bellamy (basses). The
execution was admirable. Mr. Bliss sang, " Why do the
nations ? " with fine effect. Mrs. Paget was much applauded
in "He was despised ;" and Mrs. Gilbert was exceedingly suc-
cessful in " Then shall the eyes," " Rejoice greatly," and " I know
that my Redeemer liveth." The last would have been encored,
but for a prohibitory notice posted on the walls. The concert
was numerously attended.
The Staltbridok Piulhaiimojuc Socii.tt gave their second
concert during this season in the large room of the Town Hall,
on Tuesday evening the 22nd December. The principal vocal-
iaU were Madame Rudcrsdorfi* and Mr. Henry Phillips ; leader,
Mr. Stewart, and conductor, Mr. Marsden.
Bristol. — Mr. H. C. Cooper gave his annual concert in the
Victoria Rooms, at Clifton, on the evening of Monday, the 21st
ult., which attracted a full and fashionable attendance, nearly
five hundred persons bciug present The following was tho
programme: —
Pa*t I.— Quartet in C, No. 0, Mosart t Grand Sonata in A minor,
dedicated to K rentier, lor pianoforte and violin (Miss J. Jackson and
Mr. U. C. Cooper), Beethoven.
Pabt II.— Concerto, violin (Mr. H. C. Cooper— the pianoforte
at by Miss J. Jackson). Mendelssohn: Soli, pianoforte,
"Le Gondolier da Lido," "Une Lsrrae" (Miss J.
thai j Quartet in A, No. 6, Op. 18, Beethoven.
Mr. H. C. Cooper has been sojourning in Bath since ]
from America, and had contemplated residing there some tune.
Having, however, received an important communication from
New York, on Wednesday the 23rd, offering him a most liberal
engagement, he availed himself of it, and proceeded to Liver-
pool forthwith, en route to the New Continent Mr. Cooper
sailed, we believe, on Saturday for the United States.
Manchkstkr — (From a Vorrttpondent). — A Christmas-dav
oratorio is, we believe, peculiar to Manchester. Handel*
Juda* Maccabtru* was performed on that day at the Free Trade
Hall, and attracted an audience of more than 3,000 people.
The solo-vocalists were Madame Rudersdorff, Miss H. Wilkin-
son, Mrs. Brooke, Mr. Charles Rraham, and Mr. Allan Irving.
The band was led by Mr. C. A. Seymour, and Mr. D. W. Banks
couducted. The execution, on the whole, was highly creditable.
The singing of tho principals was in almost every instance
entitled to no stinted praise. The great hit of the performance
was made by Mr. Charles Braham in " Sound an alarm 1" It
was the first time he attempted it in public, and at the beginning
win rather nervous. As he went on, however, he gained confi-
dence, and created an immense effect at the finish. " He fairly,'
exclaims the MancAetter Examiner and Timet, " as tho phrase
goes, brought down the house. He sang it with a fire and
energy that reminded us of the good old days
distinctly marked, and won the most enthusia
heard in this Hall. He certainly made what may be called a
decided hit."
Dublin— (From a Corrr*pondent).— Tbe Philharmonic Society
gave a concert on the evening of Friday, the 11th ult., at the
Ancient Concert Rooms. The programme was very attractive,
but the attendance was by no means as large as might have
been expected. The fact is, the different operatic and concert
companies which have visited Dublin during the autumn — In-
cluding the Griai, Piccoloraini, Boeio, and Gassier troupe* —
have, to a great extent, exhausted public interest, and it was
only the lovers of instrumental music who repaired to the
Ancient Concert Rooms on the present occasion. The principal
pieces were Haydn's Eleventh Symphouy, one of Hummel's
trios for pianoforte, violin, and violoncello, and the overture*) to
Anacreon and Abon Ilaman. Among the full pieces the trio of
Hummel appeared to find most favour with the audience. Mrs.
Joseph Robinson is an immense favourite in Dublin, and most
deservedly so. Her playing is distinguished by great intel-
ligence ; her mechanical proficiency is of no ordinary kind ;
her feeling is unimpeachable, and her taste as correct She
has, moreover, the true precision, grace and delicacy, without
which the finest performance must fail in producing a legitimate
effect The last two movements of the trio — andante and
allegro — served to display to admirable advantage Mrs. Joseph
Robinson's sentiment and execution. Both movements were
louldly applauded. The fair pianist also played Thalberg's
" Home, sweet home," and delighted the audience no less than
in the trio. The other solo was by Hcrr Elsnor, the violon-
cellist, who performed Servais' Souvenir dt Spa, The singers
were Mad. Amadei and Mr. Richard Smith. The lady, among
other things, sang Mozart's " Addio" and the brindiri from
Lucrezia Borgia. She was encored in the latter. The nam* of
" Musical Reunion," to distinguish this concert from the regular
perform an coa of the season, appeared justified by the introduc-
tion of a promenade and tea and cakes between the parts
which gave a private air to the entertainment.
OxroRo.— At the City Public Lect
evening, tbe performance of Haydn's i
enee, tlio Town Hall being crowded in every part. The bond
chorua were from the Oxiord Choral Society, misted by
from the metropolis, ami the concert passed off in a manner reflecting
credit on tbe orchestra. The prineipal soprano was Misa E. Hughes,
who gave tbe portions allotted to her with great taste. Tho other
solo* were allotted to Mr. Horsley and Mr. Roberts. Mr. Long led
the orchestra, supported by llerr Vtesohn, violin, Mr. Pettit, violon-
cello, and the oilier instrumentalist*. The choruses were generally
well sung, and reflected credit on Mr. Horsley. The audience were
Digitized by Google
14
THE MUSICAL WORLD.
[Jan. 2, 1858.
OBSERVATIONS ON THE MUSIC OP THE
ANCIENTS.
Th. first murio em bsatd « thi. world muit have been the
sound* of the angebe ehoir of heaven, "when the tout of heaven
shouted for joy," while the Eternal One was per.orroing hie Work of
erection. The next wa* U»t which proceeded from the feathered
tribe*, whieh— in all probability— wee reipooded to by Ike first parent*
of the human race during the abort period of tlieir innocence, wben,
inspired with a devotional fooling, mixed with gratitude to God their
father for hia goodness, they, by a natural instinct, offered up their
praise* in strains of spontaneous melody joined to tlieir words of
ue^oitortai asiorauon.
We read in the aicred acripturcs that an advur.
ledge and use* of wood, brass, and (iron, fore:
noement in the know-
vr artificial purposes, wa*
acquired, and also mechanism, before tho flood i and, amongst others
the oonatroctlon of the harp and organ ; the latter supposed br some
to hare resembled a pipe or email hautboy, but more probahlv it wa*
all Instrument composed of a certain number of reed* held together and
blown through on which melodies were played couai.tlng of either
whutiee or pandran pipes.
It ia contrary to the natnral turn of man'* inclination for him to
dwell on the earth, surrounded with tho work* of creation before him,
without feeling a derire to arrire at mora knowledge of thing* than he
po»»e*»e» by natural inatlnct— hi* mind being to oonitituted, thai to
remain in ignorance i* to opposite to hi* enterprising deposition, hi*
vanity secretly prompting him to turn aside aAer something new ; and
this deatra after freah intelligence urged the first elass of the better
informed to strive to acquire a knowledge of the thinge then within
their sight j and the *tan were one of the earliest ; and the construction
of varwia articles made out of materials within I heir reach, when the
dtscoTeror of a new thing was styled the father of it, or an instructor
in it* use -. and Jubal ■ wa* tbo father of all such a* handle the harp
and organ," that i*. he waa tho beet player upon the two instruments
called by such namee, whote renown, spreading far and wide, occa-
sioned hi* successors to style him "the lather of all such as handle
the harp and organ,"* m corapliuunt to hi- , i. client style of using
them, although this ia the title giren him by Moses only.
Whether Noah and his family were acquainted with the instruments
of the antediluTiana (such a* fonnd out musical tunc* and recited torses
in writing— Ecoleatasticus, e. xliv., t. 6), we are not informed ; but their
natural want* would lead thorn to exercise their ingenuity to first in-
rent a vocal strain, then by chance discover an agent or instrument
that, by practice, they found capable of producing a telle of notes,
or perhaps they acquired from Noah's immediate descendant*, the tra-
ditional knowledge of Jubei's harp and organ with whieh they refreshed
tbemaelT**. The next generation from Noah, after wandering about in
■mall tribe*, bocomiug stationary dweller* in tents iu known localities
made laws, and established their soreral forma of government.
It will suffice for my present purpose, to give a brief account of the
advancement of music from the flood to the birth uf Christ.
When the tribe* of the earth had so become tetlled in BinaU princi-
palities, they learnt to very their ringing, discoloring an instrument
capablo of producing new sounds not exceeding twelve note*. The
music at their public banquet* consisted of a apontaneoa* mixture of
sounds, sung, or rather shouted, to words in praise of their heroe* or
gods the multitude singing in unUon. In after times, at the feasts of
the Greeks, tho lyre wa* passed round the table, each guest applying it
to his ear sounded a few note* that were considered a great treat.
They also had their musicians, who were candidate* for musical honours
at their public games, that sang their own words, accompanying tlieir
voice* on tha harp or lyre. Thia nusio waa aimple, and the acirnoe
then *o backward, that n talent with six months' study would mnko a
modem musician equal to the best of the ancient Greek*.
From mention made of several instruments in the matter recorded
in the book of Daniel, wben the three Jew* " fell down bound in the
fiery furnace," it aeeme tliat the Babylonian* had made considerable
advancement in the number and use of animal instrument*. A* the
connection between *t*tc* wa* during the reign* of David and Solomon
similar to that of European nation* at the present time— so far a*
related to giving publicity to new discoveries — a new thing alwav*
spread, if attractive by ila charm of novelty.
Tho Jews employed »ever.l kind* of marical instrument* in their
ceremonies, chiefly stringed They read the words of their sacred
canticle* from the right of the page, the opposite to the modern way,
■ The term organ was taken from tho Greek translation of the Bible
> word wa* a gen-rnl name for an laifiwaijaf, a work or an im
plement of any kind.
of noting down their music, as we 1
.. being required by the king to prepare
the music Pur a special occasion "because he was skilful," .till, aa it
doe* not *tato that he wrote on paper or any other material what wa*
to be played and «ung, and the expression admitting of a double
meaning, that he rehearsed the people prior to tho public performance,
the writer of the account may hare intended it to be so union '
or. that he marked the points where tbo stops and falling of the 1
were to be made.
Had the Israelite*, or any other nation among tho ancients, disco-
vered the art of blending sounds together on the principle of the
present period, it* impression on the minds of the people would have
rendered music more popular than it »eems to have become amongst
them. Iu thi* remark I allude to its being equal to ours j and a*
their literary work* hare been preserved, so, iu like manner, their
music, bad they possessed a complete scale, time-table, and *y*tem of
writing their muaie aflcr our modern fishioo, such a motbod would,
by rendering it equally as attractive as in the present lime, have
caused it to become generally known, and amongst the many nations
it would hare been preserved, handed down to futuro generations along
with the literary productions of these people.
From tho preceding iufercneca wo may conclude the musical per-
formance at the dedication of Solomon's Temple was in qualify a kind
of singing shout, the trumpeters blowing out the tones of '
instruments (made of ram's borus) on each side of tho altar, soul
either in unison with the voices, or producing spontaneous note*, min-
gling with the sounds of the people ; and although this music could not
recommend itself to God's notice for it* flue harmony, or rich and
varied light and shade, it induced him to give a sign of hia approval,
verifying the words of the Apostle, " A man ia accepted of him accord-
ing to that he bath, and not according to that lie liath not (" audit
being the best they possessed, wa* united with their word* of grateful
acknowledgment that accompanied it, "For he is good, and bis mercy
endureth for ever." This public declaration of the Divine Being's
goodness giving it a consistency with sense, it waa accepted, causing
him to fill the Teniplo with his glory, so that the "people could
not stand before it."
The Greeks and Roman* cultivated music, but the latter seem
to hare considered it unbecoming men to devote their attention to,
they only using it for national or theatrical purpose*, and thi*
may account for their being attracted by the kind Used in the
first Christian churches that was drawled out in unisons within
a scale of an octave, and continued so for centuries until the
tenth, wben square note* without bar*, consisting of breve* and semi-
breves, were the only kind employed j when between the fourteenth and
eighteenth centuries, the diaooverir* of new musical instrument*— the
blending together of musical sounds, producing our present system of
harmony — the various way* of treating musical subjects, with their
several effects of light and shade, rendering it capable of imparling
additional expression to word* : thrse have raised it to the same posi-
tion as the other arts and sciences, while the millions of phraaea
within its scale of sounds, presents a wide field for the composer
nevor to be exhausted. lUrnx Wilswk.
Paris. — M. Massol, the well-known barytone — and remem-
bered by the London opera-goers at Drury Lane, the Boyal
Italian Opera, and Her Majesty a Theatre— ha* been awarded a
retiring peusion of 3, ISO lrancs, by the director*, of the Opera.
Thia, by the way, ia the second « retreat " of M. MaMol from the
Qrand-Opura. The first was signalised by a benefit, at which a
miscellaneous performance was given, Mdlie. Bachel playing one
of her favourite characters. The barytone then retired into
privato life, until recalled by M. Auber to play the principal part
in hia En/ant Prodigue. The ice once brokent M, Massol took
once nioro kindly to the stage, and, when Mr. ,Lumley proposed
to jjet up the Enfant Prodiam, accepted an engagement at Her
Majesty's Theatre in 1851 (having previously sung at the Royal
Italian Opera). His talent since then has been confined to the
Paris Opera, where he appeared In the Jttif Errant, composed
for him by M. Hal6vy, and subsequently from time to time in
hie minor parts. We suppose he will reappear at some
future period, his retreat being by no means voluntary.
Mademoiselle Artot. niece of M. Bauguiet, the celebrated
portrait-painter, and pupil of Madame Viardot, is study-
ing the part of Fides in the Prophite, in which she will
make her first essay at tho Orand-Opera. A now ballet by
M. TMophile Gautier (music by M. Beyer) U in rehearsal at the
Digitized by Google
Jan. 2, 1868.]
THE MUSICAL WORLD.
16
x» inline; to offi-
ay last.
Opera. At the Opcr*v-Corniquo J^ta IHawrto, according t
rial announcement, was to have been revived on Monua;
for the mtiri* of Mdlle. Lefebvre, with M. Bar bet as the
Brigand Chief ; Madame Vandenheirvel-Dopret will reappear
shortly in her original character, Catherine, in LEtoile du JSord.
It is not true, as stated, that M. Gounod had withdrawn from
the TMAtw-LyriqM his MS. open Le Umlicin Mal-jri Lni.
ADVERTISI
HOARSENESS, SORE THROAT, LOSS OF VOICE
IRRITATION ot tho BRONCHIAL TUBES, cured. Mid a -..crfr-ctly Clear
Voice pr-duce-d by Oie use ot Wilkinson, Bridge >nd Co.'s BROSCHIO-THORACIC
LOZENGES, prepared Irom a receipt of oi-e of the most ctnl:i«it Physician* of
ths <Uy. _
Tl.cv are esr-e-rially u*sful lo V-x»lhlU, Meml-er* of P»r!laniei:t, Clcr-rymen,
Barrister*, ftiblle Sneaker*, 4c . and. as a ■ren-rr-.l Cough Loaenge, tmeamJIod.
Prer*red only and sold In boxes at 1>. ml L's. 0-1 : also In titrn. at 4*. M., Ida. «d-,
and Sua. each, br Wilkmann. Bridge, and Co.. l^ctnist*. at Rr<i£**» co-ehr-itsd
turasparUla, ml Ginger awl Camomile Depot, 170. Rcgen-t^troet, Loudon, W.
MR. HOWARD, Surgcou-Dontist, 52, Fleet-rtreet, has
mtrodacsd an satirery new d-iwipiloo of ARTIFICIAL TEBTH. Axel
without »pring*. wires, or ligatures. They so |>erf. ctly rcscuihlc the natural
teeth aa not lotecasMufllsktdlmn the originals by the Hos~,t otiecr'er They will
never <l.an«o colour or decay, and wlil be -mind sopcrkir in any teeth ever before
uaod. This method does not require the -extraction of rw .U. or any i«tluful opera-
tion, will support unl preserve tooth that are loo**, and la giuu-antcsd lo restor..
articulation and masUcatl -n. Drvayod Uotli atoppoi and reademd sound and
useful In maarJcation. IZ. Fleet-street. At horn* irom HI till 5.
TTOLLOWAY*H OINTMENT AND PILLS, a certain
XjL euro for nbktxwwft, wwiikU, pilea, flituldsX and aorua. The *«ry mxMwciorj
rtwulta arising from the uae of lb>« invaluable ointment, in caeee where .•ticnte
lukve been *m Bering from tho aboro comptMoia, have induced merer*! of the
luodJcaj profe»alan to Lutro-luco It Into the br«r4Ula and their private practice,
nnd in many inmtmncrm where the »u!Tor«r w* oottAi1 dared intnirable, Hotloway'a
oititdvrnl, in conj unction with him pill*. •f**od£[y produce Oui moat aatofuabii.ti£
reruta, moon rcatortuy the patient t» the enjoyment of t>-r*Hh and eirei-jri
br all Medicine Vrtvlon tnrr>iit?i.o<;t the world: nt rn>fnMi>r HVll©wn.y'
244, Btrand, l^dan, wnd SO, If^hni-Uuie. New T-tk ;
l. Sold
a r
by A.
■r
Tbc nxabcranoe or the feel tug* amid aeene* of (atety. btducee the lair and
youthful to abloe to advantage undur ti e kiijo o! iiii
devote ui«rou>ed attuition to the dutica of the
BOWLANDS' AUXILIARIES OK
It la at
BEAUTY
ROWLANDS' MACASSAR 0
a trauaooodent tuatre to the Uair, awl
decorative cJiartu.
! . A N n s ■■ KALYDOR
to the Cheek, and a d^licaoj and SOto
Arm*, and Nock ; and
ROWLANDS' ODONTO,
OH. PEARL DBTCTIVRICR.
i to the Hand,
Beatowi on the Teeth a jwurl like whiieuoo, and render, tb* Breath
•weet mid pun*.
Tre patronage of Royalty throughout Europe, their cenenil use hy rank and
faahkm. and llio uuivvri*J!y-ktiowu efficacy of these article*, give them a celebrity
unparalleled, and render Ihvni peculiarly
ELEGANT AND SEASONABLE PRESENTS-
by A. ROWLAND St SONS, BO, Hatton-gardea,
and by Ohemiata and Perfnmera.
FRAMITON'S FILL OF HEALTH.
IV cu In IJd . Atid '2s\ S»l. per box,
ff^HIS excellent Family Pill is a medicine of long-tried
A efficacy fur puilfyine; tbt< 1<1i>vnI, «o Tcry cmenlial for tlic foundaLiuu of jrocd
htiiHH, aod t^>rrccti!it{ all diaordrrs of thu nioriinch nnd bowel*. Two or Liiree
doaea will couvuioa the afflicted of iu aiUutary elltoeta. The atx-tnaeb will aproidy
rrafain iu atretiglh, a healthy action of th« liver, bowel*, and ktdnay a, will iai4dly
t.,Lc<- plane, and reuewt-d htaltb will 1« the uulck ixault t4 ta»»tsHB this medlciiie,
arC<v>rnlntT the dlrwOriiul »ccoaip;iriying eaxh bux.
l'er» tva of a fnlJ habit, who are nv ject to hcadnchc, firlddlneaj, drnwulncaa, and
tringioc In U>e eara, ariain^ from UvfMt a flow a* blood to the bead, arjoutd iw-ver
without then, aa many dafl^nrtia ayruptotna will ba
rmpto,.." will ba eotin ly earned offbv
where un occaajonul aperient ia reojuirt'd.
be
tlieir timely n*o ; and fur eM?rly
nothing ran bo lietter >ilapt-<d.
Furl* male* tha*c pilla are tmly exoellent, rrtnorine; all obatructiou*. the dia-
iwiur headache m very prevalent with the »ex, d>|TM*loi> of «plr«t», duluw of
ht. ucrvoua aflecti<na. lilouhe*. |>*lnplei. and aiulowueea of tiic akin, audgi'e
lealthr. jiivcDll* bioom lo the oomplexion.
hold by all uiedlcmo vendor*. Olawva the name M
on the Government ••tarop
■u/l
a b
DR. MARK, with hw JUVENILE ORCHESTRA,
numbering upwards of 30 Instrumental Performer*, and a Chorus of 40
Voice*. coni]»o*cil of little English, Scotch, and Irish Boya, from flvo to fifteen
years of age. awl known by the UUe or " DR. MARK AND HIS LITTLE MEN."
(■ open lo »ut:*K*mi tit*. Apphmticin by loiter, wldressni: Dr. MARK, oarc of
Mcaar*. llooaey and Sous, 28. llullua-ttroet, Oxford street, Loudon.
Dr. Mark bus pcriormoi with his pupil* In crowded Louses, *n.| obtained the
hlghi'At approliailon in Lancashire, East and West Riding of Yorkshire, Scotland,
Ptaflirrdsbrre. IHir itisilrr, Olouo*»Uir*h|re, Cornwall, WaleS, Seincrnctahire,
Wsjwicltshtre, Worootteraiilrii. Liui-o.nshiie, Derbyshire, Nottuurlutmahire, etc ,
etc , and ha* given Concert* with the greatcat si.io.-e** at Uve Free Tratie Mail,
Mancheaur; St George'* H»ll, Liverpool: fit. George's Rail, RrxlforJ ; Mudo
llali Edinburgh . City Ha l Glasgow ; and all the principal room* in the above
touuika, hi. enterprise being pronouikced hy th, unaiiituoiiv voice* of the pre**,
attd by pubhc and private t<*liitmnial*, it* the mobt useful, pleasing, and ln-
a:ructivo entortaimneiit ever iu!roduce>l to the publH'.
To ihnso who niay. ho*cvor. bo still unacquainted with tbo meaning i»f "Da.
Ms hk a*i> his Lint* SUn," Dr. Mark beys most r<»|>.t tfutlr to *t«te that hi*
" LUtleMen" form • umst unique and complete JUVENILE ORCHESTRA, ooov
poaol of Ink rjig lah, SoHcIl and lilsb l«rrs, bom nv, to fift.eu year* of *£*,
iiiamboring upward* of forty perfornivr*, who play Marches, Quadrlllos, Folk**,
Nih*, Duet*, the choioeat selections of Operaa, snd sang Choruses In a moat
dfective manucr. and to whom he give* both a general and mushal educnUou, and
proviilea thcin ala>j • 1th buird an I clothing lor the term of three year* each,
" gratuitously. In order to lll i»tr«t« hat •tittrdy new. i^ninle. and effective system
of musical etiiicntion In favour of conMrvltoria* uf mu*le f, r the people" In i
tosrn and
cniliircn l
al cilucntlon iu favour or conaarr Itonea of m'l.ie fiw the people" In every
d city throughout ti e United Kingdom, and especially intended fur little
i and hi prentice*, where they may marl and *|«ui| their evening hour* tar
more congenial than the ri Us and tcmpt*tir«* o( ihc strwet will offer them.
1 he [airlorinanee of " Dr. Mark'* Uttle Men." is alw Intended to *h <* what
can Us achieved with an iudiscriniiiiate selection o: litUc English hoys, by a
simple plnu of training, »imultaneousIy encouraging and promoting nativo
musical talent in every |K>unble way anmugst the ruing geuernlion of a.la
cuntry. and to exert* an In lores* wh«rc».r I play, to c<«*ider music a most
noceavary hnui.b of education IU 111* humblest uf »ch tola, ami hy those moan* to
I nu.* tbc * iii.lslti 'U and wbAMeme innuences of mnsia withiu the reach uf all
rla.se* of H id,, as a means of oducatkm. as an element of recre.i |,« a„.l allnao-
lion to their hooao*. and a. an agent to improve and elerato the tuOe of
D
Now Published.
R, MARK'S highly upproved Works on "Musical
Bducation--TUE MUSICIAN, price Ono Guinea ; THE PIANIST, Half,,.
FREDERICK DENT,
frUkrr of the Pint CTIotk (ot thr JOousxs of p.itlunuu:,
And sole Huccessor to E. J. DcatT in all hi* patent right* and business- at
61, Strand, and 34 and 99, Royal Exchange, and the Clock and
n, niiauu, auu o-s aou oo, iwj ai j.-.luausv, v>,u vwi. mn cajui-
pioa. Faolory at Somelset WTiarf, cbronoesjiter, ViuUh. and Clock Maker to tlie
Queen snd Prince Contort.
8 Ooinea*.
Ladiei' Gold 'Watcbei - - -
men's --.-•»
8U»er tever Watches . - „ „
, with Compensation Pendulum, J
foaserfsori wifA 83, Coektpur-ttrtet.
METHODS FOR THE MILLION. — lislfe's New
1V1 8I..-H..g MeUa.-i. with rixteen ballads |M psgo*X «a Boosey-. Kew Pre.
twpu-ra Tor the Cruet. Flutu.ai.il Ooticerdna. by Jones, CUnloo. and C«iw, prico
is. each; *l«i llooaey'* Now Clarionet Preceptor. It*. Doo*ey and Sons, it and
BOOBEY'S NEW MODEL CORNKTS-A-PISTONS,
from 4 to 10 guinea* each. These celebrated instruments are saanty played,
produce a besuttfiiru.nl, ai«l are «U|-crbly fllllsnsd. Drawings and fhU JKir ticni'ir*
g.stl*. Also Booavcy', N. w Cornel Tutor (i-dlte. I by Stauttou JonesA tO pages, for »*.
Bcssaey »ud Sons, Si and .a. HoUca-Blruct, London.
B~tJOSK\' AND SONS' CHEAP MUSICAL~PUB-.
LICATIONS — Tlie Vctdl Album, cotilaiuUitf i^pular aooga from Verdi'a
operaa in llnJLan and Esis^liaii, far*ey eorer, prior 0b ; Mcnde'aaDliu'* aonga without
word*, a liCw and auperb clitiuti of LlieUix ceWbrated boa-lva, with pretest, by J. W.
iHriaon. a*id portrait by J, Lynch, bound in (nouuii and icoJ'i, prico Ti. Od. ;
I) Tn-va'-ore and Ia Travtuta, eomplae for puinrifgrte *u|i>, wltli deacri|»>ire
sjotici-a of the plot iunl niuair, price i*. e m*1i in br >wn v\<Ah corvra, or oa. 6d. tach
iu grotn m l t-uld biudiu^a for pr- m-> '. st . ■ ; one hun lred dancer for the violin.
It. ; (<tie buiMkrod melodit.* for the ci ncrrti u*, la ; Doo*ey'ii complete operaa f >r
the rlolln, la. catHi (18 a? e hutr ready) B-w>*cy mud -Sana, i't oiwl lluitca-straet.
CASE'S 100 MELODIES FOR CONCERTINA, Is.
Oise's Concertina I natrnctlon*. third edition, 2*. (base's Concertina
Miscellany, pul«iah--d every month. Ss. r«t. (SO No*, an ready). Case', t'o-pnlor
Recreatl.-ii-i, fur Coueeitln* and PUno, 12 numbers, la each Bossey and fegua,
sole manufacturers of Case's i-utcnl Coaicertlnss, 21 and in, U. -lies-street.
COMPLETE OPERAS FOR THE VIOLIN, One
Shilling each— Boosey and Son's Now Series— II Troviitoro, The Bohemian
Olrl, La Travaata, Rtgoletto. Maritau*. f>< ProphMx-, La Sonnamhula, Lucrcxu
Norma, Isscha da Lammem-oor, Kiisire d' Am are. Ernani. Maaanaello,
"us-uenota, II Barbiers, Dos J
Boospy and Sons, M snd », 1
Pawi ialu, I Puritani, Le* liu^ueuoU, II Barbiers, Don Juan- Also 100
a for ibe VlolK On* r "
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16
THE MUSICAL WORLD.
[Jan. 2, 1858.
MESSRS. DUNCAN DAVISON and CO.*S
CAREFULLY REVISED EDITION
or rax
SONATAS BY MOZART.
No. 1. Sonata Id C
*■ M ..
*• ..
4. .. .,
5. , . A minor
« ,. a
T. „ D
2* ** m
InC
I>
F
«. d.
.. a *
No. 10.
.. « •
11.
.. t •
IS.
.. 8 l>
1J.
.. 4 •
14.
.. 1 •
IS.
..SO
ML
• o
..4 0
17.
M
.. 4 •
18.
tnA
F
Bfiat
Eflat
I 1.
No. 1. Sonata In C .
1
a.
4.
».
■>
T.
8.
9.
10.
PIANO DUETS.
.. 10 • I No. i. I
.. a a a.
.. II o
< al
PIANO AND VIOLIN.
.too
a ..
B minor . .
11
A
, , 9
*
No 11.
. . 4
0
1*.
.. 4
•
IS.
.. 4
0
14.
.. 4
1
1*.
.. 4
!
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.. a
IT.
.. •
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.. 4
\
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Slat
PIANO, VIOLIN. AND VIOLONCELLO.
"oC .. .. r a | No. ft. Sonata in E
a •• •• « a | 4. iu
a, d.
4 0
4 0
a a
a o
a o
a a
4 a
i a
a o
a a
r e
4 0
a o
a a
a o
r a
s a
a a
T o
4 a
II o
10 a
NEW PIANOFORTE MUSIC.
"° WdaH)" Mo,?,ml d* Conrcr«. °T FumngiUU (playtd by Hi. Arabella
'A HUMMER'S DAT," Romaiioa. "by Bukoo 'iloriot' (on. 'of the moot *
,.„^r"^„^TO«-n>«np'oi»oofU>.d»j) .. .. j «
HEW VOCAL MUSIC.
"QUICK ARISE, MAIDEN" MINE," Air Btyrlcn, by J Doeauier (Dirndl.
TAe olW tiro Songs hate brtn nng by Mdils. Jetty rf« Treffz
with distinguuhrd success.
WHEN FIRST YOU BROKE BBFORE MB," by Ernest Bruce (mn*
by Madame Borcbardt)
"THE TWO 8Mll.r>T (for a contralto eojcel by 0. A. Macterrea
Ct*,URTTB"(fbr " ro»<"l<" VLd«). by j. W DaTia..,.
"AT RAR1.Y KAT-S DAWN I NO." by (V. Onivonor
'•MY TaWe^Is'deaD^L^^ V^r''
VOICI, PIANO, AND VIOLONCELLO OR VIOLA.
• MOURNFULLY. S1NO MOURNFULLY," by O. Cruwel), Op. »l ..SO
VOICE, PIANO, AND VIOLIN OR FLUTE.
IS THB SEA." by O. CruwoU. Op. J2 , |
VOICE. PIANO. AND HORN.
LONDON:
DUNCAN DAVISON A CO.
(DfcrdT OtMBBAL OB LA MAIftOH BRANDtTB, DB PABIs).
T, CORNER OF LITTLE .
BOOSEY AND SONS'
COMPLETE OPERAS
FOB
PIANOFORTE SOLO,
In strong doth covert, xeith descriptive notices of the plot
■ . ..
4. LuotjU BoTTri* . .
4. Lucia dl Ummfrmait
4. FiUe du rWgiuieut
7. Fro DiOTolo
a. DOO JUAD ..
«. U< IhwUKIOtK
10. IlTroralnre
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IS. Hia^nUttO
The complete set, price £X
bound In green
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may be bad, splendidly bound In green and
presentation/, prioe la. " "
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BOOBEY A SONS' MuaJcal Library. :4 and 18, Hollee-etreet, Loudon.
EWER AND CO.'S PIANOFORTE ALBUM
FOR 1858.
IdylK Op. 84.
6 — E. D. WAONE
7. -H. A. WOLLENUAUFT.
8. -R. SCHUMANN. Romance.
».— C. 8CHKAB8L, Uno KiWork-
10. — CHARLES MAYER, NutelletU.
11 —W. KRUOER, Chanaon du Roldat, Op. 48.
U — a O. UCKL, Et«gio.
18. — A. RUBINSTEIN, Barcarole, Op. 80.
14 JUL VON SO LB. Ln Najado.
IS.— FRANZ LISZT, Consolation.
lft— H A. WOLLENHAUFT. Chant
17 — C. ECKERT, Impromptu.
IS — STEPHEN SELLER. Aubade
19. — H. SCHONCHKN.LaFleurette.
20. -H. A. WOLLENHAUFT.
SL-A. LANKER, Ponaea a root.
M.-W, TAUBKBT, Oaoaoootta.
J UNOM ANN, Ij» R4|wo. N«
porolea.
rolia.
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im
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Saturday. January 3, 1848.
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It is
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SUBSCRIPTION":- Stamped for Postage, 20i. per annum- Payable in advance, by Cash or Pott Office Order,
to BOOSEY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 2.
SATURDAY, JANUARY 9, 1858.
i PEICE 4d.
1 STAMPED id.
M
ISS JULIA BLEADEN has
to 34, Alfred-
PICCO, the Sardinian Minstrel, I
where his rcrformaucee have met with tlie mat
addroaa, 12,
from Ireland,
AD. ELIZA POM A (late Miss Townsend), from Her
Malrsty'a Theatre, liAvitu- alaoaauir lur npwanla <.r three years in the first
I of Italy, Spain, and Portugal, U Id Landau to accept engagements for
I oratorios, or operas. Ad.lresa, No. 8, GaWen-snnare.
SIGNORA FUMAOALLI, 8IGNOR DI GIORGI,
and Mr. Charles Hrtdwto will sing at Windsor on Tuesday. January 1!;
Maidenhead, January IS; Harlow, January Hi and ll-.iilej -on-Thaiue»,
January 14. Conductor, Bsgnor Yianeei.
pOYAL ACADEMY OF MUSIC. — The Lent Term
XV commence* oo Monday, January 18th, 1858.
CaaOiiliUca for admir*iun must attend at the Institution for examination od
Satirday, January 14th. nt 3 o'clock.
Royal Academy of Music, By order of the Committee orMaiiVsnicut,
Tentcrdonatroet, iiAnarrr •qviarc, J. GfMrtON, Secretary.
January 7th, 1S67.
M
ISS JULIA ST. GEORGE'S SONGS.— Sung by her
In "Home aDd Foreign Lyric*." TUo most attractive entertainment of
day — vide public presa. The laholcof the music hy J. P. Iruguati. H-irtimifln
Co , 88, Aliauiy-ttrrrt, X.W , and all Muaic-erUera,
HER MAJESTY'S THEATRE — PICCOLOMINI,
SPKZIA. SMJRIBR. ALD101IIERI. CELLBTTI. VIALKTTI, LUCHBBL
and GfUGLlNI. Their ancccaalTe re presentations having been received with
cnthuaUaRi, •' IL TnoVATORE," -LA FIGUA DEL REGlilMR-NTo," "LA
PAVOHlTA,"aiMi " I .A TKAVI ATA" will bo repeated on Tueaday next, January 12,
Wednesday. January 13, lliursdvr. Janitxry 14 No F*i« Liht.
Prices:— Pit rVsIla. 12a 6<L : Boxes (to hold lour per*, lis). Pit and One Pair,
£2 is. : Grand Tier, £3 3a. ; Two Pair, A"l 4s. ; Three Pair, lie. ; Gallery Boxes,
IQe j Oallery Stalls, Sa. «d. ; Gallery, la. : Pit, 3a. 8d.
iu. )« mode at the Bo* Office at the To
H
ER MAJESTY'S THEATRE— HER MAJESTY"
THE QUEEN baa graciously arijrnined her intention o/hononring with her
0 a SERIES of POOH FESTIVAL PERFORMANCES, Intended to bo
presented at the period of the apixm.iel.lnj NUPTIALS of Her R..ya) Highness
flie PRINCESS ROTAL with Hla Royal Miglineta the PRINCE FREDEKICK
WILLIAM OP PRUSSIA.
»l arrangctr>eiit_
i. Litmley, and favoured by the assistance of the following Manager*.
The general orrangcnieids arc under tl-o direction of Mr. Mitchell. In e-> -opera-
tion v. itb Mr. Litmley, aud Cavou
of the Metropolitan Theatres:—
Mr. Smith..
Mr. Buxkatouc
Mr. Webefc r
Mr. Tlamaon and Miss
Mr. Re-bsun and
as Prno
Mta
Theatre Royal. Drury Lsnc.
lUymarket Tboetr*.
AdclpLi Tlicnlrv.
Lyceum Theatre.
01; mplc Theatre.
Mr. I'lielim Sadler's Welle Theatre.
The Programme will oompriae the following entertainmenta:
On Tnewbiv. January IS.— MACKKTII. Produced un.l<r tbc direction of Mr.
Phelps. MoeWh, Mr. Phelps; Ln-ly Macbeth. MIm Helen Faucit With I«nke'a
Incidental muaic under the direction of Mr. Ilenedict. And Mr. Oxcnlord'a force
of TWICE KILLED. In which Mr. and Mrs. K'dcy will perform.
Ttnimday, Jruiuary ?1.-Ralfe,a ikw opera, TIIF. 1I08E OF CASTILLE. by Mia
Pvue. Mr. narri.on, Mr. Wrlan. and tbo Operatic Company of the Lyceum
Theatre. Conductor, Mr. A. Melton. And a comic afterpi^e.
Saturday, January S3.— An Italian opera, by Mdlb\ P cixdorolnl, tSI|f. filuglinl.
and the prinei|a»l art lata of Her Majeety'a Theatre. With a Ballet Divurtiaaeencut,
aa.1 a Featirnl Cantata, cnrr>|Aacd by llow .rd Glover.
rourth Pertormanee.— All Engllah Comedy, by Mr Bu kalone'a Company of the
Raymarket Theatre. And an afUrrpirce. In which Mr. Wright and rueantiers of
the Adelpbl Company will perfotm. *
Adml>ainn to the pit (for which a limited number of tickets will be issued),
half-a-jrulnea ; gallery stalls (reserved and numbered), fa. ; gallery, 3a
A r>:>licat inns for boii-e, orclieetra alalia, and tickets to bo made at the Box-
office of the Tbeatre. and at Mr. MitahclP. Royal 7
2
lUbrary.SS, Old Bond-stmet
MAPLESON AND CO.'S
mmm & wmim mmwhh mm.
12, HAYHARILET, LOKDON.
Tuts Aseuey boa been established for the purpose of auj plylt?g what haa been
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Tula Agency Ia in a ncaitkm to arrange, wUh the ntrtvoetpiramplnesa, complete
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are kept for tlie gratuitous inspection of Managers, containing entries
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7, Bait-, Esq, Dark-tree:,
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ni,tinga,FjM..MD.>H>.
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OPFI' HOL'liil FROM ELKVF.S TO POOR.
MAPLESON AND CO.S BRITISH AND FOREIGN
MUSICAL AGESCT.— Olncrs, Clorenw CUunlwrs, is. Haymarket, Loud-aj.
As the Register Bonks arc now bcluc comi IU<1, all Ppjlesalraala oonroua of liaving
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31, 1S!.7.
DIANOF RTES. — DEWRANCE'S COMPENSATING
JL PI AN • may now bo seen nt the de]<Dt. 3A, rtolio-aqun.ro. By tbc appUcatlou
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power of a grand m oiiUlufd sWu a cott-ico U^tnimouf, ut tbc aamo time Uie
wires ADd the fhuno on wMeb ttiey are »tru"K cx|miixI and con t net with change
of ternperature etpially mid together, m> tbnt the ncceudty for fretptent tuoirttc, a*
la the ettaUmury iuatrumcnt, ia entirely obviated- Kor lidiwna und r< undueea of
tone, with extraordinary powers of mndu'atlon, tbeao liutrumcntrt are quite un-
equalled, at tUe atune time Uie prico ia no higher than that of ;ut ordUiAry |
CHEAP COLLECTION OF DANCE MUSIC BY
LAUBKNT.— Jufit ready, prioo 1>K, hi niuatrntcd cover (76 pages^ Henri
Iaaurcut'a Album of Danre Music, containing the following sixteen ]rOputar
QnadrUlem, Yalwa, Polka*, Gatopa. and VaniovUna, aa rtcrforrncd hy tbu Atttnor*i
Iland at the Queen's State Ball, aikd at all tbo theatrea and fdacnt of a jutaemeot
la lsOudoci and the province*. Contouta: La Traviata Quadrille, Lea llmjueiMrtJ.
ijmvdiillr, 6t. I*atnck ^n-virille, Ilighlaudur'a QuadriUe, FarUut pour Li rtyrle
ij'iiidrdlc, New Laiiotra QnadriUe, Valae du Caruaral, Yiklaea frr»m I<ea Vflprea
rticihcniira, Ethel Scwcomc Value, \i\ kms Vnhw. Romam ff Wat la, "
Polka, Kg>!<Uu Polka, Malakofl Oali-i^ Argyll Ualop, ami oiitjimd '
Price 6a , poet Iteu. Booacy atid boo a, Muaical Library, Uollce street.
MUSICAL DIRECTORY FOR 1858.
CoaTr.MTe :
1. Almanack with musical data and blank apacea.
2. List of Musical Societies throughout the kingdom.
8. Mu«lcal Trana.utii>toi i f tli" |»»t year.
4. Tl>e N>mee of Proro<aeT«, Mualc-srllcra, and M ulcal luatnimcnt ManuXieturen
throughout the king-lorn, with tbeir Addresses, etc.
List of Muaic (copyright onl) I publlaind belw.vu tho J<'lh Xovenil-r. )Si«,
November, 18J7.
the
and the Snih ]
. Carte tuid Co. will be glad to receive iuf tmatioii on
y names omitted, lorrocted addresses. Hats ,.f mi
Mtssrs I in- 1 II. Rt
abor-o bendv with
advertisements. Ac
Pr cce-Single copy. Is. Od.; by post, Is. Sd. To the trade C
copies, I&a.
BUDALL,
CARTE 4 Co.,
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-
18
THE MUSICAL WOULD.
[Jan. 9, 1868.
CAREFULLY REVISED EDITION
Or TO I
SONATAS BY MOZART.
MESSRS. DUNCAN DAVISON and CO.S | THE PRUSSIAN NATIONAL HYMN.
WILL BE PUBLISH ED RBI WEEK.
Friee 4*\,
GRAND MARTIAL FANTAISIK
cottrnncs m ram occamom or tic wartimoi or Tin
PRINCESS ROYAL,
BT
MADAME OURY.
Wo. 1.
1
S.
«.
k
%
S.
9.
ioC
A minor'
S :
.. <l
5 8
4 C
a «
s o
4 0
s e
6 o
4 0
4 «
a. d.
No. in. Sonata In A .. ..4 0
11. .. F ....40
12. ,, ., .. .. 3 C
]*• »• M " ..8 0
14 4 0
!&. ,. Bflat .. » t
IK. „ i. »■ .. 4 6
IT. .. E0at .. 1 •
18. Fa«taal»4Soinu,CmI.ior 0 0
No. 1
1
S.
4.
No.l.
8.
4.
&
«.
T.
f.
».
10.
InC
D
InC.
a::
Bmi.
D
PIANO DUKT8.
.. 10 « | No. S. Homts in A fl it .. .. .1 <
.. 'J 4 FautasU in F minor and
.. 18 0 Thema with vara. InO 7 0
PIANO AND VIOLIN.
.. 5 (I
..4 0
.. 4 a
.. * •
.. 4 •
.. 4 •
.. B «
.. J 0
..4 0
.. » 0
No II.
S ::
» :
£ :
1*.
Bflnt
Kflat
PIANO, VIOLIN, AND VIOLONCELLO.
No L SoruilainC .. .. 7 « I No. f. I
% „ O .. 4.
linE
Boat
.. 4 0
..so
.. » 0
.. • 0
..T«
.. i «
•;. ? S
.. 4 *
» 0
10 0
NEW
PIANOFORTE MUSIC.
"C'LARI<;K"M«-omud«Coucrrt. by Fnmss»lll (plnyrd by Mist Arabella
Uaddatd) 4 0
"A SUMMKR'S PAY," RomaiKtk by tiuirno Mori- 4 (.mo or the dhm(
po,«tardr»wln kwu pirowortliofUy) 3 «
*• F.l.JXE " Kumsocr, by E. A. Onmion (an ciuv a.ul tl««:»nl |4c< o Tur biichiiiu-) S 0
"TKIUMHHAli MARCH," by M.schrtua ' ..^V .. .. * 1 0
HEW V0CAI MUSIC,
"QUICK ARISE, MAIDEN MINE," Air Rtyrlcn. I.y J. Detainer (Dirndl,
sleh' mffimi Beit The English touU.u by John Oxoi.rord. B»q.) .. J
"WHKN I WAS YOUNQ.' by Ernest llraoe 7. .. t
The alert (iro Songt hare hern nag tg iliille. Jeitg de Treffi
iri'M distiHguishrd nttveu.
"WnrX FIRST YOU SHONE BEFOIIE ME," by Bract Brnoa (lung
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Google
Jan. 9, 1858.]
THE MUSICAL WORLD.
19
REVIEWS.
'■Tar. Classical FuirnTi" (used at tlio Roysl Academy of Millie)—
s aolcction of moTcmcnU from (ho works of the great muter* —
edited by Datairr Richards (Honorary Member, Associate, and
Professor of the Royal Academy of Mu-:r).
If any one were allowed to take down, at random, from the
shelves of the library in Tenlerden-strect, four-and-tweuty piece*
of music, and bind them in two volume*, without reference to
classification of difficulty or style, the two volumes would pre-
cisely represent the above collection, to which the name of
Mr. Brinley Richards is affixed as editor. That tho contents
are varied and of great interest ws admit ; but we shonld have
welcomed them more heartily had they been presented simply
as " Two Volumes of Classical Music for the Pianoforte tolut,
with a preface and fingering by Brinley Richards." The NJJ.
on the title-page, as it stands—" Thie teUetion it MMH% dc-
tigned at an introduction to the elaborate compotittont of the
efauieal writert" — becomes anomalous when it is observed,
first, that so many of these " elaborate compositions*' are in the
telettion, and secondly, that there is no "design" at all in the
method of their compilation. This ia not so much " book-
making" as book-rsmaking. No doubt the majority of pieces
comprised in The Ctasticat Pianitt already formed part of the
catalogue of the publishers— one of the richest in the trade ;
and who can blame them for endeavouring to call general
attention to such admirable music f But this might have been
done without having recourse to a subterfuge. And now to the
more agreeable task of "counting out" the treasures which
Mr. Brinley Richards has deposited, in two sacks— containing
silvor, gold, precious stones, and brass, indiscriminately— at our
feet. Mr. Richards* preface includes many sensible observations
—but one or two platitudes, of which the opening sentence
ia an instance : —
" To every one really desirous of becoming au accomplished pianist,
as well as a good musician, tome tnotetedyr of the works of the cUsiioal
composers is absolutely indispensable," 4c.
" Some," indeed. Mr. Richards should know that Uie " some"
of knowledge is insufficient ; and the fact that he presents us
with so raucn,Jn his two volumes, proves that he is quite ai
melodious
I by the following
AUnntUe,
-4
opens, freshly, with Mozart's
on a theme in A, which everybody will
Next comes Dussek's once famous, always graceful and pretty,
in B flat, Op. 24 (dedicated to Mrs. Chinnery), the com-
of which —
AHffro fm tpinio.
m
with which, however, it has nothing else in common. Tho third
piece is the Moonlight Sonata (in C sharp, minor. Op. 29) of Beet-
hoven, which needs no description, since it is indescribably beau-
tiful Weber's sonata in C major, Op. 24, succeeds. The contrast
between Weber'aOp. 24 and Dussek'sOp.24 is worth consideration,
not merely as showing the difference of tho ages in which they
lived, but of the men who lived in the ages. If any of our pianist-
readers have forgotten this fine, impetuous, and very unequal
composition of the author of Der FreitchiUt, the opening of the
last and beet movement— the conduct of which shows almost the
at once recall it
us of the opening of
Always (we cannot tell why),
Beethoven's sonata in F, Op. 10
t Allegro. "*
'•- 'V-
Next comes the Oonat* Pastorale (in D) of Beethoven, Op.
28, wherein both Duasek and Weber are left far in tho rear, and
the genuine loveliness of which almost entitles it to be called the
little sister of the Pattoral Symphony. The sonata ia just aa
" pastoral" as the symphony — subjectively in the deeply-moving
Allegro, objectively in the Minuet and Rondo. The ahepherd's
pipe and tho shepherd's loves are in every page — more vividly
suggested to tho mind than by a thousand Potior Fidot, or a
million Galatea*. Hear the monotonous little burden of the
trio — which never changes for any harmony—
r
and the delicious outbreak of the final rondo— as genial in its
way as the first chorus in Handel's Aeit :—
Allfffro mm trappo.
tm
n
Hummers pale muse can only listen hopelessly to such strains
aa these ; and yet the very long, very diffuse, very brilliant, and
very difficult sonata in D major (Op. 106,)# which i '
has many good points, and as a study for mechanism is invalu-
able. This sonata is one of tho least known to pianists, out of
the Academy (the sonatas in E flat, F minor, and F sharp minor
being more generally consulted), and Mr. Richards did well to
put it in one of the sacks, although, if his title-page meant
anything— "A selection of movement* from tho works of the
great masters"— he might have been satisfied to present the
• What a difference between Hummel1. Op. 106 and Beethoven's
Op. 1001
Digitized by Google
THE MUSICAL WORLD.
[Jan. 9, 1858.
and the finale allegro mm — which lire the
beat part* of the sonata— M specimens. Up to this point, how-
iver, instead of " a selection of movements," we have had a
•election of com pie to works.
After the elaborate eflort of Hummel
p. 78, in E flat :—
AVtgro.
chiefly remarkable for being the most extended composition
of its kind which the great father of Symphony has' left
us, nod for the peculiarity (a peculiarity in Haydn) of its
adagio being in E— half a tone higher than the movement that
precedes it. Those hitherto unacquainted with this sonata*
must not expect to find in it anything comparable to the master's
best symphonies and quartets, or they will be disappointed.
Mozart's melodious and charming sonata in F major—
Allegro.
?(Ut, and completely effaces tho work of Haydn, although
on a far less pretentious plan. Such music, however,
as a spring, tuneful as a wood at sunrise, is beautiful
it is beautiful. One of tho grand
in D minor, Op. 50— comes next, and
is all tho more welcome ns an example
Of this sonata, which begins as sub-
built
;>er se— beautiful
sonatas of Clem
being very little
of so famous a
Allegro Hon I,
fete
the last movement — allegro con fuoco—\% perhaps the best.
Tin whole is, however, instinct with the author's manner — a
manner quite as marked as that of Weber or Mendelssohn.
It presents tho poverty of melodic invention nearly always
remarkable in the second motiri of dementi's movements, and
investing them with a certain monotouy ; but (and for this
reason it is a favourite with many) it contains uo instance of that
eternal two-part canon, which, whenever his imagination is at a
stand-still, comes in to usurp the place of what, under happier
inspiration, might have been occupied by real mafic. This
canonic device of Clvmenti is sometimes a bore.
The so-called " Grand Pastorale" of John Field (Anglo-
Russian Field) in E major, beginning thus : —
|pm=a=i7?^ jnri^rpg— =3 T
• Which Professor Unmet t,
known " Classical Practice."
included in Lis well-
is a favourable example of the class of music to which it belongs
and which alone its composer was capable of writing ; but
it has had its day, and was hardly, we think, worth reviving—
a certain Daphne-Chloe-Amarylli* sort of sentiment, as fad*
as it is elegant, being its sole expressive characteristic. Field
was a man of refined talent, but still nothing much better,
than a musical carpet-knight. Tho sonata In A (Op. 25) of
Clcmcnti—
is not so striking an example of his productive genius aa the one
just noticed; but being fluent, masterly, uudefaced by two-
part canons, and very little known in the bargain, will be hailed
with satisfaction by the lovers of classical pianoforte music.
Tho first volume concludes with the genial and vigorous
ofMoxart in D-
Allegro.
which contains the rondo alia pdaeca, and a finale
a theme and (12) variations.
It will be seen that, up to this point, the compilation of
Mr. Richards has no definite plan whatever— not even the plain
aud simple one of progressive difficulty.
(To be continued.)
"KKOSPl-BLtTllx-FarcnT''— .Sosate fur das pianoforte— eotnpooirt
and ihrer Kdniglichcn Hoheit der Fnra Priostssm voa Preooen
ehrfurohtiToU und unterUh&aigst gewidmet, von Lit) Kehbcscs.
We have given the title in full. With regard to the sonata
itself, we can only say that whoever advised Herr Kerbusch
to print so crude an essay was a sorry counsellor. Herr Ker-
busch is stated to be a pnpil of Spohr. Perhaps the publication
of this sonata of his disciple may have served to precipitate the
retirement of the venerable AUmeiMer into private life.
forte
as s piano!
duet by Joseph McMurdie, Mus. Ike. Oxou.
Bachelor McMurdie would have rendered a still greater
service to music-teachers had ho arranged tho whole of the
E flat quintet, instead of only a single movement. What he has
done, however, is done well. The rondo makes a charming duet,
and the oftener it is played by young ladies, no less than by
the better for both.
" BwnrtR Biciusiw' Complete Tutor fob tub PiAiroroBTs.H
As it is the fashion now-a-days for nlruost every professor of
eminence to publish an' instruction-book, with his name to it (if
it be not always of his own compiling), it would be strange were
so popular a teacher as Mr. Brinley Richards without one.
When wo add that his "Tutor" is just as well considered and
just as useful as nine ont of ten of the elementary works we
have been noticing for a dozen years past, we have said all that
is necessary beyond noticing the fact of its appearance.
Of course, like all its predecessors, this bonk lays claim to
something unprecedented and peculiar to itself, either in detail
or in general arrangement ; but if it be true that there is nothing
new under the sun, we need scarcely look for novelty in a piano-
forte tutor.
Digitized by Google
Jan. 9, 1858.]
THE MUSICAL WORLD.
21
"BniHLBr Bicuabds' Octavb Srcoin" — far tho Pianoforte. De-
dicated to Cipriani Potter, Esq.
Tumk studies — four in number — are not merely good for
practice but attractive in themselves— 71*0: W mime, flic last
more especially (in 1" minor) is one of the best compositions wo
tuiber to have sect; from the peu of Mr. Richards.
or Short Friludh"— for the
by Briitley Richard*.
Tr preluding does not come by nature (like reading and
writing — according to Dogberry) we doubt if it can over be
taught. Admitting the contrary, however, these short jeux de
doigt* of Mr. Richards, which embrace the keys most frequently
in nae, are as likely as anything we know of the sort to help the
learner. In the preface there is a clause which requires ex-
"The second aeries oon«iiti of four chorda. .4 variety of prelude*
are constructed upon these chord*, but from their being a/ir lyt the tttxe,
they are easily retained in the memory."
r the drank I
Walter
htaire," pour lo piano—* aon ami,
par Stephen Heller (Op. 88).
d'un
llroslwood
the six pieces comprised in this third series of the
idee fun Solitaire the admirers of M. Heller's music
will, we think, be likely to select No. 1 in B flat, and No. 4 in
G minor, aa their favorites. Although there is uo mistakiug the
hand that penned them, the strong indications of the composer's
manner are accompanied by musical beauties of a high order,
which will repay all the pains bestowed on mastering the
difficulties they contain. The pastoral feeling is sustained
throughout the first of these, in spite of its capricious changes
of time, with great felicity. The style of the other is agitated
and passionate, but it is planned just as largely and finished
with a care as fastidious as its companion. Noa. 2, 3, S aud 0 (in
1) minor, I) major, F, and A) seem to have proceeded less freely
from the pen of the composer, and, besides excess of mannerism,
betray evidences of labour not perceptible in tho two we
have singled out for preference. They form, however, capital
studies, and (like all M. Heller produces) present many
interesting points of harmony and modulation. In theao barren
times anything written with such earnestuess must be welcome
" UtouLiSD Jr-sstr, tub Heuoiki or Lcckxow." Song. Dedi-
cated to Lady Uareloek. Words by D. M. Aird. Musie by
T. Browne.
Mb. Aim. and Mr. Browne, together, with the aid of some
snatches of Scottish war turns, have made a by no means in-
effective song out of the romantic episode of Jessie Browne.
As the "profits" are to be given to the Indian Relief Fund, let
us hope they may bo considerable.
Written by J. W. Barlow, E«q. Sung
by Mr*. Rnderssohii. Composed by Thomas Urahain.
Altiiouoii Mr. Barlow docs make form rhyme with morn,
his lines are really poetical and far beyond the common
standard of such things. The music of Mr. Graham is laboured
aud somewhat dull ; added to which there are several points
, as for example :—
Voi«..
\ • 11 \ Ba*«.
J J_i
— sj ■ -•—**
besides a terrible engraver's error, which— on reference to page 8,
line 2, bar 1— will be detected at a glance. Mr. Graham appa-
rently writes with a serious intent to do his best ; and for that
reason we have considered his song worthy of criticism.
"LaSO asd Sia" (words by J. C. Prince)— " Tub KBT.ris's HaTOl"
(words by A. Erikina Murray, Esq.)— Songs— Composed by J.
Diirrner.
The first a barcarole, tho second a legend— both charming-
charming alike hecanse their melodies are genial, aud t>ecause
their accompaniments betray tho experienced band and refined
taste of a musician. We have no preference for one over the
other, but a I mire them both — "The Kelpie's bride" for its ex-
pression, " Lind and Sea" for its spon tan eoasnees. If our
singers of chamber music would occasionally turn to such
healthy unaffected songs as these, they would be enabled to vary
their resources most agreeably.
forte,
" Lbs Virata .SiciLUsarji"— for |
Rudolf :
A regular feast for those lovers of Verdi's music who are
players without being singers. The whole of tho opera is hero
arranged, and effectively arranged, for a pair of bauds— not a
soug, a dance, or a chorns omitted. Verdi does not lose so
ranch by being stripped of his orchestral and concertunte acces-
sories as other masters who labour with greater assiduity
at refiniug and elaborating their scores. He writes simply, and
if we have his melodies under hand, the rest is scarcely missed.
Tho Vipret Sicilienne* forms No. 12 of " Standard Foreign
Operas for piano solo," and is likely to prove, among other
reasons for the ono wo have stated, aa attractive 1
No. 1, " Rbmbmbraxcb" (tlieme with variations.) No. 2, "Causta"
(eA«»/ de mar lyre.) No. 3, "AtrorsTa" (mrlodie erpretiive.)
No. 4, " BosilM) CavaT1*a" (morctou de w/os), for the pianoforte.
By William Scuutthes.
Of these elegant and highly-finished pieces we prefer the first
and last — because, though neither more graceful nor better
written than tho others, they contain matter which may be
accepted as the composer's own; whereas "CaliiaU " and
" Augusta " are merely the reflections of a type so worn that
a fresh impression cannot easily be obtained from it.
The variations (No. 1) are not only excellent in themselves,
but founded upon a really melodious theme, while their very
moderate difficulty places them within reach of the great crowd
of performers. The morceau de talon (No. 4) is more difficult,
ana on a much more extended plan. The idea upon which this
brilliant little piece is " motive is extremely happy, and though
somewhat diffusely elaborated and in some measure lost sight of
in the coda, entitles Herr Schultbes to the credit (now so rare)
of having hit upon something new. Tho '• Rondo-Cavatina," in
abort, is worth the attention of intelligent pianists), since it is
not merely showy and effective, but sterling icelt-made music.
"Old Exolisb Dunn," selected from ChappeU'a collection of
" Popular Musio of the Olden Time," arranged with symphonies
snd accompaniments by O. A MacfABautK. (Part 4.)
If the " popular music of the olden time" does not (in time)
become "popular" once more, it is not the fault of Mr. W.
Chappell, who, with his able colleague Mr. Macfarren, is work-
ing so zealously to bring it into modern repute. The specimens
of melody — genuine melody — which the present issue of this
valuable series contains are as frequent and as striking as in
any of its predecessors. Part 4 contains ■ The Queen of May,"
" Dulce Dotnum," *' 0, came you from Newcastle ?" (the words
Digitized by Google
22
THE MUSICAL WORLD.
[Jan. 9, 1858.
Tory skilfully completed, from a fragment — by the- late Mr. Mac-
farren), " King John and the Ahhot" (the old ballad judiciously
compressed by Mr. Oxenford), "Dear Kitty," "Light of Love,"
" Cold and raw's the wind without," " Bouse thee, young knight,"
"The Beggar-boy," "Early one morning," "Drink to me only
with thine eyes, " Come Laasea and Lous" — all good tunes, and
some absolutely beautiful — tunes, indeed, which, in the present
day, are seldom approached, much seldomcr equalled, in geniality.
The words to which five of these old tunes arc set (from " Dear
Kitty" to "The Deggar-boy" inclusive) are from the pen of
Mr. John Oxenford. They belong to tho highest order of lyric
poetry, and we should like to quote them ail for the benefit of
our readers ; but circumscribed space forbids, and we must be
1 with one, for which wo can fiud no other epithet than
" Cold and raw'* the night without ;
Tho wind*, io loudly brawling,
Greet the winter with s shout,
And well be hears tlieir calling.
A tent of cloud* above their kin*
The busy wind* arc spreading)
Tho snow-ilakcs st his feet they fling,
A carpet for nil treading.
rt Bright snd warm'* the night within;
The log i» burning clearly;
Well it answers yonder din,
By crackling loud and checrly.
We gather closely round the Are ;
Tlio young of lore are telling ;
The old bring tale* of goblin* dire,
Io haunted coition dwelling.
" Silly soul* arc old and young,
And silly plan* employ tlicm ;
Idle hope* can make tin ■ ttm §,
And idle fears annoy them.
I'm weary of the ceaseless talk,
Hate, lore, snd fear together;
So out st yonder door I'll walk,
And meet the winter weather."
It has for some time been a favourite belief with us that Eng-
1 possesses two unacknowledged poets of the first stamp —
Thaekerav and Mr. Oxenford. If Mr. Chappell continues to
marry the early English tunes to such verses rts theirs, while
establishing his
melody, he
doctrine of the supremacy of
-Vrnn, Njjta, alia Uabchbtta,"— parole del Sig.
mutioa compoita ds Antonio Giuglini.
A barcarole, of the true Italian stamp, aa melodious and free
aa if it bad dropped from the pen of Donizetti, in ouo of his
happiest momenta. If Sig. Giuglini would study harmony with
attention, who knows but be might end by composing as woll as
he sings?
LEONARDO LEO'S ARIA, " DIRTI BEN."
To Us Editor of Ik* Muneal World.
SiB,— I havo to thank^you for drawiag my sttention to some errors
ry the early English tunes U
his theory about the superior nature of tbo old
will, unconsciously, upset the generally received
he supremacy of the old lyric poetry.
of the
I the
had overlooked when correcting tho proof.
The psissge you hsve quoted *hould
•
m=
=d -
l—i — IM-
«5pFi_sp_=t=f
2a- -£-4 E f— 1 t-
that
the!
By again referring to tho composition, you will at once perceive tl
e harmony is not incorrect, but tbst it i* misplaced ; that the semi-
quaver rest should havo been craied, that the semiquaver line should
not hsvo extended beyond O, snd that the chord in tho bas* should
have been placed under tho last notes in the treble. In mv adaptation
of the accompaniment to tho pianoforte, I hsvo implicitly followed
Leonard Leo'* score (Walsh's edition), which i* remarkably rieh for
the period at which it ««• composed ; for nlthough introduced into
Kuglond by Oaluppi, in 1711, I believe that the sir was written at s
much csrher date, and was extracted from one of bis then popular
operas. I avail myself of this opportunity to remind you that Mare
Antonio liononeini, the composer of Camilla, tho second opera after
the Italian model performed in this country in 1700, ws* an elder
brother of Giovanni liononeini,* the fi.mou* rival of Handel, the
" Tweedledum" of Swift, snd tho composer of tho once popular
owiir, ana tno composer 01 me oneo popular
Orutlda, Calyhurnia, Atlarie, snd the fine anthani performed at the
funeral of tho great Dulc of Marlborough, hi* patron. The «ong,
" Love leads lo battle," from Camilla, cannot fail to be interesting to
the musical student, inasmuch as it represents the character of the
Italian music so much sought after snd admired by the English aris-
tocracy about the end of the seventeenth and tho commencement of the
eighteenth centuries. I am, sir, your* faithfully,
88, Bak*r-4frt*{, Porlmaa square, Charlw SaxaV a».
* M. Ketis, in hi* Biographie, make* out the i
nd the rival of Handel to be one and the
i.-Ep. 31. W.
MENDELSSOHN'S "ELIJAH."
Tuts great work was performed on the 22nd .
a fact all the more worthy of our thanks, since, up to
tho present time, the execution of oratorios in Vienna has
not satisfied, either in quantity Or quality, even when the
various obstacles had been taken into consideration, the most
moderate expectations.
Despite many unsuccessful details, especially, for instance, the
evident falling off of the second part, compared with the first, it
has for years been clear to everyone, not influeni
party arguments that Elijah, as well aa its pred
is about the greatest work in the way of
influenced by frivolous
redecessor, .Sr. Paul,
itorio, since the time
of the great German contrapuntists.
Moreover, at the present day, Me tide lanolin's sacred works
are, as it were, a protest in tone against the real or affected
want of skill on tho part of so many of the more modern artists,
with whom the free right of subjectivity threatens to degenerate
into the utmost madness of caprice.
Besides tlieir absolute value, not tho smallest part of the
importance of Mendelssohn's works lies, perhaps, in their
connection with the proper course of the history of art.
With regard to the execution of the work, it was, by do
free from blame. The choruses were flat ; many a pasi
proved to be effective, was entirely lost, a result to '
unfavourable locality contributed. The solo parts w
satisfactorily rendered.
Mad. Louise Mayer sang the soprano part in an extremely
animated manner ; perhaps, indeed, her execution, in some
passages too violent, was out of place. Herr Panzer wasexcellent.
Tho other solo parte were sustained by Madlle. Tipka, Hcrron
Walter, Peschke and Sellner.- (Translated from the Jfeue Wit**r
Jtunk Zeitvng. _____________
Buivros's Theatre. New York. — The engagement of Mr.
C. Mathews at this theatre has been attended with tho most
brilliant success. To-night Mr. Mathews appears in a comedy
called The 2fot«tf*r.-Aro York Timet, Dec. 21.
parts were
Digitized by Google
Jan. 9, 1858.]
THE MUSICAL WORLD.
RACHEL.
Within this week one of tie subtlest ami brightest intelli-
gences that ever donned the frail garb of humanity has fled for
ever from among u«. Rachel ia dead. She haa fretted her
brief hour upon the stage and now ia heard no more. But in
that brief hour to what a purpose haa she bestirred her ! What
a splendour marked that swift meteor passage — what a won-
drous crowd It lighted up of notable' and aolemn human shapes !
In that brief hour with what a spendthrift hand did she scatter
the wealth that was within her ; how rich hath she left us in
the memory of her great gifts ; how poor in our regrets.
To look back on the manifestations of that life which has thus
so furiously spun itself out in half the time allotted the droning
herd of mankind — to count up, and bring before the mind's eye,
the achievements crowded in that flash of existence, coded when
ordinary mortals scarce bethink themselves the world baa any
task at all — is bewildering. The multitudinous thoughts and
images, the throng of sights, sounds, and emotions, the great
pageant of heroic living and suffering sweeping through every
age, evoked in such a review, awaken a kindred commotion in
the depths of the soul to that we experience when we gaze with
Shelley at the visions in his Triumph of Life.
The ordinary biographer will probably find little enough to
record in telling the story or this life, which, too, was a '
triumph— ft triumph of spiritual prowess over earthy
When ha has recounted that one great vicissitude, common
alike in one degree or another to so many endowed with the
perilous gift of genius— a mean and obscure childhood ushering
in a youth radiant with the most dazzling and palpable glories
the world has to give — there will remain but little to employ the
colours rich in contrasting tones of such a writer's pallet The
Jew pedlar and his wife, wandering wretchedly in Switzerland,
and the child born at Munf, in the canton of Argau, promisingly
opens the tale; then the infant grown tea slim girl, with strange
forehead and eyes, and deep-throated voice, haunting cafe doors
in Paris with harmonious efforts in concert with elder sisters,
gathering iu a tin tray the harvest of coppers thereby
fostered and ripened, and in such guiso attracting the pro-
phetic eye of a sagacious old professor of sacred music ; then,
after an interval of pupilage and instruction in so much of the
arts of declamation anil of feigning the passions as histrionic
pedagogues, Paguon, St. Aulaire and others, can impart; a false
start at the Oymuase, a little twilight straggling, and then the
full and lustrous dawn of a great genius in Juno, 183a, at the
Theatre-Francais, critic Jules J as in playing chanticleer, and
announcing the god-star with much shrill, clear, and effective
crowing ; but after, what shall the ready writer find to his hand,
what pabulum for his descriptive pen; the remaining incidents
are but a caput morft.um, a duU recital for which play-bills,
newspaper critiques, and notes of travelling e:
coldly furnish forth the staple.
On the other hand, leaving the Hebrew pedlar's pheno-
menon progeny, born at Munf, or elsewhere, with all the
haps or mishaps of her mortal condition, the chauges and
checquerings of her social statue, could any one that has be-
held and carefully noted the first creations of that plastic, life-
giving spirit, Rachel, the tragic mime ; watched the energetic
workings, the daily, hourly growth, the overspreading conquests
of that dauntless soul ; conquests twofold over the rebellious
frame through which and in which it wrought its purposes ;
over the intellectual and moral inertia hemmiug in Use a dark
chaotic desert her fructifying conceptions and radiating sym-
pathies ; could any one tell us how he had observed the gradual
expansion, stage by stage, from the few electrifying touches in
a comparatively rude sketch to the finished and perfect master-
piece in whirl, each stroke ia instinct with a separate world of
thought and feeling, and, every part, while individually com-
plete, subdued and correlated to the whole— he who could
"such a tale unfold" would indeed be worth listening
to and the only true biographer of the great actress. Her life
had in truth, but these two ingrediente,tbe mystic inward struggle
known only to herself, and t
eye of day, for all to gaze at
tie best chances and the k«
It has been the writer's fortune to have
rard fruit hung forth in the
all to taste, and he that had
late will have most to tell.
of her career to her
voyage, and in most of
the parte wherein she was chiefly distinguished, and in which she
had bestowed all the wealth of her wondrous resources, all the
fruits of her patient, minute, and searching study. Such oppor-
tunities, however productive of a rich and treasured store of
thrilling resemblances, are quite inadequate to the <!oing full
justice to so transcendent a genius, for which only such a
thorough knowledge aud study as is above alluded to of her
entire career would form a sufficient basis. What, perhaps,
would best of all illustrate, in as complete a way as the nature
of the subject allows, the whole scope and result of her artist-
life, would be the collected experiences of many minds of various
tastes and sympathies, though all of the proper calibre and tex-
ture to receive with due force and amplitude the full impress of
her mighty conceptions, at each stage in the maturity of her
powers. Even such a cloud of witnesses, though they might
iuuid down a reasonable assurance to posterity how surpassing
an actress had been vouchsafed to this generation, could never
convey an idea of the peculiar thraldom exercised over the
minds and hearts of her auditors by her inspired creations.
If one should seek a single word that would best charac-
terise the genius of Rachel, it would be — intensity. From the
Instant the eye fell on that slight, lithe, and nervous form,
caught the dark lustre of that smouldering glance, noted the
dignified poise of that graceful but portentous head upon the
snake-like neck, the sense of concentrated power was expe-
rienced, and a sort of awe of expectation awakened. Then fol-
lowed the low, clear, vibrating tones of that matchless voice,
delivering every word with a penetrating accent, and imbued
with a clearly defined expression, that struck at once the
key-note of the whole character: the fascination was com-
plete, and the hold over every sense and faculty of
the spectator never relaxed through a whirl of stormy
emotions, till he was left with a great tragic history written
on every fibre of his being. The heights of sublimty
were stormed, as it were, in a succession of vivid traits-
lightning flashes that illumined the depths of the human soul,
and darted about the pinnacles of heroic conception ere the
pedantic and stilted declamation of the old school would have
raised you an inch above the dead level of the weary work-a-
day world. Wondrous, indeed, it was to see this fine fiery
spirit — "of imagination all compact" — pour floods of warm
glowing life, and real quivering emotion, into those cold, pom-
pous, bewigged and betrizzled caricatures of the Greek
tragic muse, the ckef-ttceuvret of the French TragMie Clanriyue.
With all the good-will in the world to support these monu-
of its literary genius, France had subsided into, if
nee on the subject, when tl
not indifference, convenient silence on the subject, when tho
brilliant young pupil of the Conservatoire shed the lustre of her
electric light on the neglected busts of Racine and Corneillo, and
for the time they might have smiled congratulations at each
other at the revival of their pristine glories. It is questionable,
however, whether the service she has rendered the old cause of
French classic tragedy be not a very treacherous one, and
whether the blaze which her genius lit up out of these old
materials, winding round the cumbrous aud heavy pillars of the
Gallic temple of Melpomene, has not, now the fire is quenched
for ever, left only a blackened and melancholy ruin.
It may be that some such feeling may have contributed to
sharpen the spite with which, to the disgrace of the country she
honored and adorned, every attempt has been made during the
latter part of her career to decry the fame and question the
genius of this consummate tragedian. With her, Tragedy has
departed ; she haa sealed up the old classic repertoire and not
one great work has sprung up contemporaneously to do honour
to this supreme mistress of her art. Let us hope that France
will be softened by the mournfully premature loss of one who
so long sustained and brought to its zenith the glory of her
stage, and that she will repent and atone for the foul detractions
of the past bv doing signal justice to the bright career aud
T Rachel. Would our Shakspere bad
lial an interpreter ; but, aUsi 'tis
to be feared that, " Take her for all in all, we ne\
see the like of her again."
Digitized by Google
24
THE MUSICAL WORLD.
[Jan. 9, 1858.
Reading — (From a Correspondent delightful concert was
given here on Monday evening, nnder the auspice* of Mr. Charles
Braham, o universal favourite in this neighbourhood. The party
of Bingera was small but efficient, and their various effort* were
received with enthus'isnm by a crowded audience. Signora
Fumagalli (from the Opera Buffa, St. James's Theatre) created a
furore. This ladv is an accomplished concert-singer, which sho
proved by her brilliant vocalisation in " Ah for*' & lui," from the
Trapiata, and again bv the expressive simplicity with which
she aang the ballad of " The Convent Cell" (in Kuglish). Signor
di Giorgi (Opera Buffa), the barytone, pleased immensely in " II
balen" (Trovatore), and was encored in the duet, " La ci darem,"
with Signora Fumagalli. In a trio from Verdi's Lombardi, the
same artists, assisted by Mr. Charles Braham as tenor, were
immensely applauded. Mr, Braham himself was in great favour.
''Come into the garden, Maud" (Balfe), the " Death of Nelson,"
and the '• Bay of Biscay," were all Bung with admirable energy
and feeling by this gentleman, and all encored unanimously.
One of the moat successful pieces in the programme was the
duet, " Parigi, o cara," from the TVai .'•»?.», which was given with
genuine tenderness and expression by Signora Fumagalli and
Mr. Charles Braham. Signor Vianesi undertook the duties of
pianist and conductor, and performed them in a highly satis-
factory manner. The audience left the concert-room thoroughly
gratified with tho treat afforded them. A second concert is to
take place shortly, for which the tickets are "going off" with
unexampled rapidity.
Waixisoford — (From a Correspondent).— The Fumagalli-
Braham party gavo a capital entertainment here, on Tuesday
evening, which attracted a very large audience. The pro-
gramme was varied and interesting. Signora Fumagalli sang
admirably, and was loudly encored, both in an air from the
Traviata and a ballad from the AW of Castille. Signor di
Giorgi was awarded n flattering sharo in the honours of tho
evening, and gave a romance from Donizetti's Maria Padilla
with such marked effect that he was encored by the whole
audience. Encores, in short, were the order of the day, and
Mr. Charles Braham, who gave some of his popular songs with
remarkable animation, had a lion's share of them. Signor
Vianeai, the conductor, made the best of a very queer piano,
and showed himself a musician in spite of difficulties. The
concert was so successful that another is already announced.
'HKATRE
KOYA L,
of Mr. "
HAYMARK ET. — Under
On Monday. Tu«..J«y. mid W*di«*l*y,
STONE will appear In tho comedy if
January lltb. l»b. and 1SIJ.. Mr, BUCKSTONE will ...par It. tho u ..f
A CURB KOB TUB HEART-ACHE. Ou Th..r»t»y. Friday, .-.Nil Baturday.
January Htb, 15lh, aud 16th, iu the ceiocdy of SINGLE LIFE. To comweuco
which, . now mod ironic Cbnataiaa
BEAUTY IN TIIK WOOD: OR HAR-
f. Tbo Muicry by Mr. William Calloott.
Mil-. ISth. aud 16th,
ng at T o'clock. Alter
cut.tla.1 THE SLEEPING
I.EOUIN AND THE BPITEFUL FAIRY. Tho Mcucry by
Harlequin, Mr. Arthur Lwdota) ; Coiunibli>o. Mian Funny Wright; Pai.taLun,
Mr. Hackay; Clown, Mr. Charlta Leelercq; Tl.o Pilii6.aa ou bar tnnolo, Mia.
LouUe L^clorcq.
NKW ARRANOKMENT OF PRICES. — Orchestra Btatt» (which nuy ba re-
tained Ibe whult of loa craning-, and for which tboto will bo i.a rl aro-elor luokJug^
Ga. cucb. Fia*T Prick.— Dree. Boxes, :».. ; Upper Boxes, 3a. ; Pit. I£a. ; UaUorj. la,
HrcDnn r«iet — Drou Bixca, a. ; Upper Rose* I*. ■ Pit, Is. ; Gallery. W.
Private Boxes, Two Quiuaaa ai*l Ouc Guinea aud a half each. Htagv Manager,
Mr. Cinppoudalo.
ROYAL PRINCESS'S THEATRE
UNDER THE MANAGEMENT OF MR CHARLES KEAN.
0
N MONDAY, WEDNESDAY, and FRIDAY,
KJ A MIDSUMMER NIGHTS DREAM. TUESDAY and THU It." I) AY.
UAMLKT SATURDAY, THE CORSICAN BROTHERS; and tho Pautunun,.,
•Ttry Evening.
s
T. J AMES'S THEATRE — PROFESSOR WILJALBA
PRIKELI.. Phy»k-lei> to their M-icatUw tbs Emperor and Empreea of
Ruaeta.— PHYSICAL AND NATURAL MAGIC, without tho aid of any Appa-
ratus TWO HOURSOF ILLUSION*. Wednesday aud Saturday afternoon* at I.
and every oT.ntng at H. Sulla, Si ; Balcony Bulla, te, j (Soxaa, 3a.; Pit. Sa.;
Oallcry, la. Privato Boxo*. Two GuluoAa, On. Oulura aod-a-half, and One
Guinea. I'laoaa to U> aecured at Mr. Mitchell'. Royal Library, 33. Old Uoud-atrcct
ROYAL OLYMPIC THEATRE. — This evening, the
performance will commence, with THE TRAGEDY OUEEN, After which
tbo now cxtrirasnnxa of THE WK)K OF DURALTO. To conclude with
BOOTS AT THE HWAN Commence at balf-posi 7.
THEATRE ROYAL, ADELPHI. — This evening,
Uio Slid and 3rd act« of Die GREEN HUSHES. After which HARLEQUIN
AND THE LOVES OP CUPID A-VD PSYCHE. Harlequin, Mis* M»rte WWon ;
Columbine, Mia Mary Keol.y ; Punchinello, Mr. Lcttarr; Clown, Mr. He.,dereon;
-lr. Beck1.,gb.mi.
G
REAT NATIONAL STANDARD THEATRE
BUOREDITCn — Proprietor, Mr. Joes PocoxaML
On Monday and during tho weak to enenm'-uee with tho
tnua Comic Pantoniluia caned GEORGEY PORt.EY '
PIE; OR, HARLEQUIN DADDY LONG LEGS. To conclude with. THE
WAITM, lu which Mm. R nouucrwUl pcrtbrm. Moruii g Pcxfurnumcca every
Monday at Half-past Twolvo.
TO CORRESPONDENTS.
H. T.— Th* prospectus of the Colojne Music School can only be
had (so far as te« Inow) by application direct to Ilerr Ferdi-
nand Jliller, Constrvalorium, Coloane.
Tenor. — The letter of our correspondent is an adrertisetnent.
Mexdblssohnian. — Elijah teas first performed at the Birmingham
Festitxd in Seidember, 1M6 ; St. Paul of fA« Dusscldorf
lUienish Festival in 183C (May).
Inquirer.— We do not keep a "penny-a-liner IhI ire keep "Old
Truepenny" — a liner.
tho vife of a. A.
DIED
Recently, at DeTOnshtre-itreet,
Oiborae. Esq.
Ebbata. — In the verses headed " Try it again " — hut line of Hr»t
rer»e-for {( ^ ^ ^ wn&ict-Trj it Again,"
• If foiled in iU first effbrt-Ttj it again."
In first line of third »er»e, for
" Orer the high foamisg oeesn,"
read
THE MUSICAL WORLD.
LOUDON^ SATURDAY, Jascaby 9th, 1858.
The rapidity with which a new Covent Garden is rising
from tho spot where the old theatre was reduced to ashes
leaves no room for donbt that tho coming season will
once more see Loudon provided with two enormous esta-
blishments for tho exhibition of foreign talent. The question
of their expediency is closely connected with that of their
probable success or failure ; and it is impossible now, which-
ever way inclination may point, to avoid a serious consi-
deration of the subject.
Are two theatres for tho performance of Italian operas in
the Italian language necessary, even in a metropolis so vastly
populated as London 1 Opinion leans pretty generally to tho
negative, and, we think, on good grounds. It is no use in-
dulging in the Utopian dream of a friendly rivalry between
two houses, the rise of one of which is the fall of the other —
and vice vend, just as (according to the Gazette de France)
" England's misfortunes are France's opportunity." Nor is
it a bit more sensible to expect that the two managers shall
play into each others' hands, and rigidly adhere on either
side to a stated repertory. Their interests are diametrically
opposed. The repertory which brought the " fashion" to ono
theatre would instantly and naturally bo adopted by the
other.
It is all very well to tell the managers of the Royal
Italian Opera that the "Academic lmpe"riale de Musique et
do Danse ' is the mine from which to dig up their resources ;
and that Meyerbeer, with an occasional reference to Auber
or HaUvy, and two or throe of tho German " classics " to
vary, would make a programme complete at all points. The
\
Digitized by Google
Jan. 9, 1858.]
THE MUSICAL WORLD.
25
managers of the Royal Italian Opera will laugh in their
sleeves. As well might their own adherent* (with a sly
wink) advise the directors of Her Majesty's Theatre to stick
to Rossini, Bellini, and Donizetti — leaving Mozart and Don
Giovanni to the honse in Bow-street. Any such compromise
is out of reason ; neither party would he satisfied ; nor
would it conciliate the public. Wheu there are two Italian
Operas tho public will patronise roost liberally the one
which offers the greatest variety of temptations. Few will
be found to subscribe to both.
One question, then, is disposed of. On the score of expe-
diency two Italian Operas are not required. A subscriber
to either will expect to hear all that can be heard through
this J articular medium. He will require his Barbiere as
well as bis Huguenot*, his Don Oiovanni as well as his
Gwjlidmo Tell; aud the prospectus which sots forth the
largest number of attractions will decide him in the choice
of a theatre. If the repertories could be separated,
each establishment devoting itself exclusively to one, the
existence of two Italian lyric theatres might not only be
tolerable, but advantageous; but common-sense shows us
that this is wholly impracticable; and the sequel leads to
the inevitable conclusion that ono foreign opera is enough to
satisfy all demands.
A similar train of argument tends to establish tho fact
that not only are two Italian Operas inexpedient aud un-
necessary, so far as the public interests are concerned, but
that their combined success is improbable, if not indeed im-
possible. There is a condition attaching to tho relationship of
the public with public amusements which cannot safely be
ignored, but which, nevertheless, is almost invariably over-
looked in the discussion of such matters. In the course of a
twelvemonth* it may reasonably be insisted, every member
of the community can afford to spend a certain sum of
money, and no more, upon simple recreation. The class
to which money is no object is a very restricted ono,
and docs not affect the argument The result arrived
at, then, is that the gross public represents a given mini,
to be laid out annually in out-of-doors entertainments,
and that this sum only varies according to circumstances,
showing on the whole, as years are compared with each
other, an average from which deductions may fairly be
made. Into whose pockets this annual sum may be emptied
depends npon many things — upon strange and unforeseen
phenomena, upon fashion, and not the least upon caprice ;
but once exhausted no more remains to be spent. None of
us have forgotten the first year of Jenny Lind, when tho
public paid so much to hear one songstress, that scarcely
anything was left in hand for contemporaneous attractions.
As in the metropolis so it was in the provinces. The money
was invested in " The Swedish Nightingale ;" other nightin-
gales sang, and other lions roared, to vacant benches — or to
houses packed with " orders." And yet it was generally ad-
mitted that the performances at Covent Garden, where
Jenny Lind did not sing, were artistically superior to those
at Her Majesty's Theatre, where Jenny Lind did sing. But,
as out of a pig's car cannot be mode a satin purse, so out of a
public no longer "flush" the manager of ever so grand an
establishment cannot be expected to make a fortune. The
" given aum" was bestowed upon Jenny Lind, and there was
not a ton for any one else. At that mad period even
Rachel's prestige suffered I
It is unnecessary to elucidate in detail the theory we have
suggested, to which, after a moment's reflection, our readers
will, we are convinced, attach quite as much credit as our-
selves. It is notorious that an ordinary man spends so much
and no more on his amusements, just as he spends so much
and no more upon his dress. Whichever way the tide of
success may flow matters littlo ; when the money is dis-
bursed the game is played out, and until next year's income
brings a fresh supply, is not likely to be renewed.
In these speculations let it be clearly understood we are
not holding forth as partisans of either Italian Opera, being
satisfied that, as both cannot prosper, so the chances in the
end will be for the one that is managed with the greatest
talent, energy and judgment Nor are we urged at this moment
by another consideration which might reasonably influence
us while contemplating the subject from a wholly different
point of view — that of simple patriotism. Neither the "old
house," nor the " new house," nor the vexed question of
native talent against foreign mediocrity, has anything to do
with the argument just now. Wo are merely endeavouring
to show that the co-existence of two Italian operas is noithcr
a public requirement nor a benefit to the rival speculators.
Tho fact, nevertheless, stares us in the face that wo shall
once again bo called upon to record the doings and
compare the merits of antagonistic establishments; and
if, in the conscientious performance of a by- no-means agree-
able duty, we are not at any time actually disposed to exclaim,
with Mercutio — "A plague on both your houses!" — it is
highly probable we shall register more than one vow that
some fine morning, Mr. Lumley or Mr. Gye may adopt the
resolution of abandoning foreigners, and setting up a
National Englielt Opera, with Alfred Mellon as director.
If the Italian Opera of the present day were worthy of the
name, we should, perhaps, have less right to complain ; but
surely two theatres for tho representation of II Trovatore and
La Traviata ore too many by one.
The death of Rachel will not be the less deplored because
it had been for some time anxiously expected. There is
always a hope to the last ; and the accounts received from
Cannes, from time to time, were rather encouraging than
otherwise. The idea of ever beholding the incomparable
tragedian on the stage again was hardly entertained, even by
her most ontlmaiastic admirers; but still there was a
cherished notion that she'might be spared, to form the centre
of a social circle, which, having witnessed her triumphs and
testified to her glory, would know how to appreciate her. This
has, however, been dissipated. Rachel is gone to her lost
home, and another of that gifted race, which has shed so
bright a radiance upon art, is lost to art and to the world.
Since Felix Mendelssohn, no so great a genius has been
snatched away from us as Rachel Felix.
How consummate au artist was Rachel is shown by the
fact that she not merely excelled all other professors of the
histrionic art, but restored an effete dramatic literature. To
speak in metaphor, sho raised tho dead. The stately trage-
dies of Racine, Corncille, aud "Voltaire had long mouldered
in oblivion, when Rachel brought them once more to light,
and once more, in the person of the inspired J ewess, their
forgotten creations became things of life — to strike terror,
raise emotion, open the flood-gates of the heart, shake the
soul, and purify it Racine and Corueille, from the
oracular lips of Rachel, admonished tho age of its fri-
volity ; and it is creditable to tho French nation that,
during her short but dazzling reign, the namo of Rachel
should have exercised a more solid and unvarying influenco
Digitized by Google
26
THE MUSICAL WORLD.
[Jan. 9, 1868.
than that of any other performer of the day. PJiMrt, Andro-
maqut, the Horaces, Polyeucte, were restored to their high
placea, and the rhapsodies of the romantic school sunk to
insignificance before such stern and rigid purity. With
Rachel, however, the drama of the French classic period will
disappear again — j«rhaps for ever, since another Rachel is
impossible, and less than a Rachel would bo impotent to
sustain them. The stage has not only been deprived of its
brightest ornament, but the polished literature of the stage
of its main sup]iort. Of course the loss of the illustrious
actress will be most severely felt in her own country, where
she was a living and a constant example ; hut, by all who
regard with veneration the loftiest manifestations of art, hvr
death will be looked upon as a universal calamity.
HER MAJESTY'S THEATRE
Oh Saturday Lucia di Lamtntrmoor was produced, the three
principal characters being sustained by Mdlle. Piceolomini,
Kignors Giuglini and Bellctti. There was a crowded house.
Nothing but the highest praise can be bestowed upon Mdlle.
Piecolomini's acting as Lucia. The scenes of the malediction
and the madness were equally powerful and natural. Signer
Giuglini's Edgar is remarkable for energy no less than for ex-
quisite singing. In the famous " maledizione " ho displayed
more than his usual vigour, while the pathos of the hut scene
could scarcely have been surpassed. Signor Belletti was
Enrico, and atoned for any amount of histrionic deficiency by
admirable singing.
On Tuesday ft Trovaloi « was repeated, with a new singer,
Mdlle. Saunicr, in the part of Azucena. The dibutaittt achieved
a fair success. She possesses dramatic perception, and is evidently
no novice on the stage. She has a good contralto voice, and
sings with feeling, but her voice, from nervousness, is not always
under her control.
On Wednesday, Twelfth-day, Mr. Lumley had the temerity
to open his theatre and invite the public to leave their cakes
and Christmas trees to hear La Figlia del Reggimcnlo . Maria
is one of Madlle. Piecolomini's most original personations. She
looks the vivanditre to the life ; her vivacity and animal spirits
are never-failing; and everybody knows what an irresistible
effect she produces in the first act, wheu she takes leave of her
friends, the soldiers, not to mention other passages in the opera
which she sings with so much point and expression. On this
occasion, Signor Luchcsi made his first appearance at Her
Majesty's Theatre, as Tonio. This gentleman was for some time
a member of the Iioyal Italian Opera, and won for him-
self an honourable name as a tenor of tho pure Rossiniau
schooL He created a highly favourable impression in Matilda
di Shabran and the ConU Ory, and occasionally was substitute
for |Mario in the Barbiert. Signor Luchesi is a thoroughly
well-trained artist and no indifferent actor; so that Mr.
Lumley may congratulate himself on a real acquisition.
The part of Tonio presents but few opportunities of dis-
play ; nevertheless, Signor Luchesi, by his artistic singing and
easy, unaffected acting, gave unqualified satisfaction. Signor
Belletti is one of the best representatives of Serjeant Sulpizio
we have seen.
After the Figlia, the last act of La Favoritaytan given, with
Mademoiselle 8pcxia, Signor Giuglini and Signor Vialotti.
Signor Oiuglini sang " Spirto gentil" with his accustomed effect,
and was unanimously encored. The duet " Vien tutti obblio"
was forcibly rendered, by Mademoiselle Spezla nnd Signor
Oiuglini. A strong word of praise is also due to Signor V ialotii,
for his execution ofthe musio of Baldassare.
The novel experiment of a winter opera has thus been
attended with complete success. With artists like Piceolomini,
Spezia, and the "golden- voiced" tenor, Giuglini, it is no wonder.
Tho Trovatore, Traviata, and Figlia, are to be repeated this
week, and we hear that an Italiau version of BabVa JJoAemian
Girl is in rehearsal.
ROYAL ITALIAN OPERA, COVENT GARDEN.
Inn new home of the Royal Italian Opera is rapidly approach-
ing completion. The facade in Bow-street seems to be almost
complete, and the side walls are so nearly finished, as to justify
the raising of the first great girder— sixteen are to support the
roof. These girders, which are what are called lattice-girders,
are all of wrought iron, and weigh each somewhere about sixteen
tons. The workmen have commenced the erection of a scaffold
of frame-work, composed of great beams of timber, upon which
tho purchase is to be erected, by means of which this enormous
mass of iron is to be raised to the top of the walls, and placed
in its proper position. As the span of these girder* is ninety
feet, an idea may easily l>e formed of the extent of the roof
which is about to be erected, without any support from beneath,
save the boundary walls.
Tho interior semicircles of brickwork, from which the several
tiers of boxes are to spring, are finished, and the workmen are
now busy at the back wall, which yet wants a good many feet of
its proper altitude. The area, although now nearly filled with scaf-
folding and loug derrick poles, piles of brick, waggons, and horses,
and workmen passing to and fro, may yet be seen to be of great
extent ; but tho visitor is surprised when he is told that the
foot-lights will cut this whole space exactly in two, and that a
full hidr of the inelosure in the centre of which ho stands will
be devoted to the stage and its appendages. Standing also, as
ho does, on terra firwa, and at a very little lower level than that
of the street outside, ho will feel, perhaps, rather astonished
wheu his attention is called to a white liner paiutod about half-
way up the wall, and he is told at that high level the Marios
and Griais and Lablaches of the day will sing and strut thoir
hour for the entertainment ofthe fashionable world. There will
be fewer tiers of boxes, and fewer boxes in each tier, than in the
late theatre, tho object of Mr. Gye being to afford greater space
and better accommodation to his patrons, even although at tho
cost of considerable pecuniary sacrifice. The pit will be ten
feet wider, the same increase being given to the stage: and, by
a judicious alteration in the design, everyone in the house will
be enabled to sro tho stage without stretching out, a process
which often fearfully disarranges the cravats of tho polite cava-
liers who generally jeeupy the back chairs in an opera-box.
The box company having passed through the vestibule, will
fiud themselves in a very spacious " crush-room," and from
thence there will be new and unusual facilities for ingress aud
egress— a most important provisiou, when we remember the acci-
dents to which buildings of this kind are liable. Great improve-
ments will be made in the scenic arrangements — amongst others
the erectiou of an extensive painting-room, 90 feet by 40, and the
aboliliou of the old-fashioned " flys," the effect of tho latter inno-
vation being to facilitate the exhibition of spectacle to an extent
hi thct to unknown in our theatres. Lastly, in almost every cose,
the nse of iron will be substituted for wood, and every other
precaution taken to render the building as nearly fire-proof as
possible. The works, which commenced on the 29th of Sep-
tember last, have been carried on with great rapidity, and in
their present aspect afford every prospect of being finished by
tho 1st of May, on which day Mr. Gye is bound by his contract
to opcu tliu theatre. There are about 300 men doily at work on
the walls and roof, aud simultaneously the Messrs. Lucas's large
factory, at Lowestoft, is fully employed on the interior fittings,
while all the ironwork is being constructed at the foundery of
Messrs. Grissell. It is obvious that progress may in the same way
be made with the scenery and decorations, so that as we approach
the end ofthe work the rate of progress will exhibit what, were
we not aware of the above particulars, would appear to be
almost a magical acceleration. Under all these favorable cir-
cumstances we may fairly anticipate that au early day will see
Mr. Gye comfortably installed in his newly-erected lyric temple,
and we trust rewarded by that amount of patronago on tho part
of the public to which his energy and unwearied exertions for
their amusement so justly entitle him.
S.tcttED H-AHMokic Society. — The Creation was performed
last night, and Mr. Sims Beeves made his first appearauoo this
season. Mi*i Louisa Yinning aud Mr. Santley were the other
aingors. The Hall was crowded. Full particulars in our next.
Digitized by Google
Jan. 9, 1858.]
THE MUSICAL WORLD.
27
MADAME VIARDOT IN POLAND.
(From the Special Correspondent of the Courier <ie Para.)
Warsaw, 17 (A December.
At all times, as you know, our eyes have been turned toward*
France. We applaud your success and glory, and your plea-
sures ore ours. We share especially your taste for the stage.
Yoa vill not, therefore, be surprised at learning that the great
event of the day is the arrival of Madame Paulino Viardot
amongst us. Last Sunday, December the 1 3th, Prince flort-
aehakoff entertained in his palace all the rank and fashion of
Warsaw with a concert, of which, so to speak, Madame Viardot
was the whole and solo attraction. She sang on the occasion
the grand air from L'ltaliana in Ahjtri, two pieces from Le
Protthite, and some Russian airs. We may observe that the
performance of the opera of Le Pro/ Lite is prohibited at Warsaw.
TUl eminent artist will give twelve performances here. She
made her debut on tho 15th in Norma. She will appear in
// Barbicre, OteUo, La Sonnambida, L'Eiisir cTAmore, II Tro-
valore, and, pcrhnpa, La Juive, which we here call the llebrea.
I was fortunate enough to obtain a place at the performance
of Norma. The promises of tho playbill wore so attractive that
a great many people were obliged to remain at home that
evening, very much disappointed that they hod not secured a
stall or a box a week beforehand. For the moment all anxiety
respecting the financial crisis was forgotten : the places had
been raised in the proportion of ten to three. The fair vocalist's
success was immense. Every one was delighted by the power
of her voice, by her marvellous facility, by her vocal science,
pUshed to the utmost limits of art, and by her dramatic talent,
which is beyond all praise. In speaking thus, I am simply the
echo of our musical critics, A shower of bouquets overwhelmed
Malibron'e emulator and sister, who was called forward as
often as ten times in tho course of the evening.
I must mention one more fact, equally honourable to Madame
Viardot and the management of our lyric theatre. No contract
bound the fair singer and the management before the first per-
formance. The day after that brilliant display, the management
offered Mad. Viardot the sum of two thousand francs, inquiring,
at the same time, whether she thought a similar amount suffi-
cient for each of the following representations.
Warsaw, 26t7* December.
As far as our internal administration is concerned, I have
nothing important to tell you, and, as wo are not allowed to busy
ourselves with politico, all our activity is directed towards
artistic enjoyments. The press continues to devote its attention
almost exclusively to Mad. Pauline Viardot, and to celebrate
her triumphs. Mad. Viardot really deserves the enthusiastic
reception we have given her. It Is true that nowhere, perhaps,
except in Italy, is artistic talent so warmly applauded as in
Poland and Russia.
The second representation of Norma excited even more en-
thusiasm than the first. The lady's voice was still more supple
and powerful. She was rapturously recalled, eleven tunes, in the
course of the ovening. The performance of II Barbiere was
even more brilliant.
After the performance, Prince Cantacuzeno was sent by
Prince Gortschakoff to invito Madame Pauline Viardot to take
tea in tho Governor-General's box, where she was filed by the
cream of the court and the nobility.
Places fetch a fabulous price ; a box, for instance, is worth
fi ve-and-tweucy silver roubles.
Bradford— (From a Correspondent). — On Wednesday night,
St. George's Hall was filled with upwards of 3,000 persons, who
attended to listen to an excellent concert given by M.
Jullicn and his unrivalled band. Mad. Grim was the vocalist,
and a finer artiste the world does not even now possess. She
charmed her auditors with her delicious rendering of two or
three English ballads, and with her inimitable Italian vocalisui.
The band, as usual, played with a spirit and entrain which have
secured a justly deserved popularity for M. Jullien. Several
) given, and a rare treat was enjoyed by the large
HERB FORMES AT NEW YORK.
Herr Formes, in spite of a "cold," has made an evident
sensation, and given rise to a multitude of criticisms — all more
or less favourable. Some are diverting to a degree. One, fironi
the Xi-h- York Ada* — which might be headed " American View of
llerr Forme* and of the American Race, by an American lady
enamoured of the one and absorbed in the other," is worth
quoting as a curiosity :
" To rot urn to my visit to tlie Academy of Music — on Monday last — I
was ovcrw helmed with that establishment, for I had never truly appreciated
it before. A beautiful commodious entrance, gentlemanly and iutelli-
gent ushers, to whom it h a pleasure to address ouo'a self, beautiful
broad corridors brilliant!? lighted, where *o neither crush or arc crushed
by our neighbours; and then the interior, who ever saw such an
adorably beautiful house, with its flush of crimson velvet and gold and
pure white, and its wilderness of marbles toiling beneath the weight of
ita glittering galleries, and its whole (tar-field of soft and splendid iight
flashing away into the utmost recesses, striking liko sunlight upon the
brows of the Herculean marbles, and then rolling up from pillars sad
columns to overflow the dome above? Then the stage effects, the num-
ber of the oborus, the liberal and appropriate manner in which
were costumed, the beauty and large effectiveness of tho
above all, that ballet scene, in which the calm sad aplendour of a I
light seemed really to bo rolling around and brightening tip the massive
and shadowy columns.
"And then ike artists, ah! dear forme*, ah! cruel Carl, Hmovest thou
of ths ravage* ikon art doomed to teork in cur susceptible heart* 1 dott
thou tmile that ice may weep ! dost thou ling to make us victim* of a
hope let* lor* I
" But apart from jetting,* I think the said Formes incalculably the
best actor I hare ever seen upoo the lyric stage. As Bertram, tho
demoniac bnutf of his expression, his dramatic accent in singing,
together with the terrible energy of hia histrionic effects, almost per-
suaded me that he was Dante's friend in person, otherwise hi* majesty
from below, did I not know that in that case he would not hate dared
to sing in a theatre in the neighbourhood of which was located tbo
Church of the Holy Zebra. However, in laudation of Mr. Formet, it
is useless to exert my inefficient voice, hia admirers are so numerous,
that alono they could storm a fort like Sebastopol, and take it. It was
with great pleasure, too, that I again saw Madame I.a Orange, tluvt
queen of the lyric art, whose talent is only equalled by her intelligence j
she is one of the few great artists now in the world i in these day* of
small voices, small acting, small conceptions, an artist like La Grange is
above all price and valuation.
" I We but two more remarks to make, tho first with regard to the
wonderfully moderate charges to which the managers of the Academy
of Music have reduced the price of admission. Tbo sum of one dollar
(five francs) will but just secure to you a scot in the meanest and
most unclean little antediluvian theatre in Paris, and for that prico
here yoa liave secured to you an admirable place in tho inoit beautiful,
richest, and most commodious theatre in the world. The liberality of
the management has no counterpoise on reoord, but it is hardly neces-
sary to odd any more extended remarks upon that subject, when it is
known that it is conducted by such men as TJUman, and Payne, and
Thalberg. For the second remark, it relates to a subject which I have
particularly at heart— namely, Me nperior beauty of the American
race, of both sexes. Although I am a secret admirer of the beauty of
the American gentlemen, I am much too modest this morning to come
to any immediate term*, to I will restrict myself to the grateful subject
of the ladies. I, for my own part, was completely daxxled by the
t and startling quality of their beauty, such fine and distinguished
such flashing eyes, sueh carnation bloom upon lip* and cheeks,
such shining whitcnesa of complexion. I pitied the young gentlemen
of susceptible bosom* ; fortunately they see it all their lives, and get used
to it, otherwise business would become impossible, and tho old days of
knighthood and cavalry would agitate the world. Perhaps one reason
why the American ladies are superior in their beauty to all other
nations under tho sun, i* the fact that in our own country— where
comparatively women are not alaves, where they receive good educa-
tions—they ore allowed to think and to feci, and are treated by men a*
reasonable beings. The American race has its faults— heaven he)]) it
—but it is still the lest MM I know. May tho propitious gods smile
upon the stars and atrij**, whenever they float over tins unfi
world, and to that glorious colour let us all unite <
£*to perpetua !"
• "Msny a tn
Ed. X. W.
i our voices to cry
The lady must fill up tho blonk.-
Digitized by Google
[Jan. 9, 1858.
Pray, reader, don't mis* a line of the foregoing. Penue the
whole of it— from " Cruel Carl" to the " beauty of American
gentlemen," "susceptible bosoms" and "stars and stripes"— or
the loss will be yours.
Herr Formes has also made his appearance in oratorio. The
Creation was the work selected for the first sacred performance
at the Academy of Music. Madame I.u Grange (in part 3),
Miss Milnor (in parts 1 and 2), and Mr. Perring w the other
singers. The execution generally, by the members of the New
York Harmonic Society and the chorus of the Acadomv, seems
to have been mediocre. Mr. Bristow (the Pyne-ltarrison
nonpareil) was chorus master, and Herr Anschuez (Mr. Jarrett's
exportation from VaterlanJ) conductor. We can only make
room for a very short extract from the X: ■■ York Herald?*
report : —
"No oratorio ha* ever been given here with such iclat, and the
audience was fully i-.j-ial to the occasion. The bouse was crowded in
every part, at opera prices. Many of the moat eloquent divines in the
city lent their aid to the affair, and appeared in the )>ou««. The rcli-
giom community camo out in force, and almost every musician and
amateur of note in the city was present. The stage was replaced by an
derated platform, upon which the iolo tinkers, chorus, and orchestra
appeared ; and the arrangement! throughout were exactly like those
for the great musical 10100011168 at Exeter Hall, London — the
solo singers and conductor of the orchestra ; behind them on
either side the female choristers ; in the rear the men ; and
in the centre, tlie orchestra, with the organ st tho back.
Mr. Forme*. Miss Miluer. and Mr. Perring — who are oratorio singers
by profession— distinguished themselves greatly. Mis* Milner sang
- With verdure clad," and " Oa mighty wing.." admirably. Mr. Per-
ring added to tho favourable impression he has made here. The tuna
admirable qualities were noticeable in the singing of Mr. Formes, who,
although be had not quite recovered from the effect, of his recent
illneai, aung even butter than in the Opera, and carried off s large part
of the honours of the night.
From the .Wir Tort Time* the following is an excerpt : —
" The debut of Mr. Formes, as a singer in oratorio, was an event
which excited a natural curiosity ; and tu that strong human feeling
is attributable, in great menaure, tho crowded state of the house.
Perhaps there should be added to this the eligible opportunity af-
forded to a Urge clsss of conscientious persons to hear and see the
musical notabilities of the time, without viotstiou of their principled
opposition to operatic and theatrical performances. Let the cause of
the crowd bo ss it msy, the fact that an oratorio lias drawn a New York
audience of four thousand, is conclusive proof of this experiment st the
Academy. There eould not bo s grestercontrasl than that between Formes
in oratorio snd in opera — pby siognoraically and physically, aa well ss
musically. His disbolism in Bertram subaidea into an air of profound
snd sober respectability sad solemnity in Raphael. In point of fact,
the opera habitue* found it not a little difficult to reeogniar, at a
glance, in the clean-shaven snd stately clerical gentleman who walked
grsvrly forward snd made bis bow, tho he-cloaked and bearded evil-
geniui of Robert. The metamorphosis wss complete. The reputation
of the great bat so received a fresh indorsement. His recitative wss
admirable, snd his rendering of the sir, 'Roaming in Foaming HiUow*,'
brought down a vigorous encore."
Thus, it would seem, the German singer ia safely launched in
the sea of public favour. Mr. 1*11 man seems to have " worked"
Herr Formes with greater success than he did poor Madame
Frezzolini. We observe that another bonne-boucAe is in store
for the Yankees. The " fat. fair, and y " Mad. Caradori
is a passenger by the " Canada," and is already secured for the
highly to be envied " Academy." How we in London are to
get ou without her ia a problem.
Dr. Mark and his young pupils have been playing during tho
week at Stockport, Stalybridge, Wilmalow, Liverpool, and
Warrington. The following note, received by Dr. Mark, from
M. Jullien, conveys the great musician's opinion of the acquire-
ments of the u Little Men" in musical knowledge :—
" Qkmn's Motel, Maucheeter, ith January, 1858.
" 1 hare heard with the greateat pleaaure the children under the
direction of Dr. Mark, and, ss it is juat to judge by the result - , I think
that his syitem of elementary instruction merits the attention of per-
sons who occupy themselves seriously with this important national
question of unirersal education. It is with the greateat pleasure I
give this testimonial to Dr. Mark."-JWA«*er JSwsssaer.
LITERARY SCHOOLS.
To tie Editor of tie Mutual World,
Sin,— Mr. Thackeray's allusion to the subject of Schools in his
speech st the Commercial Travellers' Dinner, followed as it was by
s leading article in The Timet, Tory shrewdly tracing the present high
charge* of educstion to what a vulgar person would call the extra two-
pence a-week for mauners, seems very likely to npen a diseuasion on
the conditions of tniddle-clsss education, which I trust will end to the
advantage of Paterfamilias and tho improvement of Squoers. I should
be very sorry, however, if tins wss tlie only good that was to follow
from the words uttered that night by tlie renowued chairman of the
bagmen's feast. It cannot be, indeed, but that those words which
seemed to sound forth from that particular cell iu tho mysterious
caverns of hi* soul, where the great wixard of London keeps the
amiable spirit of l'endennis, must have found an immediate, distinct,
snd ringing echo in the hearts of that clsss whom they challenged
to emulate the achievement of the commercial gentlemen. "Why."
said the editor of the rail Mall Oazetlr, nobly speaking in a catholic
spirit for the "gentlemen of the line." and pointing to the flourishing
educational establishments instituted and sustained by the "gentlemen
of the road," — "why cannot we do something of the kind for
ourselves ? "
I feel assured thst this simple question, urging so noble s suggestion,
must have aounded like s trumpet-blast when heard — must have flashed
up in letters of light, when read— by those claiming to rank in the
great legion to whom it was addressed. Ala*! must it in truth be
confessed ? I am equally aasured that the bright hope, the happy
vision, which st thst hint sprang up, ail but realised in the sanguine
and fertile brains of Pendenuia' brethren, ssnk down again as the next
moment's reflections enveloped in clouds of misgiving snd despondency,
" Hsvo not," will the unlucky "gentlemen of the time" exclaim with
a sigh, "have not we tried ere this to do something for ourselves, and
miserably failed? while almost every other profession or trade have
their spontaneous institutions for mutual sasistsnce snd support, in-
suring due provision for their orphans and widows, nothing of the kind,
when proposed for our benefit, has over been heartily taken up and
carried out. There is no cohesion smong us j our • line,' slss, is a rope
of sand, snd wdl support nothing."
No doubt this barren blank and gloom with which they are thus
tempted to leave a subject that seemed at first so teeming, is justilted
by the main experience of the past, though only, I trust, when super-
ficially viewed. I do firmly think that, if as must be sdmilted,
there is in the highly susceptible natures of the literary clsss a decided
tendency to yield to many capricious and inadequate causes of division
and disunion, very little has hitherto been done to neutralise or
counteract this characteristic. 'When the world of authorship threw
off the degrading tyranny of noble patronage, it did not immediately
acquire independence, but fell under the control of oligarchies 1 snd the
formstion of clique*, with, st their head, one or two unices invested
with the prestige of success, and sworn to tlie principle hor* uou* el
not awtie, mul u'aura de Cetprit, imposed a system of domination
scarcely less oppressive or humiliating. Of both these the modern
literary man preserves an instinctive snd deep-rooted abhorrence ; he
will not enuure the condescending snd cold-blooded pstronsge of
nobility ; he rebels fiercely against the imperious dictslion and covert
malignity of n coterie. Unhappily tlie "republic of letters" is as yet
sn unrealised name, for 01,0 of these old enemiea of literary liberty still
holds considerable sway. Clique., undoubtedly, snd powerful ones,
doing much mischief each iu its sphere, wo hsve yet among us, though
I sm not going to take upon myself the invidious task snd perilous
office of pointing them out : and though that noisome fungus, the
epistle dedicatory, bred in the corrupt warmth of clemosynary guineas,
is an extinct species, and no longer served up st the tables of the
nobility, the sickly smiles of lowly patronage still ripens a kind of
parasitical cryptogram in the saloons of Belgrsvia and Mayfair which
perpetuates tlie sncicnt taint and imparts it to the whole body literary,
greatly to (lie disgust of its more aspiring and self-dependent member*.
I am for iny part, snd for the present, convinced thst had these
deterring influences— bugbesrs call them if you will— been sedulously
removed out of ai^ht or suspicion when schemes skin to that proposed
by Mr. Thackeray have been set a-foot, literary men would not form
an exception as they do now to the mass of other professions aud
callings in this respect. Let the attempt to carry out the very timely
snd useful suggestion of the author of the Virginians hsve a thoroughly
democratic origin — spring from the comparatively undistinguished herd
of toilers in the field of literature ; let tho bus'iness be entrusted to
a fewof these wbo^onoe distinguished for inhabits of ^business—
Digitized by Google
Jan. 9, 1858.]
THE MUSICAL WORLD.
29
', end if the I
bo done at
is thing be i
which Mr. Thackeray may be fiid to have laid out tbo" lines in" bis
speech will be launched and fairly all out ere that remarkable
of practical genius, the Leviathan, is many iochea nearer that
desired end. ft will be no harm if Mr. Thackeray himself summoned
the first meeting, and were invited to preside over it. lie has neither
instituted nor suffered to form round him any clique, and he has
earned a Taat amount of respect by the stern and rugged independence
with which he has steered his own course, obedient only to the ▼oioo
that was within him, spurning to court the "most tweet roicea"
of the multitude, or fill his sails with the breath of a popular cry,
and riding no special hobby of his own. Patiently working out his
great taak of producing a faithful portraiture of the society of his
day, Tiewcd not only by its own light, but in its aflllialiou and contrast
with tbe immediate past, and regardless how he migbt be decimating
tbo number of bis readers, ever writing up to his own standard, not
down to their powers of appreciation, for he prefers to give away
his guinea that one at least may get a good dinner and a bottle of
wine, rather than change it into coppers to throw for a scramble in tbe
crowd, that many may get u saveloy or a glass of gin. These mural
qualities are likely to rob Mr. Thackeray's presidency uvea the
desired movement of any scaring or disquieting effect, and render tbem,
on the contrary, a guarantee against all one-sided and overbearing
influences. There are prartieal difficulties, which I hare not touched
on, necessarily involved in the scheme, and one is formulating an exact
definition of a literary man, which will exclude mere dabblers and aroa-
teurs, Ac. ; for were all who rush into print, or even who systemati-
cally produce books, to claim the benefits of the proposed institution,
Mr. Thackeray's "Literary Men's Schools," no subscription would be
largo enough, nor human power of organisation sufficient to em!
our support for a <
hoping that these i
I leave the field to
in which you must feel a strong
rks may help to set the ball
Old
s.— On Saturday night last "A Juvenile Night" was
given in the Music-hall, by the People's Concert Committee.
The vocalists were Miss Walker, Mr. Delavanti, and the
Madrigal and Motet Societies. The instrumentalists were
Master Tilncv and Mr. Spark.
Leeds — (From a Correspondent). — On Wednesday week, Miss
Newbound and Master Walter Tilney (pupils of Mr. Spark)
gave their first annual concert in the Music Hall. The per-
formers engaged by the young artistes were Mrs. Weiss, Miss
Helena Walker, Mr. Weiss, and the chorus of the Leeds Ma-
drigal and Motet Society. There was a largo attendance. Miss
Newbound sang Mozart's "Addio"and Hummel's Tyr<Jlienne
with variations with great success. Master Tilucy (in his
twelfth year) gave two piano solos, including Beethoven's
Sonata tathiti'ine, and, being encored, played a composition of
his own. Of the concerted pieces, a now and sparkling trio for
female voices, by Mr. Henry Smart, entitled ■ Queen of fresh
flowers," was one of the most successful. Mr. and Mr. Weiss
obtained a large share of applause. The chorus gave several
part-songs, and a selection from Macfarren's Ma y-d«.v, the latter
being warmly received. On Saturday, the People's Couccrt was
specially designed for juveniles, and tho programme arranged
accordingly. The performers were Miss Helena Walker,
Mr. Delavanti, Master Walter Tilney, and a chorus of sixty
voices — Mr. Spark being the conductor and accompanist. The
encores were numerous, the youngsters expressing their delight
in loud applanBe.
BatXTOjr Au.itr.rtt ITakmosic Uniosc— (From a Correspond**!) ■—
Tbe aeeond concert took place on Wednesday evening, tilh January,
before a crowded audience. The programme comprised a dee pro-
portion of classical pieces intermixed with lighter efforts. Amougst tbe
former, special mention may be made of the allegro and andante from
Beethoven's trio (Op. 11), which was admirably rendered by Meisrs.
William Rea (pianoforte), Key (clarinet), and Balcombe (violoncello.)
The other instrumental "points" were the violoncello solo by llerr
Lidcl (from Lucia tit Lammermoor), which was encored with enthu-
siasm -, aad the fantasia for violin and piano, on airs from Preciota,
capitally executed by Mr. John Kemp and Mr. Ken. Tho vocalists
were the Misses Lcfller, Miss Cooper, aud Mr. W. P. Jones. The
orchestral performers acquitted themselves well m Mchul's Joseph, the
March of the I'ncsti, from Alhalie, and
NoRTnAWTOK. — An extra performance of the Choral Society
took place on Monday evening, the 28th ultimo, in aid of the
organ fund. The Messiah was given, with Madame Enderssohn,
Miss Fanny Huddard. Mr. Millard and Mr. Santley as vocalists.
Mr. Packer conducted, and Mr. Charles McKorkefl presided at
the organ. Mr. Starmcr played the trumpet olMiffato, in " The
trumpet shall sound; Mr. McKorkcll performed, on the organ,
the Dead March from Saul, before the commencement of the
oratorio, in memory of the late Earl Spencer, who was president
of the Society.
Jr.yoBx -(From a Correspondent).— Vtortx't Coxcibts. — Another
of these popular concerts took place in tho Festival Concert Boom, on
Tuesday evening, December 1st, when there was a numerous attend-
ance. The principal vocalist was Miss Maria Wilson, of Hull, for-
merly of the Wilberforee Institution for tbe Blind, York. 8he was
assisted by Messrs. Hird, Holmes, Hudson, and Plowman, and accom-
panied on the piano by Mr. W. Strickland. Miss Wilson had to
repeat some of ber pieces. The other vocalists were Messrs. Wil-
son and Lambert. Mr. J. W. Sykea, B.A.M., played two solos
on the violin. Mr. Shaw presided at the pianoforte, and Mr. K. Hunt
conducted. The overtures, Ac., were well rendered by the band, and
the concert passed off with trial.
Nice — (Extract from a private Letter). — December 29, 1«57.
A concert was given here last evening, at tho Salle de L Hole!
D'Yorck, for the benefit of the victims of the Indian revolt,
uuder the patronage of all the grandes dame* at present sojourn-
ing at Nice. The programme was unusually select, and had
more of the classical element than is generally found in musical
entertainments here. The orchestra was uuder the direction of
M Kern and Duval, chef-J'orckettre of the Theatre Royal. M.
Alexandre Billet, the eminent pianist, performed Beethoven's
Choral Fantasia, and created an immense effect by his brilliant
execution and vigorous style. He was loudly applauded by band
and chorus, no less than by the audience, and achieved a triumph
seldom won by ' a classical pianist in these southern regions.
Meyerbeer, who is staying at Nice, was present, and expressed
himself delighted with the composition and the performer.
Tho concert, on the whole, was tne best conducted and most
interesting which had been given in Nice for a long time. * * *
The place is filled with visitors, and among the most remarkable,
and looking as handsome as ever, is I* Baronne Vigier (Sophio
Cruvelli), who appears to have settled into private life happily
and contentedly.
Home. — Signor Gardoni has appeared at the Theatre Apollo,
ar Alfredo in La Traviala. It was his first appearance in that
claractur, and his success was decided.
Paris. — It Brutchino lias at length been produced, and the
Booties Parisiens has achieved the greatest nit of tbe season.
Of course, any work by the author of II Barbien would have
obtained a succis (Pesttme, but tho Bruschino, if we accept the
verdict of the journals, has gained a genuine triumph. Tho
theatre was crowded in every port, and among the company
were observed the Count and Countess de Moray, Count
Baci occhi, Prince Pouiatowaki, Madame Fould, Madame de
Brctenil, tho Princess Troubelskoi, and other fashionables,
foreign and native, together with all tho artistic and literary
world, among whom were Mario, and M. Flotow, the composer
of Martha. Many of Bossini's friends cndtavoun>d to persuade
him to be paesent at the first representation, but he would not
listen to the proposal, and to tho most pressing of them
replied, " I have given my permission, but don't ask mo to
be an accomplice." The opera, or more properly farce —
fana tutta per riJere — was received with immense applause.
The music is described as fresh, natural, graceful, me
dions, and full of rerainiscenceu ; some of the morceaux, in
containing the germs of airs aud concerted pieces in the
poser's most popular works. Nevertheless, enough remains to
show that Rossini, if not in possession of his full powers when
he wrote the Brutchino, was beginning to try the wings of his
inspiration, and gave indications of a style so soon to work a
serious change in operatic music. The execution was but in-
different, M. Duvcruoy alone being found equal to the florid
music. Mdlle. Dalmont, whom the Revue el fJatdte Musical*
terms " La Sontag du Pi
mising rather than
e Choiseul," was considered pro-
" in the soprano part. The,
Digitized by Google
30
opera, no doubt, will have a lung run, everything being dono to
give it a permanent footing on the stage, the dresses, decorations
and scenery being most admirable, and the orchestra, under the
direction of M. Offenbach, efficient, — At the Opcra-Comique, Fra
Diavolo has been revived. — At the Th64trc-Lyrique, a new
comic opera, in three acts, has been produced with success. It
is entitled La DtmoutUe cTIionneur, the music by M.Tlnjophilc
Semet, words by MM. Mestepcit and KaufTmann.
Brooklyn Philharmonic Sociktt. — The Nea York Timet
speaks very favourably of the last concert given by this society,
at whieh, among other things, Mendelssohn's symphony in A
major, Professor Bennett's overture, The Naiadt, and Weber's
i to Ikr Freuchiiit were very well played, by a band of
forty performers, in the Athemeum room. The minuet and trio
in the" symphony were encored. A solo on the pianoforte by
Mr. Hoffmau was also encored, and the andante from "Beet-
hoven's sonata for piano and violin" (Did Beethoven only write
onel Er>.J/. in,by the same gentleman and Mr.Burke.gaverauch
satisfaction. There was also some singing (mediocre it appears)
by a Madllo. Cairoli. At the next concert (Jauuary 20) the 7th
symphony of Beethoven, the overture to Guillauine Tell, and an
overture by Herr Riclz, of Leipsic, will be given. " The Brooklyn
audience" — adds our transatlantic contemporary — " separated,
rejoicing that they had not to cross the ferry, and elated with
the consciousness of a Philharmonic Society of their own."
When will our " Brooklyn" — transpontine London — bo able to
exalt in a like distinction t
THE ORGAN IN ST. PAUL'S CATHEDRAL.
Tina instrument in tone so pith,
Wa» built by the fam'd Father Smith ;
Its ease carvM out with
And gilded pipes I
When viewM a little to the left,
Between the lercen snd railing* <
Enough to tee its depth of earn,
The width and height from top to bate,
It teems too small for such s place.
Msjeatie grandeur on its face,
It still ran tend forth pow'r to 611
The spacious fabrics at its will.
Iti great organ whoso j top* blend fine,
Their treble notet both tweet snd round,
The bast to deep, full, and profound.
When the flvo gravest, lowest notes
Are bald down, on tho sir sound float*,
Filling pious tnindi with wonder,
Awful, deep, liko distant thunder!
The twcll, in kind both rich snd tweet,
From toft to loud the esr doth greet
With sound* delicious, when
By tasteful playing notet endu'd.
The ttop diapstoa in tho great,
At tolo to it yields a treat,
Or sounds to clear and delicate,
Seem in effect to triplicate.
The stino nam'd stop tlist's in the choir,
V nlikc the full organ with fire,
Is soft and mellow » ilh the voioe
In tolo, quartet — take your choice.
Tho pedal pipes so round and deep,
Add breadth as with full chords they creep,
When blended with the loud or swell,
They in the sntbem chorus tell.
And when its utmost stretch of pow'r
It heard, as on the cars doth show'r,
Commencing with the lower sounds,
It vibrates, snd in sir rebounds.
The rising full chord, rich snd good,
OVrwIulms, pours forth like n« n flood
Ttt harmony, the heart doth troul,
To heav'n its strains doth waft the soul.
Haydv Wnsojr.
[Will M r. H sydn Wdjonfavour ut with a fair copy of his poetical
Rachel's Hodsk is Paris. — At her house everything is rich
and magnificent, perhaps too rechercki. The innermost room
was blue-green, with shaded lamps and statuettes of French
authors. In the saloon, properly speaking, the colour which pre-
vailed principally in tho carpets, curtains, and bookcases, was
crimson. She herself was dressed in black, probably as she is
represented in the well-known English steel engraving of her.
Her guests consisted of gentlemen, for the greater part artists
and men of learning ; I also heard a few titles among them.
Richly-apparelled servants announced the names of the arrivals ;
tea was drunk and refreshments hauded round, more in the
German than tho French style. Victor lingo had told mc that
he found that she understood tho German language. I asked
her, and she replied in German, " Ich kann es lesen ; ich bin ja
in Lothringen geboren ; ich habe Deutsche biichor, aehn Sio
hier !" (I can read it ; I was born in Lorraine. I have German
hooks : look here) ; and she showed me Grillparzer's inppko
and then immediately continued the conversation in French.
She expressed her pleasure in acting the part of Sappho, and
then spoke of Schiller's Maria Stuart, which character she
has personated in a French version of that play. I saw her in
this part, and she gave the last act especially with such a com-
posure and tragic feeling, that she might have become one of the
'test of German actresses ; but it was precisely in this very act that
the French liked her least. '* My countrymen," said she, " are not
accustomed to this manner, and in this manner alone can the
part be given. No one should be raving when tho heart is
almost broken with sorrow, and when he is about to take an
everlasting farewell of his friends." Her drawing-room was for
the most part decoratod with books, which were splendidly
bound, and arranged in handsome bookcases behind glass. A
painting hung on the wall, which represented the interior of
the theatre in London, where she stood forward on the stage,
and flowers and garlands were thrown to her across the
orchestra. Below this picture hung a pretty little book-ehelf.
holding what I call " the high nobility among the poets
Goethe, Schiller, Calderon, Shakspere, Sic. She asked me many
questions respecting Germany and Denmark, art, and tho
theatre ; and she encouraged me, with a kind smile around her
grave mouth, when I stumbled in French, and stopped for a
moment to collect myself, that I might not stick quits fast.
" Only speak," said she. " It is true that you do not speak
French well ; I have heard many foreigners speak my native lan-
guage better; but their conversation has not been nearly as
interesting as yours. I understand the sense of your words
perfectly, and that is tho principal thing which interests me in
you." — Anderten'i Story of hit Life.
CovraKiTrva Aosuacn v or tkk Subs. — A woman may be ugly,
ill-made, unamiablc, ignorant, or stupid, but the is scarcely ever ridicu-
lous. A thoroughly absurd woman is one of the rarest thingt on earth j
tare, indeed, a man, who is not to in a slight degree, in some way or
Look round the world j you will discover very few women
whoso perceptions, convertallon, dress, deportment, or manners, pro-
voke actual laughter, if we except certain private singers ; and this
tpeciet of sbterdity it more calculated to excite pity than irony j it
it, moreover, very transient, for it only lasts tho space of two or three
vertet of a ballad or bravura i and then, to the bad vocalist, fre-
quently succeeds the elegant dancer, the graceful coquette, or the
intellectual companion. Look at the theatre ; how few really comic
tetrosM's you find there I And tho greater number even of those
are considered at such, not because their talent is actually oomic, but
because the parts which they undertake arc tilled with burlesque situa-
tions, snd, above all, played in sn exaggerated bonnet, and an unheard
of dress, or with sn eccentricity of accentuation, or the attendance of a
pug dog, a block dwarf, or one of those white slave* known sts snubbed
husband. Kxtravaganeo is not necessarily absurdity j nor it a carica-
ture always comedy. The most laughter-moving actresses who exist
are those who enact simplicity. But, far from appearing absurd, one
of them is, on the contrary, only rendered the more charming, in pro-
portion as she exaggerate* her innocence and her awkwardness. This
Bhwnen of absurdity among women, *ri«e* from the fact that tlicy may
be destitute of beauty, of elegance, of distinction, of manner, of talent,
of education, and of wit, without being entirely devoid of grace, attrac-
tion, tact, and a wish to
this hope, s last coquetry
displeasing.— ATew York Atlat.
t being entirely devoid of grace,*
When a woman ha* even rene
to hcr-thst of a desire not to be
Digitized by Google
Jan. 9, 1858.]
31
ADVERTISEMENTS.
HOARSENESS, SORE THROAT, LOSS OF VOICE,
IRRITATION or the BRONCHIAL TUBES, cured, and a t-Tfectly Clear
Voire produced by tl,0 u.c ..r Wiilo.,eo... Bridje nod Cn.-» BRONCHIO TnoRACIO
LOZEKOEH, prcpsied rro.n a receipt of one of lbs most eminent rhy.ki.iM of
the day.
• They in cvnodally uwful to Vocalists, Member* of Parliament, Clenrjrnen,
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. and CO.. Ct.cnneta. at Urdu's celebrated
s Depot. 470. rkgcut-vtrecl, L«i.d..i>, W.
CURE OF CONSUMPTIVE COUGH
SB. LOCOCK'S PULMONIC WAFER 8.
10 Author of the "Narrative «f tho Second Sikli W,ir."— I hvl long
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r Pulmonic Wafer*. I experienced inetautaiu-oua rJ^cf. and l«avu wieh a high
estimate of their cAcucy that I tlriuly believe they «ould eff at the enra of the
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lyocoeka Coametle" on the
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K EATING'S COUGH LOZENGES.— A cough or cold
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ubla remedy ia KEATING'S COUOll LO/KNilKM, which. taken on Urn first
symptom*, al once ullcxia'cand atrntbelhe Iwpl'ab-ry or-'ana. and ivi-ids recourse
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each. byiAttMAR KEATING, t'hcmUt, tc
to more powerful rcroedica. Prepared and
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Box-a la 1 fd . and T na, -> !*l
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who la acciistiancd to frequent nubile aj^akbii. baa recently mode
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in p*iblle apenkht^f The two girea supidlod to ua la faat spinal otT, and we ahnlt
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HOLLOWAVS PILLS positively tlio bout remedy for
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FREDERICK DENT,
flaakrt of t[)t Ornt €hrk tot tfjt CJjtufs of IDaTliamriit,
And atila rVuoc»a»-,r to K J. I>ia-r in all hia patent rlg'aU and buainra* at
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NEWEST MUSIC.
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1 1I E HOLY
F AMI L V.— Admired SACRED
wnettta, Book 1. (the favourite
. CALLCOTT. and beautifully
MEI/iDIKS by tho moat cvlebrattd Cmii«>».:ia. Book 1. (tbu favom
B.»»X Arranged for the Pianoforte by V. If CALLCOTT. and
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violin, or violoncello, M- cacjv.
BRINLEY RICHARDS'S LATEST PIANOFORTE
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Sold by A kOWLANDti SONS, ao.^FIatton garden, London)
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NEW PIANOFORTE WORKS.
BEINLEY RICHARDS.
BBJNLEY RICHARDS' PIANOFORTE TUTOR.
PRICK U.
The hot, the newest, and cheapest of all instruction l«x>k«, contnininc GO pages of r- : 1 1 - •■ i . ■ I mimic, all necessary elementary instructions,
•cale*, exercise*, and a great variety of tbe most popular tltoine* as progressive lessons. Tbe attention of Professors is expressly rctiueeted to this
" 1 work; also to
BRINLEY RICHARDS* NEW SET OF SHORT PRELUDES.
PBICE 3s.
Intended aa introductions to any pieces; expressly written for amateurs j and to the
NEW OCTAVE STUDIES.
PRICE 3s. Gd.
By the same popular Composer.
RICHARDS' Edition of Caerny's Etudes de la V<?lociU<, preceded by new excrciaee, and a new study on tbe octaves, composed expressly s. d.
for this edition by Drinley Richards ... ... ... ... ... ... ... 10 6
Or In two Parts, each Cs.
Edition of Cterny's 101 preparatory Studies, with additional finger exercises and other studies written expressly for this
by Uriuley Richards ... ... ... ... ... ... ... ... 8 0
Or in two Parte, each la.
"Juanita," popular aong by the Hon. Mrs. Norton, arranged for the pianoforto ... ... ... * 6
of "Annie," barker's popular ballad, arranged for tbe pianoforte ... ... ... ... » «
"LcsHuguenota." (Just pubbshed) ... ... ... ... ... 3 6
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ALBERT LINDAHL.
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ti, Nswgst*-stmt ; Joan Buarimo, K<mrgat«-«tirvtt ; Usury Mat, II, Uotbora-bars. Agents for Scotland, PaTtjuoa * Suxt, Kdiuburgh and UUajroir ;
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to BOOSEY & SOHS, 28, Holies Street, Cavendish Square.
VOI,. 36.— No. 3.
SATURDAY, JANUARY 16, 1858.
| PRICE M.
\ STAMPED S4.
rpO^ VOCALISTS.— Wanted, a good Baas jringer ; also
SIGNORA FTTMAGALLI, SIGNOR DI GIORGI,
«nd MR. CHARLES URAtlAM (Cooductor, Signer Vinnesi) will «ing at
a Orand Concert In the Theatre, WINDSOR, ou Thursday. January 28lb.
[ISS ARABELLA GODDARD begs to announce
Thw prrforiiiauco. or CLASSICAL PIANOFORTE MUSIC, at her
restdone.-, 17. Welbw k-elrret. Cavendish square. Tbo Plr«t will take place on
Tuesday E.oning. February A when Miss Ooddard will have the hoi-o.tr of
pi-ormln* thotiRANl) SONATA. In O minor, of CLEMBNTI. entltUd DllrONK
AHANDOTlNATA; the GRAND SONATA OF WEBER, in C major. Op W;
a rRELUDEend FUGUE, in A minor (k In Tamutellai.. of JOHN SEBASTIAN
BACH; Ow Bouata in I» Hat of HAYDN, for pianoforte and Ti.lln (with M.
Sainton); and also in a trio o! BEETflOVEN or MRNUELJ^OHN. Fall par-
llcalar. will be snortly announood Ticket* (t.. b» had rally ..f M18H OODDARD.
47. Welbeck-*tre.t) (Or a Stogie Holn'e, 10a, M ; fur Hie Series of Three, 0»«
Qoiasa.
M1
ST. MARTIN'S HALL.— Handel's "Judas Maccabajns"
uu Wednesday Mt, January TOUi. <tiul« r the direction of Mr. John Hullah.
Principal Vocalists— KntiMe.' MbM Fanny Rowland, Miw Palrarr, Mr. then*
Reeves, Mr Thi-ma*. Tick, ta, la., i* *L ; 8lal.". 6a Continence at nalf-psst 7.
BaajOfl Ticket* — Stall*, 90s ; OallelKe, IS*.
BEETHOVEN AND HIS COMPOSITIONS.— MR.
CHARLES 8ALAMAN will deliver hla NEW CONCERT LECTURE, ~i
tbs abate «uk„
Ini'ltution. Or
y Evening next, at Bit-lit o'clock, at the Russell
street, Russell *qM*re I'UDo'orte. Violin, and Vocal
' the
lii*'ltutn*i. Ot>al Coram street, Russell -aqiiare Pul. 'orte. Violin, and Vi
nju»'rali«na. Mr. Salaman, Mr. Rica, and Mist William*. Ticket*, of
H
prewc a SERIES of FOUR FESTIVAL PERFORMANCES, intended to be
prcj«it«l at the period of the approaching NUPTT ALS of Her Rival Ilighocai
th. PRINCESS ROYAL with HI* Royal Highness the PRINCE FREDERICK
ER MAJESTY'S THEATRE— HER MAJESTY
THE QUEEN has gractou.lv signified her Intention ofbonouring with her
WILLIAM OF PRUSSIA.
On Tuesday. January 19 — MACBETH. Macbeth. Mr. Phelps; Iavly Macbeth-
Ml>* Helen Faneit With Locke'* incidental music, tinder the direction of Mr.
Benedict. And Mr. Oxenlords farce of TWICE KILLED, to which Mr. and Mr*.
K ; Wl'.l prr|...|.l.
Tiitiraday, J.nuary il.-llilfo's n.w opera, THE ROUP. OF CASTILLH by MIm
rynt, Mr. H.rrl.on, Mr. Oloror. Witt, a comic aRorulvce by Mr. Robw.u
and the Mcmticm of tho Olympic Thoitre.
Batnrdav. Jannary US. -An Italian opera, by Mdlle. P cenlomioi. 8wr. Giugltni.
and the principal artists of Her Maycaty '• Theatre. And a Festival Cantata, com
BAVtd by Mr Howard Olovrr. tbo word, by John Oxonf ml. Fa., Conductor.
M Arditi. With * Bsllet Divertissement.
The Xationnl Anthem will be mug on Tuesday after " Macbeth." and on Thuri-
da. and Satuidiy after the Opera,
Xb person admitted in the pit except In evening dree*.
Application* for box.* to be made at the lfox-omec of the Theatre, and at
Mr Mitchell * Hoyal Library, XX Old Boudstrcot.
JULLIEX'S MILITARY JOURNAL.
Tt>« coj.yrijht and |>Utes of thl* wrrk baring been purchased by Booeey and Son*,
it wi I in future be continued by Uiem, nrykertUe title of
BOOSEY'S SUPPLEMENTARY MILITARY JOURNAL
{jiittscriptWn, £3 3* per annum, for 0 doub'o number*, to b« pnbl *hrd pvurj
nllcritttte mouth AuuuaJ ctuufft? for [MMUI 10 India. 10«. «d Th* liuA iiuinbtn
of JnfliM Millturj* Jonnuil are still "it sole, 10s. ftd, each. A cats^'piu uf (Uese
n aj be had of Boovcyaiid Sons, Si and Hollca-fctrael, Lund on.
SEW YEAR'S GIFTS,
H E new style of French toilet bottles, fancy-boxes and
haakeu of pcifuiocry, tic, front Gd. to *5 Aa Bird*' ueeta, sccnt-flowrra
I D
I'vrf in. .', Aitt k M bj M| hi
sad other uniol ornament*, ccotaluing pertume,
10a. 6d. FerAitned Alroannek M., by tioat for 7
at Rimmel'a, Strand, an-1 CryaUl Palace,
..-1 lc
ntail
A MAGNIFICAT and NUNC DIMITTIS, by
H. H '4i per. Id Vocal Score, with AccoDiMnlment. Trlco 7s Sd.
i tree C So ho.
Edwin
Norello,
THE MUSICAL DIRECTORY FOR 1858.— Price
1*. 0d.. by post Is. M. Msy t» had of all ranalc and book sellers. Rudall.
Rose, Carte, an-1 Co., «). Charing -cross.
ID "Home and Foreign ]
the day— ride public pros*. Tho «" ho'e of the muse by J. P. Dtntli.
Mi Co , «, Altany^treet. N.W., and all Mraic-eeUor*.
IBS JULIA ST. GEORGE'S SONGS. — Sung by her
la "Hocna ami Foncigu Lyrics. ~_ Tits most jitracttre cutertainnxnt ot
Hartman u
EICHLER'S EMPIRE QUADRILLE,
by tho Congress of Dancing Master* Id Vienna; the
figures by Junes Bym. B agrore, 7'. Mertlnsr-stneS Carendisli-square ; and
Pmlaya.li. the Proroenude. Cheltenham.
agreed upon
T
'HE PRINCESS ROYAL WEDDING MARCH,
dedicate*! to Urr Most drachma Msjraty the Queen, by the oomposor
grand
J Arthur Owen. Pianororb-. la : niilltarr band, 7s
Publtski-ra, Rudall, Rone, Carle, and On. to. Charing<rosa.
orcbeatra.
Jnst puhlUhed, oonipnaod by T. Grahati
BEAUTEOUS MORN. — New song for voice and piano-
forte. Bang by Mdl e. Rndsrwhu. nod othrr otnincf '
THREE FAVOURITE HYMN8, "Rock of Ages. " "Jei
and " Oh ! that I had the wing* at a dure. " in *core, 2a.
GRAND FANTASIA (or the pianoforte, including "The 1
with variatloua. 3a
To be bad of all muilc sellers, and of the Author, Wfcrsn.
M
APLESON AND
MUSICAL AGENCY.
CO S BRITISH AND FOREIGN
As the RagiMar Booka are now being compiled. •
tholr names, Ike, entered, can be aapplied wttn
on application.
Dscenitar 31, 18S7.
tniambera, II, Haymarket, I«odon.
all Prote«l-..„al« laSrou. of lia>1llf
PIANOFORTES. — DEWRANCE'S COM PfiNSlTlNG
A PIANO may now be seen si tbs depot, 33, Hohe-enuara By-lbs appHcartOn
of this principle a hraeler *trng can be used, tho result of which hfc, that tbo full '
i*>wer of s grand is obtain, d front a cottage instrument, at th* same tttue too
wires and the frame on which tlsy are attune; expan*l and cent root with' change
ot temperature equally and together, so that the neocasttr fnr Irecptent-tunjnc, as
In the ordinary inatruiuent, 1* entirely obviated. For ndosss »nd tvundtm* of
ordinary inatruiuent, 1* entirely o
rlut extraoidlusry power* of rood
■d. at U.e same Un.o the ,*ioo 1. no
IGNOR FERRARI'S NEW WORK on the Cul-
tivation of the VOICE and SINGING is now published, price «* . and
may be ba t at his rcaUence, Devon h re Lodge, Portland rswd, PortlaiMt-plms,
'Ot all tbo Uestisss on ths cultlrsU-n
s
p™
of ths r..ice that bavo' ap|» e t f..r many j .nr., H I* tbs most sensible, concise,
and UBsfuL"— Daily News "Then- i* more sense In this work than we find In
nine o t of ten jmblnattions of a *imiUr kiwi."— Athemoutn. ' Form* * kind
of grammar ol ihe vocal ».t. and BM a roers ooJlsctKm of cx-rvksst. —Critic
" Hsrti Is a really > nsible work. "-Musicsl World.
SARDINIAN CHAPEL MUSIC— A collection of
O (acred mujdc, a* used in th.. Chapel of the K>ng of Bsrdtnls, containing two
Masses, and twtuty eight oti.er pieces, principally ft the reaper set vice, com-
used by Ssmttel Webbs, with s separate accoffipanlmeut Tor oigan or planoforts
by V. Novvilo. pries r* Cd. Tiie two Masses fiom this collection are pilnted
► paraU-ly and inark'd. pries la M. each. Lon iou Sacrcl Music Warehouse, If,
De ui — reet, S^b- ; an- 1 t*. Poultry. Order Novello't Bullions.
TWELVE EASY MASSES. cskulaUd for small choir*, with aoo mpeolment* for
tbs organ or issnolorte by V. Novello, In 3 vols
" 1 lr>q«trs ths aecuncl volume of the stairs Maura, containing the (Gregorian
It quieini sod U.reo Masws by Wobltv CaMalt, and Nov. llo, marked, price lis"
To* TKNEBRjE SERVICE, complet* for Wodurada
Holy Wsek. toolahung the wholu or tbo LatnenUU
mortised In niodsro notation by V. NoveUo, price H.
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SOLOS FOR THE VIOLIN.
COMPLETE OPERAS FOR THE VIOLIN.
PRICE ONE SHILLING.
J, Im Soomamtule— Bellini
(. Lo create Btrgim— lKrolattll
3 Norma— BollCd
6. Lucta dl launmeTTroor— Domielli
4. El Mm d'Amore— Dealsetti
«. Eraern— Vordl
7. Mi«i> o lo — Anlier
H IXIO PeaqU&k — Douisettl
S>. I PuriUnl- Bellini
10. Lee Huguenots— Meyerbeer.
11. UrJejbl.Te— Rwliln
1*. Dun Juan-M.aart
IS. II Tw.atore-Ver.il
H. iter
15. La Travt»la_V.
t«. Rifoletlo-r
ONE HUNDRED DANCES FOR
PRICE ONE SHILLING.
THE VIOLIN.
r.
4.
».
«.
r.
t.
».
i"
ii.
1C.
li.
li.
if
if>
17.
II.
19.
j„
SI.
V".
S3.
St
IS.
sr.
n,
n
S3.
84.
Ditto " i/Eu
Ditto Pr, lie
Ditto Tfenlso
Ditto Finals
The Sumroor Flowers' Valse) Tinncy
Ditto Second Bet
The Aurora Valae. First Fjrure — ]
Ditto !Veon<l Figure
Ditto Third Figure
Ditto Fourth Figure
The Bulgarian Polka— Montague
The MiiekoBf O»iop — Laurent
Linda, di Chamauiii Qmuinllc.
Ditto L'Et<
Ditto Poule
Ditto Treniec
Ditto Finale
FcaeUe Valae. Fin*
Ditto second
Deutecbe-Luet Valsc.
Ditto Soconrt
Ditto Thirl
Konlg«t'«rg Polka— C M.
Berenice Quadnlle. No 1
Ditto No. % ■
Ditto No. «.
Ditto
Ditto
: Flguro— P. li Tinnrj'
'•nMTie»lT*Dd"-Balfo
Thl. i. the Place"
Qoodnlitht, Beloved!"
No. 4, "The Village Bl*-kitmllli"
No. », "T'ie First KiKa"
t» Tnivteta Vales Piret Firnire— Monttigue
Ditto Second Figurvi
Ditto Third Fiitnm
Ditto Fourth Figure
Ditto Fifth Fkum
Poule
St. 1* Variovlaiia— Henri Laurent
So. Rlgo'.etto Quadrille. Fauuuo:i-
JT.
Turn
Ditto
Kpriug Flow cm' Valso First Fignr*— V. 0 . Ttnney
Ditto Beoond Figure
Die Klfen Wallr.ee. First Pi«uro— Lebilaky
Ditto Second Figure
Ditto Third Figure
Olgt Maxurka — Got*
Kruaot Quadrille. Piuitalon— Jullko
I Pitt I Eld
Ditto Poule
Ditto Treniec
Ditto Finale
Marguerite Polka— Hiliri lenrwit
Vlllkln e Valsc. Pint Figure— Heori Uurent
Ditto Becood Figure
Ricoletto Vail*. First Figure-- Henri Laurent
Ditto Secmd Figure
Ditto Third Fik-ure
The Queen's Schotliaoho— D .niello
AO. The Argyll Galop — liuircnt
«0. The Amine Quadrille*. Pan
•I. Ditto L'EI4
OS. Ditto Poule
». Dllto Trrtilae
««. Ditto
67.
SS.
it;i
T:-
n.
v.
T*.
ro.
7«.
n.
■i.
M.
(I.
Bi
M.
84.
>:
M
•7.
s*.
•V.
111.
n.
'.'I.
04.
M.
07
f>".
IW.
100.
The laabclla Valao. Pint Pijurt— A .
Ditto Beoond Pixure
Ditto Third Piirura
The Eiichaulrwi Polka— Juliano
No.S
No.S
Flrat -
Wa^iH-r.
Ol*elia Valae.
Ditto
Elhcl Novrcoiiiu V»|j«. Firat Future— l*ur<nl
Dttto Second Figure
La Gaaaicr Valae— L Veniano
Aonon Pollu — Htrauaa
Ualoii doa OuUlea— H IjloreCt
Bt. Patrick'B Quu-irJi.'. Puntalun— H. Lauranl
Ditto LXt<
Ditto Pool*
Dttto Trmlao
Ditto Finale
Dtetuna on th« Ocean Valae. Firat I
Ditto Woornid Fiiptro
Ditto Third Figure
Kilic Pollu— Oavioli
Bride of Lam tncrmoor Quadri lie.
DiUo Ifmt
Ditto Poule
Ditto Treuiae
Ditto Fina'e
IMla Sat'ine Valae Fariairnolo — Hettrion
The Plcoo'innlnl Valae— A. Wafrner
The Maud Valae— H. Ldurrnl
The Nightingale Pollu— Wallerateln
BOOSEY
Containing 250 Operatic Melodie», Bongs,
in One
'S VIOLIN JOURNAL.
Dances, Ac. Published in ten Numbers, Is. 6d. each ; or, complete
bound, 12s.
1:
10. I.
•I dipaes
Oti r the hounding watera
1 aha! 1 meet I hea rievar t
The>* aaj the sun ahinea c
Where the bee anctta
Ti e MhM> Hearer
Croat lau Cbaaut
Ruaaian Air
The Queen's Schotiiarhe
Vcilcl m Polka
Angelina Pcikaa. Not. 1 and 1
Caniella P..ika
Go«d ulxht ditto •
German ditto
Ouop of the Nali.-na
M.rgu.riw d AuJou Quadrille.
Maiodieti W.lt»r»
No. S.
Bell Galop. ftn>m I
AngeTlque W»IU
The Fairy Pelaoe Waltaoa
lvea Banaaantta Quudrtl iw
rionu. of tba Alpa Waltiea
Extra Fuat W.du
No. 4.
DcSp. Smhlna WalU
Le.Vet
Bt. Catherine Quadrillea
Bt Catherine Wait!
Bt. Catharine Galop
Ua> D.me. da Seville WalU
Crao»-i»ienno
L'Eatretle fKuoniat T*antr\
Dance trorn Danlloara
Hlilurv Poll, a
H«ret>t B rd of Bummer
The Summer Bloom
The Healer
Fr4n the Alps the bnm re-
•ounilinir
Germ.kn Rhino Bonu
Nice mla come (oVuiri* ^ir)
Tlic FiaxjtT Dew
Rivuten Narloti.1 Hvmn
Rul. Bt.Ut '
Tit* Boony
Cradle Hoog
Fa.ry H.unt-i
The Gra.eo^th^ir...
1 "ill pay Uiarn' yet
Wliafa Ihaltoliim?
Dear land of my father
Spirit Voice
L» Bcoquct dc Bu
U h4tle Joanne-Marie
Mon Cceur
Vive Pan a
Ha'* coming home
The Wild Rnaw Bud
O'er my aoul theru t»-am'd a
bllaalul momitig
Jin from BrUmi'i Aniaaateiifa.
... joyful
jlin from Bdlini'f Sonmambula
ittnHnurd).
O Love! Tor me thy |iow«r
While U>i» hfart
Tak« now thin ring
Oh I I eanoot KiTe expr eawmu
Aa I view
Maid., thorn bright iln
A Kilk-nuy Tune
The a nig of Memory
The Poor Man's Bride
Romanoa. fr>m Maria
Lr. l.:in|ieque It r „-r.-tr
Una ficur pour roaivnu..
En Avmit
Ma Hiunelte
Ta Votx
Oui. Monaelguour
Nod, Mou»njjric^iT
Ta Mats
L. Hriiue Tl><ie*e
Bortbo U Riouea
Lea Clieveux hlonda
1^ B luttm d'Orangei
When the si-in-nhettering en-
AlUa^oai now
rliill .ogontly o'er mc atenling
Oh ! mutm ut ur | '
Surely could 1 1
Do not mingle
No. 7.
A>rtfnm Aob,r'< rg«/aml
PraJunur.
Dotix eapoir
Air. Dura t'Arabio
Tot qui verava la luuulirc
Ail loin da la ulaino
^4iri from Pen/i'r fiVrtuni,
Oh ! do verl Ann! Intel
Kvviva hcriam
Come rugjriada
() lu chc I' iIoij> .wloni
Galop
1 tniei htmeuii
Utl«l»
EriLani ! involaml
Tutto aprv-sao
Infotloe e tuo crodevi
lo tun fido
Lo votlr-tno
Vieni mec>>
March
NO. 8.
Oh ! cotnc faliee
Crac 'vicnnc (A4am)
Krwio,.lj:,(rAon/^l,e>iri,)
GiwtiMn
^irj /rem I*>*itrt1i'> /.ia,fA o*»
r'AxiuiVHaix.
O lure dl qiieal anitna
Allibo Datl
Frtcciam Alteirrl
Car. luoghi
Dl tuo pene
Da quel di che
Qirnl dm er
A couao'urmi
Per .ua madrc
Vuella plrU
Li figliu inla
Eaultlam la tua pt'teruu
Mo unto in in
0m i v.utio. t cam i
atcred day
Iran Jin.
No. 0.
E It voce
No. uom e ver
Ah I btddeatin
The Ik llc pl the
il'irulng Hymn
Kvoning Hymn
Sicilian Mariner's Htoiii
Pleycl's German Hymn
Tlymn for Rruter Day
Ditto Whit-ritiwiay
DIUxi Trinity ditto
Christinas Hymn
The li>rd my pasture
PraW-, oh! PfiSH the name
i Great Source of good
Thankagmr<K Hymn
Arise, and hall the l
The Cool, in
The Bung of Borrow
S'avourne^u DvrlUh
Rich and rare
I The Voting Man's Dream
My l<Klging ia on the cotd
itroiiiiii
No. lO.
j ft ist A in fcv%t*nuti).
; Ob ' haste and leave this aar red
Isle
The Last Rose of Bummer
The Stricken Deer
When he who adores thee
Ibe Meeting of the Waters
TV Pretty Girl Milking tbe
Cow
Has Borrow thy i
»h»di«l t
The Gentle Midd
O Patrick ! fly from me
Oh 1 loaro me to my anrrow
I 'Tie not tbe tear
Tbe Mln>trel Boy
1 M 11 Ho. r.,
The Rose Tree
Love's Young Dream
, Sing. sing, music vraa given
I Rato Kearney
Peggy Uisii
, CoiJloun'a Bower
Fly not yet
SL Patrick's Day
The Bard's Le
Nor.i Crvxiiwi
The Star »|«ng]e.i Bn
Hail CUtimbta I
The Belvidiro Galop
ONE
In the Press, price ONE SHILLING,
HUNDRED OPERATIC MELODIES FOR THE VIOLIN.
UNIFORM WITH THE ONE HUNDRED DANCES.
BOOSEY & SONS' Musical Library, 24 and 28, Holies-street, London.
Digitized by Google
Jan. 16, 1858.]
THE MUSICAL WOULD.
35
REVIEWS.
" Tnx Class. ical PlAXirr" (used at th« Royal Academy of Mime)—
a aalection of morament* from the work* of the great muter* —
edited by Bhikiey Ricuabds (Honorary Member, Associate, and
Profeeeor of the Royal Academy of Music).
Vol. II. of Mr. Brinley Richards' "selection of movement*"
begins with the whole of the late Chopin'a lengthy, incoherent, plot-
less, shapeless and inconceivably dreary sonata in C minor (Op. 4).
What such a work can poaaiby have to do with the "classics,"
we are at a low to guess. This sonata shows clearly that even
a man of original talent is unable to achieve anything of im-
3 without the technical experience acquired through well-
udy in early life, here Chopin waa lamentably
ad thus only hia smaller compositions are acceptable
to thoM who regard music from a serious point of view. A.
clearer proof of his want of fluency, and insensibility to form — the
nits of imperfect education — could not be adduced than the
• in C minor {C minor by courtesy), which drags the weary
- through twenty- eight closely printed pages, made up of
passages without brilliancy and modulations without interest,
based upon themes without melody or rhythm. Mozart himself
could have done little or nothing with such a subject as that of
T
The finale — a pretio — is about as badly off for a theme, and the
menueita not much better; while, to make amends, the larghetto
i off as follows : —
Larghttto.
The S — 4 measure is sustained to the end ! Let not such
unmusical devices be mistaken for the aberrations of genius.
They are merely the tricks and artifices of self-satisfied in-
competency.
The next piece— consisting of some variations on a
national air-
is graceful and unpretending — more so, indeed, than other things
of the kind by the same author, which enjoy a wider reputation.
Here Chopin was on territory of which be rarely passed the
confines without prejudice to his muse. He is relieved by
Beethoven, one of the finest of whose earlier sonatas (in F flat.
Op. 7) Is calculated to efface all remembrance of the half-
melancholy, half-affected manufacturer of mazurkas and " noc-
turne*." The Polish virtuoso shrinks to insignificance beside
the vigorous ohild of the Rhine, whose last seven sympho-
nies were reflections of the mountains that frowned on 1 is
birth-place, at Bonn, from the opposite side of the river. Tne
sonata, which Mr Richards has placud next to Chopin's varia-
tions, is sufficiently familiar ; but if any of our readers should
bo so iucoustaul in their admiration of beauty as to have forgotten
it, the tender theme of the Rondo (finale) will at once win back
their I
M. Oulibicheff, who talk, at great length
Op. 7 * and expatiates on the sublimity of the
Cvn gran ttpreuioru.
— in which his lively young friend, Balakireff, finds a strong
resemblance to Mozart — waa too jealous of Mozart's pre-eminence
to say one word about this exquuritely graceful rondo, or about
the splendid allegro with which the work commences. It is such
flagrant dishonesty of purpose, continually evident, that has
won for the recent labours of our Russian critic and bio-
grapher the disapprobation of all competent and impartial
judges, and has held up his book to the ridicule of all but
M. Fetia, whom M. Oulibicheff bedaubs with flattery.
Nothing perhaps could come after Beethoven with better
effect than the animated fugue in O from the Seven Characteristic
Piece* of Mendelsaohn. If the expressive melodies and deep-
toned harmonies of the first have thrown us into a done* reverie,
the last — like a good-tempered friend, who slaps us on the
shoulder, when, absorbed in reflection, we are thinking of any
one but him — will suddenly rouse and snatch us away from our
"brown study " (quite as good as "douce reverie'), with an
authority not to be denied. The very opening of this brilliant
piece of contrapuntal writing is '
attention : —
« KrUftig und Feurif is the description which the eager Men-
delssohn, so brimful of musical enthusiasm in hia earliest boy-
hood, affixes to the fugue — and with what propriety those who
have heard it played by its composer, by little Charles Filtsch
(both gone !) — or by our own Engliah pianist, Arabella Goddard,
their legitimate successor, are beat aware. Mr. Richards
should have associated with this the Presto in A (" SchnAl und
• Beethoven, tet Critiquti et set Olouatemrt — page lift.
Digitized by Google
36
THE MUSICAL WORLD.
[Jan. 16, 1858.
Beweglidi") which follows it in the Characteristic Piece*, and
al oul'd for over be in iU wake, like Flying diilders striving to
outrun Eclipse.
Next we have two of the moat admirable of the sonatas of
dementi The first, in A major, beginning thus : —
Allt'jro maettato.
is as fresh and melodious as it is ingenious, and perhaps among
all the compositions of this master, the one which made most
impression on tha plastic mind of Beethoven. The opening
allegro is faultless. The slow movement in A minor begins with
a page that might have been signed " Beethoven ; but to
this, alas ! succeeds another, that could only have been signed
" dementi" — or, better, " Clementi at fl ttanJetilC — a two-nart
canon, built upon three unimportant notes of the adagio, which
disperses all the poetical fancies suggested by the <
This piece of dry contrivance, beginning thus:—
is followed by a repetition of the opening, in an abridged and
mo<lifled shape, the whole terminating with a brief coda. So that
what at the outset promised to be a fine and impressive movement,
is split into three fragments, the first and last of which seem
at odds with the one that separates them from each other.
Never was the most pedantic attribute at dementi exhibited
to greater disadvantage. The finale, a bold, vigorous, and well-
i out as below >—
s
pin
A few bars onward, the pianist who has Beethoven always
before him will be reminded of the final* of his favourite
poser's sonata in D— Op. 10— by the following bars :—
Clementi recurs as often as Beethoven to—
F5f
— which shows how a great genius may be
committing plagiarism. The finale of dementi's
would be as faultless as the first allegro, but for
eternal two-part canons—
— which fills up half a page with emptiness, after the first doable
bar, and to which Richard Wagner's definition of "i
tittkal'i trifling icith it*df" would exactly apply.
(To be i
" ToriTMn Music of tits Oijjex Tim" — a collect ion of
•one*, hullads, »nd (lauce taiiM, illustrative of the national mu»io
of Knglsnd, etc.. by W.Chspprll, l''.8.A.
The last three numbers of Mr. Chappell's truly national work
are as full of interest as any of their predecessors. We shall
have a great deal to say on the subject when the publication is
altogether completed ; it is, therefore, enough at present to
announce the fact that Parts IX., X., and XL have been issued.
" I/Axosixs ntr Matih"— '* Li Tic-tao du Moclik"— " I/Amaeoitb"
(caprice) — " MXNUXT DAKS LB Stvlb A»oixw"— "MistriT IK G
mi"' 1 1 — for the Pianoforte. Composed by Clitrles B. Lyaberg.
The monotony of No. 1 (L'Angcltu du matin), is excu-
sable on account of its subject ; besides which, monotony
apart, the piece is pretty and effective, without any pretence or
display. As much may lie said of No. 2 (/.< Tic-tac du Moulin),
with the additional recommendation that it possesses a certain
amount of originality not remarkable in its companion. No. 3
(L'Amazone), is a lively movement in the " galop " style, with
no touch of novelty to take note of. Does Herr Lysbcrg, in
No. 4 (.Venn n dant le Style Ancien), intend to hit off a peculiarity
of his musical grandfathers by the following progression f—
! II III
i
35
—
EE
FT" t t
And does he intend to distinguish his modern self from them, by
the subjoined peculiarity of his own (page 1 ) ? —
We merely ask for information. To conclude, these little
pieces are all more or less interesting, and, with varring degrees
of merit, all really muiical. We shall gladly welcome other
contributions from the same pen.
"The Hajiijios Wait/k*"— for the puuiofortc. by Albert D»we»,
orguni»l, Ilieiinfis— (Istc organi*', Victoria Rail,' ltdr'ait).
There are points open to criticism in these waltzes— as for
Digitized by Google
Jan. 16, 1858.]
THE MUSICAL WORLD.
37
— bnt none that call forpraise. The folio wing bar is inexplicable
Our readers must bear in mind that such publications as the
above are *tnt to hi for review, and that we do not seek them
out. Thus a disagreeable tank is forced upon us, from wkicb,
however disinclined to perform it, wc cannot shrink.
AiRs"-for
" LYaBZRO'a CSLKllRATBn AUUI FlNTAEU OH SWISS
the pianoforte.
Herr Charles Rovy Lysberg has built upon three pretty Swiss
tunes (the tune of the boatmen of Brienlz — the ran: des vachet of
Cnterwald — and the ram dr* chevrt* of Appenzel) a very effective
piece, much in the early manner of M. Henri Herz, before that
once very popular composer took to imitating Thalber" and Thal-
berg'a imitators. The Alpine Fantatia is sensible, well-written
music, besides being interesting ou account of its genuine
character, and showy (without being at all difficult) for the
KlOHJ iii's Emnue QiudbilLs" — as agreed upon by the
Congrea* of Dancing Masters st Vienna. The translation o'f the
figure! by Jamr* Byrn.
This quadrille — which is an attempt to imitate the cha-
racteristic dance music of various nations — may sound very
■well in the orchestral arrangement, but it is clumsily and
'for the •
" Whithbh"— Word» by Longfellow ; Music by L. H. H.
Though somewhat monotonous, this setting of Longfellow's
pretty verses, " I heard a brooklot gushing," is not altogether
unattractive ; but the " grim " and formidable appauage of six
flats cannot hide from the eve and car of experience the weak-
ness of the second part (" What do I aay of a murmur I"), so
very much inferior to the first, which is in tho I
" AoMtts Dei "—a Ire voce— by Virginia Gabriel.
A composition by no means without traces of musical feeling.
It stands, however, in great need of revision, not only on
account of engraver's errors, but also those of the composer, who
(among other faults) makes a jumbling alternation between the
• keys, which is anything but satisfactory to the
"Tns Delhi Galop'" — si performed at the Xobili.y'i Ball*— by
J. O. Brooke.
"The nobility" are to be envied the privilege of dancing to
this galop, which, but for its very objectionable title (we shall
have the 'Black Hole of Calcutta Polka next), some engraver's
blunders, and one or two of " Mr. Brooke's own," might pass
muster, as a spirited galop enough.
"L'ABSMCK" (romance)— " Li Brrocn," (Grande Polka brillante)—
pour In piano, par W. Vmcont Wallace.
These brilliant pieces are twin sisters in all respects, and
Bhould never bo parted. They belong to the same " toue-faniily"—
as Wagner says (and his Yankee worshippers after him) — and
are the major and minor to each other, although tho Polka is
written in L> flat, and tho Boinanoe in C sharp minor, which
Sis the Director of the Musical Union is aware) makes no
iffereuce on the piano. L'Absence is as gracefully senti-
mental, as plaintive and touching,indeed,as Le RetO'tr is energetic,
animated and brilliaut. Both are minuted to the instrument
with the address and the taste for which Mr. Wallace has long
been eminent, and while both demand considerable powers of
execution, both are essentially effective, and will amply repoy
all the pains bestowed on practising them. L'Abtcnee appeals
to the player's command of expression, Le Retuur, to his vigor
and decision. If the late M. Dohler, or one of the living
" m'rfHOoo-pianiats," had written either of these pieces, it would
be straightway lauded to the skies by a whole tribe of ''shivering
airittttrchi," and introduced straightway by Herr ltubinstuin of
"the Pieethoven brow," at the Musical Union.
Before any copies of the polka are sent to Chirk, the composer
should look to page 8, where his searching glance will readily
detect a collide ot engraver's errors — one in the fourth bar of
line one (F, instead of G flat) ; the other in the first liar of line
three (F natural, instead of F flat).
"Nkl cou hit HON Ml sen ro"'~ transcribed for the pianoforte— by
Brinley Richard*.
Mlu Richards has made his "transcription" with an eye to
business. The introduction, air, and variations may be attempted
in the nursery — provided that Paterfamilias has a "Broadwood"
in that cherished sanctum. Nevertheless, in the midst of its
simplicity, there is nothing commonplace or vulgar in any part
of this morceau champftre, since — which is by no means au
absolute condition of the pastoral life — it is quite as innoeent an
it is bucolic. We have rarely encountered a piece at once so
and unpretending.
" IN MKMORIAM."
R ocsn cls»*ic urn* let tendrils of the vine
A ppesr no more, but cypres* wreath* en twins;
C orncille'a sad shade doth borer round, and fenr
II i* Racine's burning word*, forgotten here.
r song,
long!
L ink'd to our deareit thought, so oft, «o
F car not, bleat *pirita! for, while time cuduret,
K aeli grateful heart shall call ker irem'ry your*.
L ung tho' we mourn, she huth bc4|ucath'd a spell:
I n fancj'a musing* shall your triumph* tell ;
X enophon breathe* no more — yet »pcakelh well !
January, 1858.
Briohton. — M. Oury's series of orchestral and military con-
certs at the Royal Pavilion, continues to prove attractive. The
selections in general are good, and Madame Oury at the piano-
forte is always an interesting feature in the programme.
Lrvkt CnuRcu, Ciigsiiikc — On Sunday last Mr. Twisa, of
Hartford, again presided on the beautiful organ Just erected in
the church by Messrs. Forstcr and Andrews of Hull. There was
an immense congregation, who highly appreciated the manner
in which the choral service was conducted by the talented
organist.
Digitized by Google
THE MUSICAL WORLD.
[Jan. 16, 1858.
JOUANN SEBASTIAN BACH'S CHBISTMAS
ORATORIO.*
erlin by the Singaoadsmii
December, 1857.)
e, era the 17th of
(First performance in Berlin by the Sin.
J'Hiasn Stii-Vsri an Bach'8 Ckrittnvu Oratorio (WeihnachU
Oratorium), the text of which is taken from the 2nd chapter of
St. Luke, verses 1—21, and the 2nd chapter of St. Matthew,
verses 1 — 12, and on whioh Wiuterfeld, Mosewim, and Wilhelm
Rust have written excellent articles, consists of six musical
compositions complete in themselves, which were performed, on
six different days, in the course of divine service, during Christ-
mas time, under tho direction of the old master, in Leipsic. The
first three of these concerts (for this was the terra which
Johann Sebastian Bach himself has frequently employed for
such sacred compositions, which, however, are also called ora-
torios, as is the case, for instance, at present with the Evange-
lical Church in Transylvania) are intended for the first three days
of Christmas, which in the last century were duly observed in
Berlin, as well as elsewhere ; the fourth was intended for New
Year's day ; the fifth, for the first Sunday in the new year ;
and the sixth, for Epiphany Sunday. The performance of the
whole series in one day is contrary to the original notion of the
composer, but he regarded this series, as he did the entire
festival iUelf, as one connected whole, so that an uninterrupted
succession or performance of all the six parts (which Bach
himself collected in one ond the same score), is probably quite
in accordance with his intention, as Ilerr ( Jrell justly ohserved
in his address. It was not considered advisable to give the
whole of the Chridmat Oratorio. Apart from the long time it
would take to play all the music, a circumstance which, with
those who were but newly acquainted with it, might prove
injurious to a favourable impression, there were a great many
short-comings and omission*, arising from the impossibility of
replacing certain instruments. To the latter — in addition
to the orgati, the alt-oboes, &c. — belong those instruments
which — at least in certain separate pieces, according to the
key in which they are, canuot approximate to Bach's original
intention — to which the Singacademie has been striving to
return tor some time post— so easily as the violins.t If in this
manner, besides the omission of certain pieces, or the second port
of them, there is, in a few cases, a de|iarture from the original,
through the employment of some instrument which is not the
one directed to be used, this is justified by the endeavour to injure
the great master at little, and do him as much justice, as possible.
of cantatos, by
a sharp con-
ibly serious and transcendental purport of
the /Won of St. Matthew. As in the latter, the material
arrangement and treatment of the subject is partly epic and
dramatic, partly lyric, only the last element greatly pre-
ponderates in the ChrUtnuu Oratorio. All is clear, flow-
ing, and transparent, both in form and expression. The
same master to whom we are generally accustomed to look
up as the most profound interpreter of God's word, and the
boldest and most powerful tone-painter, here displays all the
fulness aud poetry of a childlike pious spirit. The brightest and
moat festive feeling is apparent in the work, and the musical
language is, from the beginning to the end, as joyous as it is
simple and true-hearted. The first chorus, " Jaucbzct, froh-
locket," reminds us less of Bach's peculiarity than of the simple
style of Handel, the freshest and most patriarchal of all national
singers. The choral, 44 Wic sol ich dich empfangen," is founded
on the same melody as " Wenn ich cinmal soil scheiden," from
the Potion of St. Matthetc. It obtains, however, from the
different manner in which it is treated, qnite a new significance,
In the ono iustat
resignation, while
While artistically
which the subject filled him7 tho master" was extremely fond of
we gre.-iv master as nine, aiiu uo mm as mucn junciet
A contemporary rightly observes that this cyclus ol
its essentially cheerful and nnice character, forma
trast to tho invariably serious and transcendent
lance it expresses complete self-devotion and
ile here it pourtrays the most blessed hope,
lly fashioning the feelings and thoughts with
ct filled him, the master was extremelv fond of
joining them to those tunes which were formerly in all hearts,
and, with their consoling and elevating influence, accompanied
>n individual from the cradle to the grave. Bach's compost-
• Translated from the 1
t Fran* Liut had a 1
for the
an
tions are so far removed from our immediate sensation, because
one of their principal elements, namely the choral, possesses
at present a very different importance to what it once did. It has
become a mere Sunday song ; estranged from every day life,
and only still at home in the church and the school, it awakes
in us nothing further than the half-faded recollections of our
early youth. Formerly, when religious views still swayed the
entire world, and each individual felt himself most closely con-
nected with the ecclesiastical community, the mind found in
these songs the echo of all its joys, its pains, and its hopes. The
choral melodies, an inexhaustible mine of true piousness and
poetry, have been employed by the master for a succession of
creations, whose outward variety and inward riches we canuot
sufficiently admire. In tho choral, M Ach, rueiu herxliebsler
Jcsulein, the treatment is characterised by playful grace and
smiling mildness. While, in the insipid text, we find only the
cloying sentimentality of pietism, the music moves us by it*
childlike naivett. In the choral, " Er ist auf Erdeu kummcu
arm," a boss recitative, aa though interpreting and explaining
the text, intersects the melody, which is intoned in unison by
the alto. For the intermediate music of the choral. " Wir
singen dir in deinem Hecr," Bach has employed ono of the i
charming and most expressive figures out of the pastoral I.
phony introducing the second cantata. The "Schlafe, tuein
Liebster" is one of the most beautiful and feeling cradle-Bongs
ever sung from tho fulnuas of a mother's heart. The chorus,
" Ehre sei Qott in der IIY.he," begins in the most brilliant and
spirited manner, but only to glide, immediately afterwards, at
the words, " Uud Friede anf Erden," into an indescribably soft and
dreamy strain. The chorus, " Fallt mit Daoken," appears almost
written in Mozart's style; the alternation between one single
bass voice and the united sopranos is marked with deep feeling.
The chorus, " Ilerr, wenn die stolzen Feinde schnauben," is
most powerful. As in all Bach's other works, so in the
Chridmat-Oratorio, we at first find a barrier to our enjoy-
ment in a peculiar style of instrumentation, to which
we must become accustomed before we can be imbued
<with the full purport of the composition. If we compare
Bach's orchestra with that of Haydn, Mozart, or Beethoven, we
shall find that it not only wants several separately highly
characteristic elements, such as clarionets, and, as a rule, horns
and trombones, but, what is far more important, that the whole
treatment of it is copied from the onjan, and marked by a
certain stiffness and monotony. All the more delicate admix-
tures of sound are wautiug, mid the separate instruments are
only employed as so many different stops, which the organist's
hand pulls out and pushes in according to a certain system.
While, in the productions of more modern times, the orchestra
constitutes the moving background against which the vocal
parts stand out in simple clearness, and with distinctive indi-
viduality, the exact reverse is here the case. Out of the vast
ebbing and flowing tide of polyphony, there simply arise a few
separate instruments aa distinctly defined shapes for the senses
of the auditor ; instruments which, by their sharply-marked
figures and their sound, so strongly contrasted with the vocal
parts, divert the attention of tho unpractised public from tho
principal thing. Bach always employed, with artistic geniality,
the means which the orchestras of his time offered him, but he
never went beyond the narrow limits he found already existing
in this department of art. The performance, especially of the
choruses, merits our hearty approval ; the members saug
purely and correctly. The solas were supported by 7
Schneider and Hoppe, Bcrren Ueyer and Blumner .
St. Potersutrgu. — Auber'B Jfutttt di Portici, uuder the Utlo
of Fentlla, has been produced for the first time at the Imperial
Theatre, and received with immense applause. The great
feature of the cast was the Masaniello of Sig. Tamberlik, which
is considered by some of the ro
burgh as his most magnificent
authorities of
Digitized by Goo
Jan. 16, 1858.]
THE MUSICAL WORLD.
39
MUSIC AT TURIN.
(Ftom our own Corretpowiml.)
Jan. 3rd. — Since I last wrote, the three principal theatres
here have commenced operations for the Carnival each having
inaugurated the season with one of the most popular operas of
the three most popular living composers. At the Regis, /,-.•
Prophite was given ; at the Vittorio Emmanuele, Moti; and at
the Teatro Nationale, La Traviata, The impresario of the
Vittorio Emmanuele acted judiciously in producing an opera
by Rossini, whose music is, alas! seldom heard now; and
though the majority of the opcra-goiDg public in Turin are
14 fanatici par la musica di Verdi," yet there are few who would
not willingly change at times // Trovatore and La Trariata for
Guillaume Tcii nui Motl. I will not venture a remark on the
merits of Moti, one of the finest works of its composer, who
is said to have rebelled against the conventional rules and
trammels of art as they existed in the time of Mozart,*
and whose ezuberanco and variety of fancy created, from
the commencement of his career, such a revolution in
the musical world. In speaking of the first performance of
JtW.a musical journal say*,"La buttaglia fu combattuta valorosa-
mente la vittoria fu pieuan ; il trionfo olso ogni speranza" —
which is bnt true, for in «rery respect the performance was
admirable and the success complete. Acting ou the principle of
" honour to whom honour is due," I must speak first of the gi-n-
tlenicn, who had the liou's share of the work, and obtained the
same proportion of the applauso. Signor Carrion, of whom 1
had always heard much, but had never heard until his appear-
ance here, is decidedly an artiste " du premiere ordre. His
reputation as a singer of the Rubini school, and of the more
classical Italian music, is considerable. The absence of the
harshness and abruptness, of the reedy tone and strained force
of those who have been victims to the style of Verdi, renders him
one of the most agreeable Bingers I have heard for some time.
His intonation is true ; his tones aro soft — full of feeling and
grace, with that elegance of phrasing which characterises the
higher Italian school. His delivery of the first duet with the
soprano was a charming piece of vocalisation — indeed, such as
is seldom heard now-a-days. Equally admirable was his duet
with Pharaoh, which was tumultuously redemanded. Signor
Merly, to whom the rile of Pharaoh was entrusted, is com-
mended, by the musical critics, for having abandoned the French
opera for the Italian stage, to which his voice and style of singing
are peculiarly suited. In his acting and singing, ho reminds me
more of Coletti than any other baritone I know. Like him, he is
wanting in tenderness of expression and delicacy of phrasing,
bnt his voice is char and full, and of an agrecuble quality, ami
sinca I heard him in Paris, three years ago, he has gninod
vigour and nerve. To Signor Atry, who is also a Frenchman,
I can give the highest praise — his gigantic stature and massive
voice lent considerable interest to the part of Mok — his acting,
like his singing, was always careful mid fine. In the scene of
the "giuramenlo" he maife a most profound impression. The
lady, Madllo. Lcsnicwska, who was substituted for Madlle, di Car-
tello, appeared to give satisfaction. I must do her the justice
to say that she is superior to many ladies of greater preten-
sions, and that she has the good taste not to spoil Rossini's
music by ambitious and slovenly executed Jioriture, which most
prime Sonne think requisite. The efficiency of the artists in
the subordinate parts, and the wonderful fire and accuracy of
the choral and orchestral adjuncts, contributed much to the
gratifying en&mble. Moii is an opera which does not admit of
mediocrity in the performance, so that in the present scarcity of
talent, we may congratulate M. Mestrallet ou the acquisition of
such singers as MM. Carrion, Merly, and Atry.
The unpopularity of one of the ministers has interfered in
some measure with the success of Le Prophite at the Regia; but
I question if politics alone have chilled the audience, for with
such an inefficient representative of the part of Fides as Mdlle,
Sauchioli it was impossible to be satisfied. I shall reserve my
remarks on tho performance for the present, as I understand
that ere long Le Prophite will be given with a new Fidus, Mad.
• Bubbiahl-En. M. fK
Lancia, an Englishwoman, and a dSbutante. I pity her, for unless
she is far superior to tho generality of dibutantes, in such an
arduous character as that of Fides, and before such an exacting
audience as that of the Regia, she will, I fear, have little chance
of success.
In my next letter I hope to be able to give you a*. ~.
RigoUtto, which will be produced shortly with Mdlle. L-—
Satuti. I will also tell you about La Traviata at the Teatro
Nationale, at which I,assist«d last night, and with which 1 was
much pleased.
P.S.— Since I finished my letter a friend has handed me an
English paperin which there isa notice headed " An Englishprima
donivt in high life." It is a strauge story, and one that I can t
say I credit. However, as the heroine is here, I shall do my
best to find out if it is fudge or not. As you may not have seen
the notice alluded to, if my friend permits me I will inclose it
iu this letter.
Paiiis — (From a Corretpond*nt).—'l'Ue eminent success which
..Oended Fra Diaoolo at tho Royal Italian Opera, Lyceum, in
London, I have no doubt induced M Nestor Roqueplan, the
new manager, to revive Aubur's charming work at the Opera-
Comiquo. He could hardly have intended to challenge a cora-
arison between his cast and Mr. Gye's. Nevertheless, although
e did not reckon among his company a Bosio.a Roncoui.or n Gar-
doni, even a Tagliafico or a Zelger, his artists were anything but
mediocre, as the names of Madamo Lcfebvre, MM. Barhot and
Sainte-Foy, will testify. Unfortunately, at the first performances
tho lady was labouring under the effects of recent indisposition.
M. Barbot, who is certainly wanting in the fine** and " 6^-«ir"
of Challet, is, however, a clever artist. Ho gave the famous
serenade, "Agnes la Jouvencelle," and the barcarole, " Gondo-
lier fidole," with much effect. M. Sainte-Foy, as Milord Allcash
(in thu original version entitled Milord Kokbourg), is extremely
comic, without the least exaggeration. Mdlle. Lenwrcier, also,
displayed real comic power in Lady Allcash. Some of the music
added in London has been adopted. The trio for tenor and two
basses is one of the most effective pieces in tho opera. The
ana bufa, suug by Roncoui. is omitted.
Fra Diarolo was first produced at the Opiira-Comique in
I b30, and its success was almost unprecedented. The following
year it was brought out at Coveut Garden,* with Mossrs.
Hrahani, \ViU»u, and Miss Inverarity, aud achieved a genuine
triumph. From its first production up to the present time, it
lias remained one of tho moat popular w^rks in tho French and
Knglish ropcrtory. 1 heard it twice within the week at tho
Oj)6ra-Comique, and more than twice at the Lyceum laatseasou,
and the music remains as fresh and beautiful as ever. Timo
has cast no shadow on iU brightness. It only remains for uio
to say, that its present success is so great as to insure it a new
and long lease of public favour. To many the most interesting
sight oi tho evening was Auber seated in his private box,
looking the picture of health and enjoyment. May his shadow
never be less.
The rtprite of the S/nnambula at the Italiens has not been
signalised by any extraordinary success. M. Belart sang the
part of Elvino with taste and expression — although, by-the-way,
the florid music of Rossini is more iu his line; but Madlle. Saiut-
Urbani did not improve upon her success in Ru/cJe/to.
A Neapolitan journal states tliat Madame Peuco has received
propositions of engagement from St. Potcrsburgh and Madrid,
but I am iu a position to certify that she has accepted terms
from M Qalwrto for three years.
The first morning concert of tho Soci6te" dea Concerts, took
place on Sunday last, at the Conservatoire. Madamo Vander-
heuven-Duprez has annulled her engagement at the Opera-
Comique. Before quitting the theatre, however, she purports
taking a beuefit. The cause of the lady s sudden retirement has
not transpired.
• A mutilated version b.aJ a.-vaily i«m>u g tea ft J>rurv
Theatre, in which Mr. Wollsck <vM the (wrt of Fra Disrolo, emitting
the mtuic; and Mrs, Wsrlctt played Ztirhna, introducing "Aw«V,
k'f brow," and other ballads, by Mr. Aloxsooer
with Captain Polhill.-Eli. JL W.
awsy to the mountain'
Digitized by Google
40
THE MUSICAL WORLD.
[Jan. 16, 1858.
Belt a»t — {From a Correspondent). — The Messiah was per-
formed by the Classical Harmonic Society, in Victoria Half, on
the 6th, the soloists being Miss Banks. Miss Palmer, Mr. Benson,
and Mr. Thomas. The band and chorus numbered about one
hundred performers. Mr. Edeson presided at the organ. The
hall was completely filled by au attentive audience, who re-
mained until the termination of the last chorus, " Worthy is the
Lamb — Amen." The local press are (for once) unanimous in
eulogising the performance— more especially the choruses ; and
with justice the Classical Harmonic Society (under the con-
ducts rahip of Mr. Geo. B. Allen), claims the honour of being the
first to perform the Messiah, and several other works of the
immortal Handel in the north of Ireland.
Vienna. — Signor Alfred Piatti, the violoncellist, gave his
" concert, on the 3rd inst, at noon, in the Musik-
aal, and electrified a select Audience by his magnificent
execution. He performed a concertino by Kummer, which was
not particularly successful, and then three small pieces de talon,
of his own composition : " Lea Fiancees : petit caprice ;" " La
Litanie," by Franz Schubert, and the " Danza Borgaineaca," all
of which, being particularly suited to show off the brilliancy of
hiB style, created a perfect furore. The piquant graces of the
first-named piece, the profound yet gentle gravity of Schubert's
" Litanie," and the arabesque tracery of the Danaa Bergamesca,
were expressed, under his practised bow, with as much purity as
charm. To the D major sonata, for the pianoforte and violon-
cello, of Herr Rubinstein, which he played with the composer,
the execution of both performers was masterly. Herr
Rubinstein exhibited all the force and mechanism of his
art. and Sig. Piatti proved himself a king of the violon-
cello by his faultless rendering of the part allotted to
him— one which, especially in the scherzo, contains some
extremely trying passages. lu conclusion, Sig. Piatti
introduced his own Souvenir de Linda, which afforded
him an opportunity of exhibiting his powers in the most bril-
liant light. Mozart's " Abcndempfindung," Mendelssohn's
"Nonne,' and Schubert's " Ungeduld," were sung by Mad.
Louise Kapp, and gave a welcome variety to the programme.
On the evening of the same day, Herr Leopold von Meyer's
concert took place in the same rooms. The celebrated pianist
exhibited his long-proved skill, before an exceedingly numerous
audience, which seemed to be exclusively composed of thorough
admirers of his brilliant playing — so warm and enthusiastic was
the applause bestowed upon every piece. The public have long since
formed their opinion of Herr Leopold von Meyer, and we need
not, therefore, now go into a detailed account of the character-
istics of bis style. When we say he played as ho does in his
best moments, we have said quite sufficient to euable our
readers to know how he played, and what pleasure he afforded
his hearers. We shall, therefore, content ourselves with re-
marking, that of the pieces composed by him for the occasion,
the Orillen-Potta, which he was obliged to repeat, and the
Aire Bohtmiens-Russes pleased the most. The other pieces were
— Walzer der Zuhtnft; Chanson Cosaque; Air T«re Montagnard;
a fantasia on 11 Trovatore, and an adagio. Dr. Gonz gave some
songs between the instrumental performances. — (Translated
from the Neue Wiener MuiU-Zeitung)
THEATRE ROYAL, HAYMARKET— Under
th« manssmment ef Mr. Buclcstone. On Monday, Tu*«diy. and Wednesday,
January 18th. I»th. snl 20th, Mr. BUCKSTONE will appear in the comedy of
SINGLE LIFE. On Thursday. Friday, and Saturday. January al.t, sand, and
•JJrd. In tit* oom«iy of A CORE Full Till HEART ACHE. To commence
«M>ry «vpiiidk »t T o'clock. AfUr wl.lch. a new enrol cutuic Clu-i.to.aa
Fauntuline, cutillsd TUB SLEEPING BEAUTY IN THE WOOD; OR, HAR-
LEOU1N AND THE BFITEFUL FAIRY Ths scenery by Mr Wd
Harlequin, Mr. Arthur Lselcroq ; Columbine. Miss
Mr. Mscluy; Clown, Mr. Charles Leclercq; The
Louisv Leclcroi
NEW ARRANGEMENT OF PRICES.— Orchestra Bulla (which mar b* re-
tained tho wltokc of the evening, and for which tberv will be Docl*rw'or louitlogX
6s. each. Pisar Pbjcs. — Dress Bosos. OSi ; Upper Boxes, 3a. Pit, 2m. ; Gallery, la.
tttconii Psics.— DfSSS Boxes, 3a ; Upper Boies, 2a. ; Pit, la ; Gallery, fld.
Print* Boxes, Two Guineas and One Guinea and s-balf each. Htstfo Manner.
Mr. Chippendale.
ROYAL PRINCESS'S THEATRE
0
N
UNOKK TUB MANAGEMENT OF MR CHARLES KEAN.
MONDAY. WEDNESDAY, and FRIDAY,
A MIDSUMMSR NIGHT'S DREAM. TUESDAY and THURSDAY,
HAM LET. SATURDAY, THE CORS1CAN BROTHERS, and the Pantomime
•eery Evening.
THEATRE ROYAL. A DELPHI. — This evening,
0,o 2u<l and 3rd act. of the GREEN BUSHES. After which HARLEQUIN
AND THE LOVES OF CUPID AND PSYCHE. Harlequin. Miss Marie Wi.ton ;
Columbine, Miss alarv KeeJcy ; Punchinello, Mr. LeBarr; Clown, Mr. Houdsraon;
rsnuiooo, Mr. Beckii.trl.am.
TO CORRESPONDENTS.
An Admirer of Racbel. — The anecdotes and historiettes now
going the round of the English, French, and German press,
about curiam supposed peculiarities of the greatest of all tra-
gedians, and most refined of all comedians, are simply what the
French term "canards"— or in more vulgar speech, cancans.
They are as unworthy of notice as they are unworthy of
credit.
J. T. (Hartford)— Received and attended to.
T. O. (Wigan.) — The tetter of our correspondent has been read
teith great satisfaction. It betrays in an equal degree the feeling
of an artist and the dignity of a gentleman. We shall hare
muelt pleasure in receiving, and preserving in our musical
library, the " revised" edition.
Gus.— With tnany thanis for our correspondent's polite of er, M
are unable to entertain it.
AunTEVH.—Auber is beyond comparison the greatest of French
dramatic composers.
THE MUSICAL WORLD.
LONDON. SATURDAY, Jaktaht 16th, 1858.
GREAT NATIONAL STANDARD THEATRE
BHOREDITCH — Fivprtet'jr, Mr. Jornc Dnoouat.
sod during ths w.ek to comm. nee with the R and gorgeous
.lc PaiittNuJiBs culled OEORGEY POROEY PODDINO AND
Mnnl.v ,
tmas Com!
OR, HARLrXjUIN DADDY LONG LEGS.
WAITS, in which Mrs. R. Homier will perioral. Moral
Monday at Hall-past Twelve.
ro oon«liide with THE
Pcrf'irnvun.-cs erery
OT. JAMES'S THEATRE— PROFESSOR WILJALBA
kj FRTKKLL. Phydcten to their M.jestias the Emperor and Empress or
RuMia -PHYSICAL AND NATURAL M.UilC, wlu,out the aid of »iiy Appo,-
rsius, TWO HOURS OF ILLUSIONS. Wodnesdsy and Saturday afternoons at 9.
' •»*,diig- at « Stalls, As ; Balcony Stall". 4a. : Boies, as.; Pit. 2s.;
UTSr.
aud
ertsr, evening si
ry. Is. Private
es. PUosstob*
R
THEATRE— This
OYAL OLYMPIC
will comnwiH* with THE TRAGEDY QUEBN
of THE DOGE OF DURALTO. To
stbsifimstr.
evening, the
' Aftsr which
BOOTS AT THE I
The first number of a new serial has just been issued by
an eminent music-publishing establishment, under the
following suggestive title ; —
" The Hoi 'y Family— admired sacred melodies by the most celebrated
composers, srrsnged for pianoforte— by William Hutchins Calcott.
(First series.)"
An examination of the contents has induced us to hojte
that this " first series" may also be the last. Not to men-
tion other sins of commission, omission, mutilation, and
transposition— for which Mr. Hutchins Calcott deserves to
bo haunted at bed-time by the indignant ghosts of the com-
posers whose music he has thus submitted to the rack — we
may point to his treatment of one of the most beautiful of
Mendelssohn's Lieder ohne Worte, as an instance of bad
taste, combined with cruelty, almost unprecedented in the
annals of book-making. The whole thing is a curiosity in
its way, and did it not evince so strong a faith on the part
of the concoctor in the credulity and stupidity of the music-
buying public, it would be just as amusing as, under the cir-
itis.
Digitized by Google
Jan. 16, 1858.]
THE MUSICAL WORLD.
41
Attention is first excited by the heading, which we repro-
Ho. 6.
*ndclss0hn.
" Lite at the hart detirtth the water-
brooki, to longeth my tend after thee,
o aoJr—p*. xiii^ l
By permisiion of
4 Co.
But for the " permission of Messrs. Addition and Co.," it
might bo concluded, from the above, that Mr. Calcott was
about to present his admirers with a reehauffi from the
42nd Pialnt, which every one knows Mendelssohn set to
music. Messrs. Addison and Co., however, possessing no
copyright in the work, their " permission" in that instance
would have been superfluous. By tr/»o#e authority Mr.
Calcott was really tempted to prepare his hash, is therefore
left to the imagination of the lucky purchaser.
The L ieder ohnc Worte, being non-copyright, are the lawful
booty of any unscrupulous marauder; and certainly no wolf
ever mangled its prey more savagely than Mr. Calcott the
unoffending little song of Mendelssohn. Two bars of the
melody will at once recall it to our readert : —
A dag
io ikhi trop
w.
»</"*
— »-*-F
The transposition from the key of E to that of A flat, the
addition of parts to the harmony, the substitution of-
fer the characteristic
down, as prelude and
os which Mendelssohn has set
ft JJflf
and other unwarrantable liberties, were seemingly not
enough for Mr. Calcott — who, to complete the work he began
so well, rejected Mendelssohn's way of ending the song, and
substituted a coda of his own !
the melody thus :—
Mendelssohn terminates
Mr. Calcott thus :—
We cannot remember a case exhibiting such utter want
of consideration for things that should bo held sacred.
The only conceivable excuse for the perpetration is at best
a feeble one. A sacred song — with the name of Mendels-
sohn attached, as composer — may have been placed, among
Other!, in Mr. Calcott's hands, for " transcription." Wholly
unacquainted with the Lieder ohm Worte, he may have believed
the song to be genuine, and so ■ transcribed" it for the piano-
forte (after Ids manner), as he had already " transcribed" (the
word is an abomination) those airs of Handel, Hummel,
Marcello, Rossini, and Haydn, which stand first in the pre-
cious collection exulting under the high-sounding nomen-
clature of The Holy Family. Had Mr. Calcott recognised
the melody of Mendelssohn, he would probably have Raid to
himself — " Let well alone ; we will give it (' by permission of
Messrs. Addison and Co.') as it originally stood in the
second book of Songs without Words" But it may reason-
ably be concluded that he did not recognise it ; and this is
the only plea upon which ho can ground his defence.
The worst part of the transaction is the easy assurance
with which the great name of Mendelssohn is affixed to such
a silly hodge-podge. This surpasses all ; and however we
may feel vexed at being lectured by the French biographer
of Handel, the sneers of M. Schoelcher at the bad taste
Digitized by Google
THE MUSICAL WORLD.
[Jan. 16, 1858.
which induced Englishmen to tolerate the operatic airs of
his demigod — altered, mutilated, act to sacred words, and sung
accordingly — are too frequently justified by proceedings
still more lamentable. A more flagrant instance than
the one which lias led to these remarks could hardly be
adduced ; and if our earnest protest succeeds in calling atten-
tion to the subject, we shall have rendered some7service to
music and to the cause of many talented professors who
love art, and respect themselves too much to adopt such
questionable means of courting publicity.
HiXCE the Christmas of 1849, Mr. Charles Kean has done-
good service at Windsor Castle. Whatever may be the
opinion of his performance of Prospero at the Princess's
Theatre, certainly he played Prospero to excellent purpose
within the precincts of the palace. By rescuing Ariel from
the pine in which he had remained a dozen years, the
banished Duke of Milan transformed a dreary waste into a
region of beauty. By removing from the shelves tho
volumes of Shakspcre, and making the personages enume-
rated therein livo aud move in the Rubeus'-room, Mr. Charles
Kean dissi]>atcd even the proverbial dulncss of a court
winter. Of course, with each return of winter, the fogs
again gathered, but there was Mr. Charles Kean ever at hand
to remove them, and if something of a haze was still appa-
rent, the fault was with the palatial atmosphere, not with
the zealous and indefatigable manager.
Nor was Mr. Charles Kean's office at Windsor a post of
luxurious ease. Tho roses showered upon his head from the
hand of royalty were furnished with a number of thorns
far exceeding the common average. Whatever prejudice
was entertained by the illustrious authorities of the palace
against this or that unlucky artist, Mr. Charles Kean had
to bear tho indignation of all the excluded parties. If
Mr. • • • « was deemed coarse and vulgar in his manners,
and if Miss » • * • because the breath of calumny had
rested for a short instant on her fair fame, was doomed to
confine the display of her talents to vulgar theatres, where
instead of causing tho frigid smile of a courtly assemblance,
she could only elicit the hearty laughter of a i>coplei
Mr. Charles Kean was considered the person to blame was
scowled at by tho gentleman, uud pouted at by the coral
lips of the lady. The Court was never fastidious ; Mr.
Charles Kean was always malignant ; — such was tho belief
of all the artists, who, knocking at the palace-doors, found
that they would not open. He was forced, in short, to
sustain the formidable, but unpopular character of a I
" bogie," and there is a legend that when a frail tlanttuse
wished to frighten her infant to sleep, she told it that " Kean
was coming." With little or no discretion, Mr. Kean had
to bear upon his shoulders the whole responsibility of
the Windsor theatricals; a position less enviable cannot
be conceived. Who sliall point to Damocles reclining on a
soft comfortable couch, and with u sw-ord dangling over his
head, as a symbol of misery in high places J Why Mr. Charles
Kean lay on a bod of nettles, and above him hovered " pro-
fessional ' countenances, in which every variety of male
indignation and female spite was expressed, — and had to be
amusing in the midst of it all.
Nor did Mr. Charles Kean compensate himself for the
troubles of his situation by adopting that prudential course
which goes by the name of " feathering one's nest." We
believe that Mr. Kean's nest was pretty well feathered long
before the year 1849 ; but as for the Windsor theatricals.
' they rather caused him to throw a little plumage out, than
■ to take any in. Accounts aro delicate matters to tell about;
but we have no hesitation in expressing our conviction that
Mr. Kean was actually out of pocket through his zeal in
performing his duties as "Master of the Revels" at
Windsor.
Well, after some eight years of painful responsibility, an
opportunity at last arrives of paying something like a public
compliment to Mr. Charles Kean. A series of theatrical
lierformanccs is to take place at Her Majesty's Theatre, for
the amusement of the illustrious guests whom the marriage
of the Princess Royal will bring to this metropolis, and, of
course, one of these performances at least — (the ouo repre-
senting English tragedy) — should have been under the
management of Mr. Charles Kean. The performance in
question might have been either at the Princess's Theatre,
or, from considerations of space, at the Opera-house; but
whether at tho Princess's or at the Opera-house, the right of
being the acknowledged manager of British tragedy belonged
in all courtesy to Mr. Kean alpne. There he stood, as the
ready-appointed " master of the revels," and he could not be
passed over without a slight, which he had not merited.
Passed over he was, and the direction of the tragic per-
formance was placed in the hands of Mr. Mitchell, a gentle-
man for whom we entertain the highest respect, and to whom
we have been indebted for many delightful evenings at the
St. James's Theatre, but who assuredly cannot show any
antecedents that will warrant his elevation to the office
houourably held by Mr. Charles Kean.
We aro |>crfeetly well aware that Mr. Kean was invited
to aet at Her Majesty's Theatre; indeed the representation
of English tragedy without Mr. Charles Kean would have
been (and alas ! will be) so obviously a case of " Hamlet with
Hamlet omitted," that oven the Court wished to enlist the
services of the great tragedian, whose dignity it assailed.
But this invitation added one wrong to another; — not only
was Mr. Kean excluded from an office that he had every
reason to regard as his own, and the sweets of which (if any)
ho had earned by unremitting toil and painful responsibility,
but he was graciously invited to shut up his own house and
act Macbeth for the benefit of the very person who had
been raised in his stead. Truly here is a new episode
in the history of depositions. Wc may imagine Bolingbroke,
when the ceremony of abdication is over, graciously bestowing
on Richard II. tho office of silver-stick.
But surely the Court had a riyht to accept whom it pleased
as caterer for the festive amusement, and surely it had
a rigtd to expect whom it pleased to carry in the chief dish.
Moreover, by formally putting the performances under
the direction of Mr. Charles Kean, the Court would have
been forced to (five the entertainment, whereas by allowing
Mr. Mitchell to take the matter in hand, and remunerate
himsell by exhibiting at so much a head a royal box full
of royal company, no expense is incurred — beyond the hiru of
the box itself.
Yea, thrift is certainly a virtue — solid, though not bril-
liant, and the court assuredly had a rigfu to entertain its
guests at the least possible cost, and to invite the co-operation
of Mr. Charles Kean. But Mr. Charles Kean had an equal
right to refuse the invitation, and this right— wo rejoice to
say— ho exercised.
Ma. Walter Oorooh has recovered from his tumporar
and has resumed his duties at the Olympic
Digitized by Gaogle
Jan. 16, 185a]
THE MUSICAL WORLD.
43
Her Majrrty's Theatre. — The opera selected for the third
State Night is, we understand, La Svnnambula, with " the
favourite," Piccolomini, as Amino, and Giuglini as Elvino.
Windsor — (From a Correspondent).— The Brahaui-Furtiagalli
party gave a concert here on Tuesday evening, which met with
extraordinary success, and sent away the largo audience that
assembled in a state of the greatest satisfaction. Several dis-
tinguished individuals were present. Signora Fumagalli sang a
Carolina from Donizetti's Betlg in a brilliant and highly-finished
atyle, and was rapturously encored. Tn the lovely duet from
Don Giovanni, " La ci darein la mano" (with the clever and
rich-voiced barytone, Signor de Oiorgi) she was no less success-
ful, and completely captivated her hearers. Mr. Charles Brahatn
gave the fine old ballad, " Sally in our alley," with such genuine
expression that it was unanimously rodemanded. In " The
Death of Nelson" and " Tho Bay of Biscay" (his illustrious
father's most celebrated efforts) similar honours awaited him.
The sentimental duet from La Trariata, " Parigi, o cara," sung
by Signora Fuinagalli and Mr. Braham, was one of the greatest
treats of the evening. Sig. Vianesi, besides accompanying all
the vocal music, performed a brilliant fantasia on the pianoforte,
the composition of the late Fumagnlli, so well, that the audience
insisted upon hearing it again. Seldom, indeed, has a concert at
Windsor cone off with greater eclat. So decided was its success
that another is announced to take place in the theatre on the
28th inat— (Windsor, Jan. 13.)
Maidenhead — {from a Correspotulent). — The amateurs of
Bucks and Berks were treated to a musical performance of
unusual attraction, on Thursday evening, when a capital con-
cert was given under the auspices of Mr. Charles Braham, who
introduced his audience (for the first time) to Signora Fumagalli
and Sig. de Oiorgi — two of tho most accomplished vocalists from
the Opera-BuffA at St. James's Theatre. Several of tho most
distinguished families of the vicinity attended the performance,
which conferred the highest gratification ou all present. The
programme embraced a great variety of Italian operatic music,
relieved by English songs and ballads of tho raciest kind.
Signora Fumagalli was immensely successful, and was encored
in the cavalina from La Traviata, the duet " Parigi, o cara." from
the same opera (with Mr. Charles Braham), and "La ci aarem"
(with Sig. de Giorgi), in all of which she saug with great taste
and brilliancy. Mr. Charles Brnbam was honored with an
encore in the " Death of Nelson," and substituting " Sally in our
alley," waa compelled to repeat that venerable and truly
national ditty also. "The Bay of Tin cay," which he declaimed
with the utmost energy, experienced the »nmo fate. Iu short tho
audience seemed inclined to lixten to all the choice bits twice over,
and the singers were by no means backward iu according to their
warmly expressed wishes. Sig. Vianesi accompanied, with a
talent the more to tie extolled since it was unnceouipauicd by any
affectation or pretence.
Maxciiesteic — M. Jullien, the most popular of our musical
caterers and conductors, gave the lost of his Christmas concerts
on Saturday evening, when few present failed to icceive a large
amount of gratification. Several of the soloists, particularly
M. Le Hon, violin ; M. Duinon, flute ; M. I*vigne. oboe ;
Mr. Duhem, comet ; Mr. Collin* and Mr. Hughes, violoncello
and ophicliede, are artists of the very first-class merit ; whilst the
combined orchestral playing has never been surpassed in ouy
previous concerts given by M. Jullien for precision ond delicacy.
The overtures to Zauberftoie and GuiUaume Teii elicited the most
marked applause ; and the same may bo said of those excerpts
from the classical symphonies, which M. Jullien seems as tho-
roughly to comprehend as he undeniably understands the genius
of the waltz, gallop^ or polka. Mozart, Beethoven, and Men-
delssohn have found iu him an apt interpreter. We seem
listening to the fine reading, tho dramatic eloquence, of a
Ketnble, a Macready, a Glyn, or a Faucit. That combination of
weird sounds becomes no longer a mystery ; the seals are broken,
and the page is simply and clearly expounded. This is the true
vocation of a conductor. M. Jullien possesses not only the
knowledge, but the feeling which can win sympathy and create
a kindred spirit in those who play under hui direction — the
wain secret of hi* suooeea with tho public. There is no
| man moro thoroughly in earnest, when he enters the orchestra,
more completely devoted to the work he has undertaken.
Holiday time has of late years become more a season of home
enjoyments than out-door amusements, and, therefore, though
M. Jullien has had audiences which the majority of entrepre-
neurs would pronounce "great," they have not equalled his
deserts. Nothing else than a dense " cram" will or ought to
satisfy a man of such acquirements, who brings so brilliant an
array of talent, and who invariably raises audiences, small or
large, to an excess of enthusiasm. We are glad, therefore, to
observe that M. Jullien will give another concert this evening
(Saturday), when ho will have the services of Madame Grisi,
as vocalist, an artist in the true sense of the term, whose name
will live among the musical traditions of this country. She
aang on Saturday night last, with all the brilliancy, depth of
expression, and clear ringing tone of her early days. — Manchester
Weekly Times, Jan. !).
nt:u.— The Pyne-Harrison Company have been performing
the Rose of CastUle with great (dot at the Theatre. The local
journals are in raptures with Miss Louisa Pyne, and compare
her to the most accomplished vocalists of old or new times.
Gbesxwicb — {From a Corrtspoudtnt). — Mr. Henry Morley'*
annua] evening concert took place st the Lecture Hall, on Thursday,
the 7th insl. The srtiita engaged were Madame Rudersdorff, Miss
Fanny Huddsrt, Mr. J. L. Hstton, Mr. Weiss, Mr. 8im* Reeves, Miss
KUen Day, M. Sainton, and Mr. Itelsir Clmtterton. Unfortunately
for Mr. Morley, at one o'clock on the asms day he received s letter
from Mr>. Reeve*, inclosing a doctor's certificate to the effect
that, iu consequence of severe illne**, he would be unablo to sing in
Greenwich on that evening. In thia dilemma Mr. Morley waited m mi
Miaa Dolby and Mi<* Louis* Vinning, who both very kindly consented,
at the last moment, to appear iu Mr. Reeve*'* place. From the very satis-
factory manner in which the concert was arranged, and from the
repeated manifestation* of pleasure evinced in an unmiaUkcablo manner
hy all present, there ia hills doubt everyone considered that Mr.
Morley gave as ample talent a* he could to supply the loss of this general
favourite. The encore* were numerou*. Mia* Ellen Day and hi.
Ssinton performed Beethoven's 8onat* in C minor •, Miss Dolby sang
with her usual taste, Mercadante's "S« n'abbandoni," and BahVl
"The green tree* whispered." Madame Ruderadorff created much
sensation by her dramatic reading of " Robert, toi que j'aime," and
also sang the Kngli*h ballad, " Sue wore a wreath of rosea," with ad-
mirable effect, Mias Louisa Vinning was loudly applauded in both her
songs, niul Mr. Httton enlivened the performance with two eoniie
displays, aud conducted «ub hi* accustomed ability.
Mlt. CIIAULE8 WlLRIHSOW AND CiFTAiy HoRTOH RhYH,
assisted by other well-known amateurs, have been acting at
Colchester and Ipswich during the week.
Prague. — Madame Jenny Lind-Goldsmidt — who, according
to the statement of certain journals, has heen a severe loser by
the Hamburgh crisis — is about to give a concert in thia city.
Co too nr.— On Tuesday, the 2!Hh December, we heard, at tho
third Soirue fur Kammeriuusik, the violin-quartet iu G minor,
of Onslow, the trio for pianoforte, violin, and violoncello, in C
major, of Haydn, tho violin-quartet, Op. o9, No. 1, of Beethoven,
and a new sonata for the pianoforte by nerr Ferdinand Hiller.
Unslow's quartet waa well performed, but did not saccecd, on
the whole, in producing any great sensation. In Beethoven's
quartet, with all duo appreciation of the admirable execution,
we could have desired more breadth and force in the first, and
a somewhat quicker tempo in the second movement. Hcrr
Hiller played Haydn's trio, and his own latest sonata (Anda, te
agitato, ikheno, and Finale), very finely. We admired especially
in his playing the way in which ho modified his touch, thus
imparting the nicest gradations of tone-
Graf von Itcdcrn has sent from Berlin to the Coiner- Minner-
gesang-Verciu, as a mark of his appreciation, the score of tho
two parts of tho Musica Sacra (Schlessiuger, Berlin), composed
bjf himself, aud dedicated to the King of Prussia.*
On the flth January, the united bands and choruses of tho
garrison here will give a concert iu aid of the sufferers by the
late calamity at Mayence.
• A truly precious bequest.
Digitized by Google
44
SACRED HARMONIC SOCIETY.
Tus announcement of Haydn's oratorio, The Creation, with
the first appearance of Mr. Sims Reeves, attracted an immense
crowd to Exeter Hall last evening week. A grievous disap-
pointment, however, awaited the visitors, who were informed
that the great tenor was ill and unable to attend. To satisfy
sceptics a medical certificate was shown by Mr. Bowley, testi-
fying to the fact of Mr. Reeves's serious indisposition. Some
grumblers, nevertheless, did not feel satisfied, and objected to
the lateness of the announcement. If, as we understand, the
medical certificate did not arrive until a short time previous to
the doors being opened, it was impossible that the public could
have had earlier notice. Under the circumstances, the directors
of the Sacred Harmonic Society did all that 1/iy in their power.
They engaged Mr. Lockey to supply the place of Mr. Reeves,
and we know not whero an abler substitute eould have been
Notwithstanding so gravo a disappointment, the execution of
the Creation was in general highly satisfactory. Miss Louisa Vin-
ning had ■ still more arduous task to accomplish than on the occa-
sion of her first appearance at Exeter Hall in the Hes*iah. In
the former iustance she divided the soprauo music with another;
in the present case she undertook it all. Brides this, the two
great songs for the female voice in the Creation — " With verdure
clad," an<I "On mighty pens" — are intimately associated, in the
minds of all tho old frequenters of sacred performances in
London, with the names of the most distinguished singers of
the last half century, the formidable one of Jenny Lind termi-
nating the brilliant catalogue. With such recollections it is not
easy to refrain from comparisons; so that Miss Ixniisa Vinniug
had no easy ordeal to pass through. Nevertheless she did
her utmost, and in a great measure succeeded. Tho first
song, "In verdure clad,' was decidedly Miss Vinniug's best
effort. In the second, "On mighty pens," there was more to
criticise. Next time, we have no doubt, Miss Vtnning will do
still better. She is a great favourite already, and was liberally
[ by the audience.
Mr. Santley's first performance for the Sacred Harmouic
Society promised well for his future prospects as an oratorio
singer. The fine quality of his voice was manifested still more
decisively than ou tho two former occasions when we heard him
at fct Martin's Hall — to say nothing of the Crystal Palace
Concert — whilst his voice seemed better adapted to the style of
Haydn than to that of either Mo/art or Handel. He was most
applauded in the air " Rolling in foaming billows."
Mr. Lockey sang the tenor music extremely well, and
was particularly effective in the popular air " In native worth,"
which displayed all the feeling and character suggested by the
music His task was a very invidious one — that of sup-
plying the place of the most popular singer of the day ; but he
acquitted himself so successfully as to need little, if any, in-
dulgence.
The chorus was admirable throughout. " Awake tho harp,"
"Achieved is the glorious work," aud "The Heavens are
telling," were masterpieces of choral execution.
On Friday the Creation will be repeated, with Mod. Clara
Novello, Mr. Sims Reeves, and Mr. Santley, as the solo singers.
Wo ore much pleased to state that Mr. Sims Reeves is now
recovering from his illness, which at the outset presented an
The third vocal rehearsal by the London Amateur Division of
the Great Handel Festival Choir took place last night under
the direction of Mr. Costa, when the following selectioi
FAIT I.
Chorale, "Glory to Ood;"choru., "O let my heart" (l)er Tod
Jem)— Oraun; chorus, "ChrUte eleisou" (from > Mm») —Durante ;
snt hem, " In thee O Lord"— Weldon ; chorui, « When Hu loud toico"
(Jophths)— Handel.
PAST n.
Chorus, "Plscido e il mar" (Idomeneo)— Moiart ; madrigal, "Alt
creature* now are merry- minded" (Triumphs of Orians)— Bennett t
chorus, "Avert those omsns" (Semelc)— Handel $ chorus, "In theso
delightful pleasant (rrorcs" (Libertine) ; Puree!) j chorui, " Rear, holy
Pow'r" (Maaaniello)— Auber.
The friends of the society and tho subscribers mustered in
large numbers, and the execution throughout was highly
satisfactory.
DRAMATIC.
Pm.nckss'h.— Mr. Charles Kcan, on Tuesday evening, re-
appeared in his most popular Shaksperean part — Hamlet — it
being two years since he last played it at the Princess's. Why
so artistic and highly-elaborated a performance shonld have
been so long withheld from the public, we cannot pretend to
say. The actor achieved his greatest fame through his imper-
sonation of the youthful Prince of Denmark, and his uarae in
the remembrance both of metropolitan aud provincial audiences
is intimately associated with the character. A performance
so well considered and artistically finished ought never to have
been lost sight of. Mr. Chares Kean, however, had, no doubt,
other views beyond those of self-glorification, and objected to
encourage, in his own person, what by his detractors might have
been termed the " star" system, hail he persisted in repeatedly
presenting a plav in which the lustre of his own talents shone so
conspicuously. Moreover, had he felt so inclined to exhibit
himself, ho would have been prevented by circumstances unne-
cessary to particularise. To say nothing of the eminent success
he has achieved in other plays of Shakspere, his triumph in
Delavigne's Louis the Eleventh would sufficiently, if not satis-
factorily, account for the temporary abandonment of llamUt,
the revival of which has, nevertheless, so long been coveted by
Mr. Charlo Kean's admirers.
On Tuesday evening tho house was crowded in every part
and unusual excitement evidently moved the audience. On the
entrance of Mr. Kean in the throne-room, the house broke out
into a universal cheer, which continued without intermission,
for nearly a minute. The popular artist in his familiar part was
immediately recognised, and from that time forward every
scene was regarded with anxiety and interest. Mr. Charles
Kean nevtr played Hamlet better.
His performance seemed to us even more finished and more
nicely elaborated than before. The scenes with the Ghost, and
with Gertrude in the closet, retained all their pristine beauties,
while the fencing scene was never more admirable, and the death
never more effective. The applause at the fall of the curtain
was tremendous, and when Mr. Charles Kean came on, in obe-
dience to an uproarious summons, the audience were well nigh
frantic in their manifestations of delight.
Mrs. Tertian supported the part of the Queen with dignity
ilii
Ophelia.
and power, aud Miss Heath made an interesting and graceful
Hamlet is announced for repetition throe times a week until
further notice.
THE KING OF CASTILLE-S WATCH AND
CHAIN.
(after a. fauucxkr Harris.)
Whew the King of Cast i He pledg'd his watch,
The King's " uncle" its guardian became,
Then he swore the advance was " no catch,"
And he thought the high int'rest a shame.
And he told his relation " as how"
The chain he would silver reveal —
The result was a "jolly good row,"
For 'twas only a thing of cast steel !
Rose of Cattille, Act Ui.
Robert Schukasx's Biograpuv, by Joseph W. von Wasie-
lewaki, has just been published in Dresden.
Association or Ideas — (From Pasquxn). — Who can witues
the representation of Don Giovanni, and listen to the tremen-
dous music which accompanies the appearance of the statue in
the last scene, without being reminded by the marble visitor of
tho celebrated African traveller, Dr. Livingstone i
Digitized by Google
Jan. 16, 1858.]
THE MUSICAL WORLD.
45
THE NEW ORGAN IN LYMM CHURCH.
(From a Corretpondrni.)
Tit 15 public opening of this new instrument took place, under
tbe direction of Mr. Twins, organist, of Hartford. Miss Sliaw,
Messrs. Edraeston and Slater, of Manchester ; Mr. Smith, from
the cathedral ; and some others, assisted the choir. The v.
Canon Stowell, of Christ Church, Salford, delivered an appro-
priate discourse. The congregation nearly filled the church.
The organ was built by Messrs. Foster and Andrews, of Hull,
on what is known in England as the " German plan." It has
three distinct manuals ana a separate pedal organ, the whole of
which can be united by means of coupling movements. The
following is a list of the stops :—
OBIAT OBOAN CC. TO O.
1. — Open Diapason, largo acalo
2. — Open Diapason, small acalo
3. — Stop diapason basa
4. — Stop diapason treblo
6.— Claribel
6. — Principal
7. — Twelfth
8. Fifteenth
9. Scaquialtra, 3 ranks
10. Mature, 2 ranka...
11. Trumpet
CBOIB OKI. AX CC. TO O.
1. Dulcinna
2. Stop diapason (metal)
3. Qemaboru
4. Flute (metal)
5. Fifteenth
6. Clarinet
8WH.L OHOAS C TO O.
1. Double dispason
2. Open diapason
8. Viol-di-Uamba
4. Principal
5. Fifteenth
6. Mixture, 3
7. -
8. Oboe.
PEDAL OSOAS CCC. TO ».
1. Open diapason
2. Bourdon
COUPLING KOVBMRtTS.
1. Swell to great organ. 3. Great organ to pedals.
2. Swell to choir organ. | 4. Choir organ (o pedals.
1. — Tremulant to .well.
32 Begiatera and 1331 pipes.
There are double-action composition pedals to nrrange the
•tope in the great organ, for the convenience of the performer.
Space is also provided for a trombone (10 feet) in the pedal
organ, and the continuation of the swell organ to CC.
The church at Lymm, though of modern construction, is,
like many others, no space having been set apart in the plans
for fin organ. It ia a pity architects do not pay more attention
to what undoubtedly might be made one of the priucipal orna-
ments in a church, particularly when use and ornament may be
combined, as it is now generally admitted that a church without
an organ is almost as bad as a church without a pulpit. The
only position that could be found, without materially diminish-
ing the number of sittings, was within the tower arch j and
hero many musical aa well aa mechanical difficulties present
themselves, the acoustical properties of the tower absorbing at
least one-third of tho tone, and tho sill of the west window
being under ten feet in height, necessarily involved keeping the
centre portion of the instrument exceedingly low. This ia taken
advantage of by introducing threo dwarf arches, supported by
columns, surmounted by open tracery, .and corresponding with
tho three-light memorial window to the Leigh lamily. The
extreme sides formed canopied towers about twenty-feet high,
and supported with light columns, the whole constructed of oak.
Tbe builders have, by adopting a heavy wind, and voicing the
pipes strong, succeeded in distributing the musical powers of the
various stops throughout the edifice.
...
Ml
...
8 feet.
■M
8 „
'".
s •*
• ••
8 ,,
...
4 „
3 ,.
8 ..
n »
*» »
•*>■
8 „
8 feet.
8 „
• ••
* ,.
...
4 .,
2 „
• •■
8 ,.
• ••
16 fret.
8 „
8 ..
1 .,
. . •
2 „
...
a *
.. ■
B <•
a. .
8 .,
Ml
16 feet.
16 „
RACHEL.
To the Editor ofthi Mntie-tl World.
Sin, — I was pleased to see in what emphatic terms of eulo-
giutn you wrote, in ynur last number, of the great tragic
actress whom tbe world hits so lately lost. It is certainly not
a time to be grudging in our expressions of admiration, or
nicely critical in our estimate of genius, at the moment it has
sunk for ever from our sight, and its place will know it no
more. A left-handed philosophy were it to 'bate down the
extent of our loss, and appraise it below its value, that we may
be in better humour with ourselves after the privation ; rather
should we, on the contrary, exaggerate the depth of the
calamity, that we may the more eagerly seek for consolation,
and treat with greater trust and deference tho effort* of future
aspirants. It is policy, if it be not common gratitude,
to speak of the great dead nil nin Iwnum ; to carve their
monumental effigies in the purest unflccked Parian, omitting
or extenuating every blemish, enhancing and idealising
every virtue. Hero-worship is the sinews of progress ;
but without a little good-will on our part, heroism will
be no more visible to us than to veritable flunkies. I am not
advocating a fulsome style of daubing the memory of the great
with an absurd and imposaible aggregrate of virtues and per-
fections. Exaggeration and detraction are twin sisters, erring
both from a lack ot truo kinship with tho qualities the one
blindly ignores, and the other blunderingly caricatures. I only
plead for so much liberal enthusiasm in the acknowledgment
and estimation of high endowments, and reverence for those
who consecrate them to a glorious struggle, in the cause of the
good, tbe true, and the beautiful, as to make us repudiate and
contemn all petty cavillings and abatements, all irrelevant, per-
sonal and private charges, and accept a portraiture — so far ideal
that it excludes these — as tbe true one.
When such an actress as Rachel has just fallen a sacrifice to the
fatal precocity of temperament which ripens the world's
brightest geniuses for the sickle of Death ere their eighth lnstmm
is achieved, we desire to have recalled to us with alftho descrip-
tive skill of the narrator, clothed in all the glowing colour enthu-
siasm can lend,»aud exhibited in nil tho fond minuteness of sad
regret, the most triumphant examples of her great powers. Is
it when we are fretfully eager to call up in all their vividness of
tint, breadth of design, and marvellous reality of finish, the great
looming epics with which she has tapestried our memories —
that we must have, squeaked to us, the sad witness, true or false,
the tongue of scandal has to bear to the mortal frailty of the
immortal artist '( " A rat ! a rat ! behind the arras. I am
not sufficiently homicidal to wish I could add, " Dead for a
ducat ;" but if my steel pen were able, it should transpierce and
inflict literary death on the critics who mar a great example of
true and faithful working, in an arduous art, with their posthu-
mous Mrs. Candourisms and ghoul-like backhitings.
Aa you observe, sir, to the discredit of the national good-taste
and generosity, a violent movement arose in France against the
private and professional roputation of the greatest genius their
stage, rich in illustrious names, ever knew. For this lamentable
exhibition of small-mindedness it is difficult to account, on the
ground of the instability and caprice which are tbu characteristics
of the French public in small as in gnat matters. The revul-
sion would have taken tho shape, had it so originated, of
mere neglect and indifference, not absolute hostility and
almost persecution. Still less could it have been effected
by the rhetorical prowess of M. Jules Janiu, who so gallantly
wore the colours of the noble Jewess, and so valiantly
spread her renown , for then we must admit that tbe same
lance would be able to win fcr a second Dulcinea the
crown of Queen of Tragedy — tho contrary of which is proven.
I see no way for it but to sot down the hue and cry of detraction,
by which the latter part of Rachel's career was harried and
beset, to a cauBe for the discovery of which I am indebted to
another eminent Frenchwoman. In tho collection of amusing,
and often sagacious and edifying, letters, in which, under the
title of Vicoiute Delaunay, Madame de Girarditi, for many years,
chronicled the doings, and dressed in tho garb of art the gossip
of Parisian society, there is one in which, Apropos of some
Digitized by Google
46
THE MUSICAL WORLD.
[Jan. 16, 1858.
proposal to have ladies admitted members of the Academy of
Letter*, she starts a theory in which the troth may not be
incompatible with the wicked will of tho fair authoress to avenge
her aex.
Madame Girardin plainly declares that Frenchmen generally
are envious of their countrywomen, and for the most part ill-
disposed towards them, notwithstanding their professed and
reputed gallantry ; and that the motive of this envy is a secret
sense of the intellectual
.of the
superiority of
French female over
nation. With all other people, the natural
eakersexto the stroneor exists undisturbed •
the women .ire taller by the head, lleuco
uvuro nun iuo iui
(8 Janin's tongue
*ct for a genius
the fair and alem
but with the French the women are taller by the
the Salic law ; hence the alacrity with which everything telling
against the other sex is received ; and hence the ungallant
scandal and perfidious gallantry which rule men's behaviour
towards women, and distort the views they profess to entertain
of the whole sex.
Making every allowance for the satire, one cannot help feeling
there is a great deal too much truth in it to have rendered the
sally altogether palatable ; and, indeed, in a subsequent letter,
Madame Girardin tolls us the smart of tho hit got her many a
petulant rejoinder. For my part, I am quite ready to believe
that, to the inability to tolerate the towering superiority mani-
fested in everything Rachel did, to the unwilling admiration
extorted by the virile vigour of her conceptions, must be
attributed the degrading efforts to deny the greatness,
originality, and continuous development of bur genius on the
one hand, and to poison and counterbalance her success, on the
other, by every foul imputation that the greedy maw of scandal
could swallow, and its ostrich-appetite digest.
Now the woman is dead, her memory being of no aox, I hope,
with you, sir, that Frenchmen will forget theirs, and make
tardy amends by doing signal honour to the greatest actor
France has ever produced. Old Trcrwwkt.
P.S.— I was glad to find that the obsequies of Rachel wore
honourably followed by many of the chief representatives of
literature and the drama, and that over hei
Jules Janin's tongue found those words of admiration
which his pen had ceased to
me it inhabited was a "clod of
earth."
HERR RUBINSTEIN AT VIENNA.
(from a Correspondent.)
Herr Rcbixstbik's fourth and last was also, ou tho whole,
his most successful concert. It took place before a crowded
audience on the evening of the 29th ult. lie only introduced
one extended composition from his own pen on this occasion — a
trio in G minor, a long incoherent rhapsody, with the glimpse ofa
melodic idea here and there, shut out, however, by the slamming
portal of Heir Rubinstein's unruly fancy, before it had a chance
of enlightening anybody. The composer executed his work with
wonderful energy, and was very ably assisted by LTerren Helraes-
berger and Borzaga. But the trio was felt to be an infliction,
for all the fine playing of the virtuositoui triad, and it was found
to be a grateful relief when the graceful mind of John Field (in
bis first nocturne) and the passionate soul of Mendelssohn (in the
Yolkdied from the Song* trithoutWords, were subsequently per-
mitted to influoncc his hearers. These Hcrr Rubinstein played in
his most spirited manner, although, as aproviso, it must be owned
he was more than once on the point of belabouring the I'oltdied,
while at other times he was hushed in tho whisper of a
whisper. A A'ocfunM and valse ofChopiu, which completed this
tetrard of bagatelles, were equally effective in their way; and,
at the end of all, Herr Rubinstein was loudly recalled — a com-
pliment which he acknowledged by returning and treating
his hearers to tho Berceuse of Chopin, somo parts of which were
given with so fine a pianittimo (p-tt-p-p-ianissimo) as to be iu-
andible. This was a trick of M. Bull,* the violinist, who at
times would draw you his bow so softly, that it did not touch
the strings at all ; and then the people applauded, and said
" Wonderful !" It was truly
could be found in a company.
that
so many
m. m
There was a curiosity at this concert— * rondo for pianoforte
and violin, by ..Schubert — which was capitally performed by
Herren Rubinstein and Helmesberger, and was more inte-
resting on account of being Schubert's than on that of its
intrinsic merits as a musical work.
The concert ended with a selection of furious bagatelles, com-
posed and played by tho concert-giver — vix., a romance from the
Album da Portrait* (whatever that publication may happen to
be), a fantasia on a Russian national tune, and a Cracovi$w»e.
After these, Herr Rubinstein, being again recalled, came for-
ward, and pulverised with irresistible vigour the .Varcia alia
Tvrca of Beethoven. There was also somo singing by Madlle.
Fichter and Dr. Gunz.
Although this was the " last," it was not « positively the last-
concert of the impetuous young Ross, who has announced a
" farewell," which will shortly take place, and of which, if I
should be stiU in Vienna, I will forward you some account
QOAND-MCVB.
loin instance,
man thsn all
DOUBLE-GLOUCESTER VIEW OF NOVELISTS.
(From the Gloucester Journal.)
" Mr. Dickens takes tbo chair at the dinner of tho Commercial
Travellers' School celebration, snd talks of thai 'great nun, Mr.
Thackeray.' Mr. Thackeray last week takes tho same place, and talks
of that 'groat man, Mr. Dickens.' Mr. Thackeray does more. He
soundly rates literary men for not rawing an institution similar to those
of the Commercial Traveller* and Licensed Victuallers. Tho thins; is
impossible. Neither literary men nor artists have snv general sympa-
thies in common. They are made up into liltlo cliques and coteries,
snd hate and despise oae another most heartily. What became of the
Guild of Literatim ! If the leaders, or those who consider themselves
■ucb, msko any attempt to get up such a matter, they find that their
brethren stand aloof. There is, I fancy, somewhat too much conceit
about some of our ' great men.' Dickens and Thackeray hare written
many wonderfully clever hooks, but at the best they were works for the
amusement of tho public, and there are many people who think BuJwer
a better man than either. But are we to be drilled into regarding
writer* of Setion as the great men of literature, to the exclusion of those
who work for the instruction of mankind ? Taking a random iusta
tho author of tbo Treamrtt of Knowledge was a
the novelists pot together."
[Yet hardly so great man as tho Editor of the Gloucester
Journal. Dickens and Thackeray may console themselves.
They are immolated by the side of Wolfgang Aroadee Mozart,
composer of Don Giovanni and the Requiem.— Ed. M. W.]
Hike Riicharot IT Vienna. — Herr Reichardt, who is a great
favourite with the London public, and whoso concert* are everywhere
reckoned among tho most agreeable entertainments of the day, col-
lected, at this >"> Brst concert in Hie Musikvcroin Ssal, an audience both
numerous and distingue. The eminent qualities possessed by this
singer, ami the artistic manner in which he employa his powers, render
his performance n genuine pleasure. lie exhibit* deep sentiment,
without any of the whining element, strength without coarseness,
and a thorough sppreeiation of tbo pcculinritice of composers of
different schools. Moiart and Schubert, Handel and Marschner,
were interpreted with equal fidelity. This was admirably exemplified
in an air from Mossrt's Cosi fan tutte — " Un Aura amoroso, and
another song. But the gem of tho evening was ^perhaps the |*ir
from Handel * oratorio of Jatkua. The florid and sustained passages
in this song were given by Herr Reichardt with remarkable
facility and freedom, the character of tho music being at the
same time faithfully preserved. So executed, would not an entire
oratorio of Handel produce the deepest impression her*?
Tho loud applause of the audience wa* continued from begin-
ning to end of the concert. Herr Reichardt was called forward
several time*, a uisrk of sppreeiation which wa* in every respect de-
served, both by his vocal merit snd his dramatic execution. Tbo
sisters Km ma and Flora Nowalory played a duel for guitar*. Their
skillul iwrformanee, added to their prepossessing appearance, produced
a sensible impression, and both were honoured with unanimous
applause. Two young lsdie*. Mesdlles.-Frankcnberg snd Weinberg,
also most engaging persons sang two songs in s very plowing manner.
Herren Decker and Hess wore tho other singers.— Abridged from tie
Digitized by Google
Jan. 16, 1858.]
THE MUSICAL WORLD.
4T
ADVERTISEMENTS.
1
HOARSENESS, SORE THROAT, LOSS OF VOICE
IRRITATION of the BRONCHIAL TUBES, cured. and * perfectly Clear
Vnsee un-luced by liie use of Wilkinson. Bridge «nd Co.'n BRONCHIO-THoKAC
LOZENGES, prepared from o receipt of cue of the moat eminent Phy*
the day
Thoy are estiecnilly u
Ilarr-iatera, Public Speak
Prepared i
**ful to Vooalista, Member* of Parliament, Clergymen,
re, Ac, and, sa a general Cough LoacJigv. tuien italic* 1.
n boxeeat Is. and 2a. <kL; alen In Una, at 4a. Gd., 10a. 0d.,
and SO*, each, by Wilkinson, Bridge, *od Go.. Chemists, at Bridge's celebrated
i Ginger and Camomile Depot, J70. Regeut-stree-l, "
FREDERICK DENT,
fflalirr of ttjf Crest Clock for ttjr ftoturs of ^atltamrnt,
Dtrav In all Ml pat— it right* and buaincaa at
And an! a Suoe*
61. Strand, And 34 and 34, Koyat Exchange,
pass Factory at Somerset Wharf, Chronometer, WXtc]
ts*ui«n and Pr.r.r* Consort
E J.
and the Clock and Com
ten, and >Clock Maker to the
Ladles' Oold Watches
Gentlemen'* -
Strong Silver Lever Watches
8 Goto***.
10 „
6 „
with Compensation
Ao eoniieeiion teilA 33, Cockrp*
MR. HOWARD, Surgeon-Dentiiit, 52, Fleet-street, Las
introduced an entirely new deacription of ARTIFICIAL TEETH. f-xed
without springs, wires, or ligatures. They javroctly naemble the natural
teeth aa not to be distinguished from tlio original* by the cloacat observer. They wilt
never change colour or decay, and will be -oun-1 sn|»erior to any teeth ever before
uacd, Tula tnethoil does not require the extraction of roota, or any painf*il opera-
II n, will support and preserve locth that are loose, and ia guaranteed to rratore
articulation and masucutlin. Decayed teeth atopped and rendered aound and
useful in maetloaLicm. i2, Fleet-atreet. At borne trom 10 till 5
HOLLOW AY'S OINTMENT AND PILLS.— The
family roedJctn-c cheat that ta fUrnUhed with those i<ow«rfiit remodiea mad
nothing mora; •ndigMtitiD, gvtttr*. debility, liwrr complaint, entptkma. rvnui,
wound*** ulctrt. tuntOHtft, i<- , are li.failJtily anrod by their um ; Ui«y rvcrull thr
Btatuitu. and Inftiae too* and vigour to the whole *ya eni, Ida physical im>w«tb
l>vM-nca* hiiht iui<1 Iniu^Vit, ftini ttmt fcrtuttmt of earthly bJeart ng-i "a nouixi mind
in ■> iotm body" la the rwult Tl.mia.uula of pereoaia who have been cured of tlio
Above oot»pta.Dt» know thi** to be hUxally true. Boid by all Medicine Vendors
hfWtromta, 244. Htrmnd,
ibn-ugboul the wurld; at PmCowor HoflowayX Eatah
Umdon. and HO, M.-Jdeivltuic New Tork ; by A. S
A Oiitdxy. Smyrna; and K. Muir,
DR. 1\LARK, with bis JUVENILE ORCHESTRA,
numbering upward* of 30 Instrumental Performer*, and a Chorus of to
Votoea, corojHNKU of little Eutfhah, Hcotch. and lrtaii Iloya from tire to nfteen
yeara of age, and known by the title or " l)R MARK AN'l> 1IIH UTTI.E MEN,"
Unpen to eiiK^eroentii, Apiilnntlmi by l.ttcr. addreaaml: Dr. MARK, car* of
Meamra. Boneeyand S"ina, SS, llnllea-atreet. Uarord-atreot, t^oodon.
Dr. Mark h» prrlormvl with hia purdla in crowded bona* a, and obtained the
i in Loncnabtre. Eaat an<l Weat Riding of Tnrkahire, HootlanrL
. Devooahlre, Qloucoaterahlra, Cornwall, Walen. SoaieracUliIro,
Warwlckahlre, Worceateratdre, Uocotnahlte, Derbyahire, N<itui«lani.l>lr«. etc .
etc., and haa gl»»B Concert* with the itPaalcat aucceaa at the Free Trade Hall.
Mancbeatcri 81. Geor^p^••. Hall, Liverpool: St. OeorKe'a Hall. Bradford; Murie
Hall, Edinburgh ; City Hall, Olaagow ; and all tlio principal rootna In the nl«ve
cuiitlca, bK loterpruic being pronounced by the ui^rdmou* vnb* of the preaa,
an«l by pubhc and private b-aUnwxilala. a» thu moat iiacrul. ploaaiiiR. au.1 Ui-
airortlve entertaiutueid over Iniroduced to the public.
To thote who may, however. L>e still ui^icquaiuted with the meaning of "Da.
Ma a* aid nta Lrrrtx Man,'' Dr. Mark bears moat rtwjpectfallr to atato tnat hia
" Little Men" form a imwtunlquo and complete JCVEN1LK (IKCH EXTRA, com-
|io»ed of llttl- English, ejo.tch. and lilah I>oya, ftoiu five In fifteen ynu-a of age,
numbering npwarda of forty performer*, who play Mar.hev, Qinvlrillov, Polkas,
ftrdoa, Dncta. the cboicoet selectloti* of Ofieriia, an>l sing Cht<roec* In a moat
effective manner, and to whom be givca tioth a iteneral and mimical education, and
brovi«ioa tbem aiao with laiard an*i ekithing for the tent, g| three yeara each,
''grataitoualy. In t-rder to lllnstr.itc hta votln-ly new, simple, and effective system
of musical education In favuur of conservatories of music fur the people/' in every
town and city throughout Ute United Kingdom, and especially intended for littla
eMIdrcti and apprentices, where they may meet and spend their evening hours far
rnntvj lorjgeuial than the evils and temptations of the streets wtll ofler them.
The perfonnance of "Dr. Mark's Little Mm. " is air*. Int ended to »h"W what
our be achieved with an indiscriminate selectiun of little Engiiaii bora, by a
aimple plan of training, simultaneously encouraging and promoting native
nm*!**) talvnt In every pnaathlu way amongst the rising generation of this
• "tuitry. and \>i excit* an interest whamvir I play, to consider music a most
neerjuory branch of educatrou in the humblest of sch.*ols, and Iry these moans to
bring the acquuriti<-'n and wholesome urOucucea of musie within the rench of all
daises of society, aa a means of education, aa an clement of recreation and attrac-
tion to thalr bonawa. and aa an agent to improve and elavaU the tone of
eocwty. and promote the social and domestic condition of the people at large.
New rublixbcd,
DR. MARK'S highly approved Work* on "M
^BdueaUoo'-THE MUSICIAN, prlos 0m Ocuna. ; THE PIANIST.
MES SOUVENIRS DECOSSE.
FANTASIA UPON FAVOURITE SCOTCH AIRS
ntDicaTED ra
THE COUNTESS OF ERROL,
raa
MADAME OURY.
MUSICAL NOVELTIES.— Just issue*., gratia
postage free, a targe LIST OK WORKS, racenll. pt.bU.hed by Ri
COCKS and Co.. Including a great number of popular publications from th
and
OUR ENGLISH ROSE (beautifully iUuatrnted with a
Portrait of H.RH. Uk, Prince. HoyalX a NEW *>NO. Pclry \* -
LONSDALE, Ea.|. ; Music by W. T. Wnghton. ia «d.
GREAT MASTERS FOR LITTLE PUPILR — A
8KLBCTION i>« Uk> CLASSICAL WORKS of Hands!. Haydn.
art^Beetboveti, *c„ easily arrftiwrcd and flngered. By Tliotua* Baker. Six
Km
Nca.,
THE MOTHER'S I^VST FAREWELL— Ballad, by
W. T. Wrighton. oom|>caer of the "Fiwt'nan's Knack." *c. Decorated
title, 2a. ed. A sultanls nreaeot. "A Mother's farewell to a Daughter, who la
leaving for a dl«tstit land on lier marriage." — Loudon : R>bert Cocks and Co.,
New Burlington-strtet, and all niu«lc-aellers.
" 'pHE DRIPPING WELL," by Mr. Gollmick, perforaed
Arts, and rapturt
f Mr. Oollmick's
L recently by the author at tbo Reunion dee Arts, and rapturously
ncored. "This Is one of the most elogant and popular of "
posito
MILLION. — Balfe'a New
MErHODS FOR
Singing Method, with sixt
cspt-^s for the Cornet, Flute, and
6a iwcb ; al-o B-mao) 's New ~"
2&, Holies stn>:t.
BOOSEY'S ORCHESTRAL JOURNAL, 3s. Cd. each.
HeTenty siv nnmbors or this celebrated work oreuow published, 3*. ad.cach
fie- orchestrm. anil 2a Cd. for septet. Among the reccut a-Ullllona. are dan era by
Laurent. Oollmick. Oungl. Mellon, Ac. A lift of content*
PIANOFORTE DUETS. — Trovatorc, 6u.
>. Ernaul. is. Rigolotto, fis. Nlms .V Lee Hueucuot .
Lucrnsta Holy's, .la. Bcosey and Sons' new and cheap editim.
volutoee (gilt lettoptX each containing from twelve to twenty of the
Toetr
LaTnmata,
7. «.L Lucia. 6a.
In green cloth
airs.
I free Bcwey ami ><obs. 24 and ?«. Hotlcsetreet.
BOOSEYS NEW MODEL CO RNETS-A -PISTONS,
from 4 to in guinea* each. These celebrated Instruments are easily played,
produce a I*v.itifii1 tone, and are rmftnrbly fluishsd. Drawings and full particulars
gratia. Also Booaoy'sNewCornotTuturfedileilby Stanton Jooevl 50 |uges, for St.
BooNcy and Sons. Vt and '.•*, Hotlcw-stroct, I^ndon.
CONSERVATIVE LAND SOCIETY.
THE SIXTH YEAR.
' vTrastfrs.
THE VISCOUNT RANKLAGU I RT. HON R. A. C. N. HAMILTON.
HON. Oil-ONEL LOWTHER, MP. | J C. COBBOLD. Esu.. M P
Five per oont- Intm st per annum is paid half-yearly on all investment* of £s
and upwards, hut. with tV annual proflta. mstnl ors hare never received leas than
six per cent, on their sulracrl|<tiotu\ and In oim year It was seven per onit The
privilege ■'• withdrawing at ten 6W notice, the non-lisbllity of the investors, and
the taking ol plot* or Ire. hold land "U the Society's e»U'r^lwli« quite opUot>aL are
advanugee which have rendered th« S..c»ty one of tb • b. st mode* of luveatlng
cantLd and riviuK-i. rro^'ecttweB surd fro* to any part of the w. rid.
CHARLES LEWIS ORUNEIBE.N, F.RQ B-, Secretary.
Orrtcn— S3, Norfolk street. Strand, W.C.
Mom ben of the Musical Profession will find this Society a very convenient a
»U a. eligible mirf* ol ine^irnt.^a* itlM L,c«rta*a* csrn U tranaactod by corra-
Digitized by Google
[Jan. 16, 1858.
MESSES. DUNCAN DAVISON and CO.'S
NEW AND
CAREFULLY REVISED EDITION
OF THE
SONATAS BY MOZART.
Kol 1. Sonata in C
■* H
8. tt
4. ..
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A mlnnr
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No. 10,
11.
12.
IS.
14.
IS.
1.
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F
B Snt
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I. d.
4 0
4 0
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2.
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1
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10.
No. L
2.
InC
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PIANO DUETS.
.. 10 «
..6 0
.. 12 0
..5 0
No. 5. Sooul* In A flat .
0. FantaMa In F
InG
l'lANO AND VIOLIN.
«
No 11.
*
•
14.
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11.
1
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4
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PIANO, TIOL1N. AND VIOLONCELLO.
. .. T 0 1 No. S. Sonata In R
. .. 6 C | 4. .. Bfiat .
inC
0
(DfcroT
$44.
London :
dcncan davison a co.
GEMEttAL Dl LA MAISOS BRANDOS, DE FAHls).
OF LITTLE .
IS. Fanta«i»A-HonAU,Cmmor 0 fl
I 0
ID 0
NEW PIANOFORTE MUSIC
" CLARICE," Mortcau do Concert, by Fumagalll (played by Mtw Arabella
Gnddaid) 4 0
"A SUMMER'S DAT." Romano*, by Eugeno Moriut (one of the nmt
p- 1 mIm drawinc-roora piece* of the day) 3 0
" EI.ISE. " Romance, br E. A Oarniim I an cajry and cWiot nleco for tovlilnjr) 2 0
' TRIUMPHAL MARCH, 'by Mrochefca 10
NEW VOCAL MUSIC.
AIUSE. MAIDEN MINE," Air Mvrlon, by J Dtwin (Dlrodl,
auf von. Belt The Engl'.ah varalr.h by John Oxtlifnrd. E-q.) .. 10
I WAS YOUNG.* by Erneat Brum . .. s »
The abort tiro 8om>» hare been *ung by MdlU. Jelly d* Treff:
in'/A dirlinguithed tncetee.
" WTTEN FIRST VOU 8BONE BEFORE ME," by Erneat Bruce («nng
hy Madame Borchardt) . . 2 0
•THE TWO SMILES "(for * contralto »aicc), by O. A. MacCarroii .. l o
"THE COtJCETTB"(for«oontr.dtoToloeX by J. W. Darin.-n -.10
•AT EARLY DAY'S DAWNING. "byK. GroaTcnor 2 0
•IN TE. POM INK, 8PERAVI"(ADU»em f t tMoo» and onran). ditto ..2 0
•MY LOVE IS IiBAD"(l«iban»«idiir.\-h*ur)L by E. VI»1W .. ..2 0
VOICE, PIANO, AND VIOLIN OR FLUTE.
"MOURNFULLY, SING MOURNFULLY." by G Crawel!. Op. 81 ..10
VOICE, PIANO, AND VIOLONCELLO OR VIOLA.
' WHERE IS THE BEA," by 0, Cruwell. Op 32 3
VOICE, PIANO, AND HORN OR VIOLONCELLO.
; MEADOWS GREEN " funs plainte), by E. Yitier
v VUrdul) 3 0
ANNOUNCEMENTS.
Will be /VMiaWrf nut Wat.
SECOND EDITION OF THE VERDI ALBUM,
Very beautifully bound In cruruwo and gold, forming tho he,nd*omo»t Toluma
that ha* appeared thu aoaaoo. Prloo 7a. od.
Tho original Edition, at 9a., may atui bo had.
JCow Ready,
LAURENT'S ALBUM OF DANCE MUSIC,
a bandaomo Toluroo (7i pi
PT.prlo.ia.
MADAME OURY'S MARTIAL FANTAISIE
OH
PRUSSIAN NATIONAL AIRS.
Compoaod for the oocaalon of the Montage of the
Prico 4a.
Royal.
MR. SIMS REEVES' NEWEST SONG,
"THE LAST GOOD NIGHT,"
I1T
DESMOND RYAN AND C. J. HARGITT.
r tor Mr. Sim* Rcevea ■
■ hla portrait. t». fld.
Cbmpoacd oxprcady tor Mr. Sim* Rcevea and illuatratol
with!
THE NEEDLE,*
A tllBTlCll IT
GEORGE HODDER AND RUDOLF NORDMANN.
a piece of Embroidery work in ooloura, from a deaign
by Augunua Mayhew, price 2a. od.
Jiut Riaily, prict 2a.
I DO NOT WATCH ALONE,"
MISS FRICKER
f" Fading Away").
R
a PRATTEN'S PERFECTED FLUTES, on tho
• old *y>t«m of ftngvrtiip. aa u«ed by Mr. Pratten at M. Jullieu'a cuncerta,
-here. Those iiuununontX aa their name impliea, are Uie moat perfect
id eiery
ot the old EoKliati flute. The manufactory ia auperintondod, and en
If atruoiellt ia ttated ai d guaranteed, by Mr. R. 8. Pratten. Price* from four
seventeen nuincaa each. Full particular* fiMm
tloltea-strtet, London.
24 and IS,
rubllahed by Jonn Boo»«T. of Owitlfbar-hHl, In tho paHali nf Ealing, in the
County of Middlnrx, at the oRice or B»wir *t SoKa. 2S, Iloiles atreet. Sold
alan by Rrav, 1ft, John-etrcet, Great Portland street; Al-LRK, Warwick.
lao* ; Vintr**v Holywdl-'treet; Kairn. Pnowaa, At Co, 48. Choapalde ;
O. SciiEtniMA?ix, SO. Ncwgato**^p«'t ; Jonjt SficriiERn, Newgat«trcet ;
n»Ritv Mat, 11. Ho born-barn. Airent* for Sootlimd, PATCaw* A Son*;
Edinburgh and GUsgvw ; for Ircluud, H. nt anttL, Dublin , and all Muaac-
aollara.
Pruiled by WiLtitM SraTCK* Jonicanw,
lane. In tho Pariah or »i
January lo. li
Nawwu Ktoam Pre**." 40. Sc. Martin'*
is Um County of I
Digitized by Google
Thb
or Am appkaiib
bi didcctid. It ]
MATERIAL, «0 I
WHAI8VEU IT
wnoec ErfBCT
I." — 06*li*.
SUBSCRIPTION: -Stamped for Postage, 20». per aimum-Payable in advance, by Cash or Port Office Order,
to BOO SEY & BOHS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 4.
SATURDAY, JANUARY 23, 1858.
, PHICE 4d.
t STAMPED M.
THE MISSES WELLS beg to acquaint their friends
Ml pup 1* that the. I »<o REMOVED to 34, Keppel-aireet, Ro»**ll-aq..iaic.
where ill dommuukAlJuo* rtei acting engagement's are to bo addrcMOd.
AD. ELIZA POM A (late Miss Townsend), from Her
M
H *j**ty'a Tbektic, h* vitii: a1bk> %%*ag for .ipwunu of ibrco yarn In ib» 6r«t
ih*atixs or Iu3v, Spain, anl Portugal, in in Loudon U> acecf* lupgMMtfl 'or
ccaoertn, oratono*. >.r opera*. Address, No. 8, Oold un .v jtiatr
SIGNORA FUMAOALLI, SIGMOR DI GIORGI,
and MR CHABI.Es BRAHAM iCudwtnr, Signer Vl*nc*l) wid aiog.
tbU Jay and Mmday. at th* Cry*ui Palac*; o=. Wt-lnvadajr. January "7th. at
* Indoor : Thuraday. Jauu <n tttli. at Fgham ; Fr. Jay, January »lh, at Slough ;
and Monday, February Int. at haeingatokc,
\tlSH ARABELLA GODDARD begs U> announce
if I Iir« iKrf.rtui'.M. of CLASSICAL PIANOFORTE MUSIC, at bar
roaidetio. tr. Welbe-.ii -trect, Cavcri lleri-anjuaro. Ibo Flr-t will Uke place ..a
Tucaday E'enin,-, FoIt ary 2. wren Mia* Goidard wil'. hate the bo» our of
pr inning tb- (.RANI) SONATA, li> 0 rut .t.r. of CI.FMF.NTI, entil-d DIDONE
AB »N DON NATA . th» GRAND SONATA OF WEBEIt. It, 0 major. Op 24;
a I'REU DKaiul FUGUE, in A minor (k .a Tarantella'., or JOHN HEBASMAN
BACH , uV» Sooau In B flat if HAYDN, for p anororlo and vMln. with N.
Sainton; mil in » trio of BEFTHOVf > 01 MENDELSSOHN, with
M !?»'uton anJ B[g. F.atU. Full panicnlara « ill bo aliortly announce.! T.eketa
do b<! lud only r.f MISS GODDARD. 47. Welbetk.atpcet5 for i Srtmle Soirve,
ICa. Cd ; fm the Scriea »l Three, 0»i: Grunta.
H
EK MAJESTY'S
THEATRE. — EXTRA PER-
54. Thuraday, January :!. nod
ii.r;0'n*C.
. Signer A
LA SONNAMBULA
Cut. la Rodelfc, Sillier
gator te>. January ».
Oa Tueaday. January it;, will bo repeated
Amine. Md.le. ricrokmiini ; Liea. Mdrc
BclktU ; and DtIuo, 8I.ii.ct Oiu^Uni. Co.
Tb« State Fuetlra. Decoration* will be retained.
Fit'ern— Pit alalia. IS* W. ; boxea (t> hold four pcraonaX pit and 0M pair,
A2 2a. , grand tier, US S*. , two |our, *l\ Sa.; three |iair, 15* , galiery boxoa,
10a. ; g,.lkry alalia, 3a. cd. ; pit, 3». od. ; gallery ?a
Tbo door* wi.| he opeoeH At llalf-pnat Seven, and tbe Opera comcueme at
Eight BMacfc.
Application! for boxce, Ac , to 1* rn»le at tbo bor -office at the Tbrnlr. .
TIER MAJESTY'S THEATRE. — HER MAJESTY
Xl THE QUEEN baa graciouaK annitflrd her Intention ofbon.-uriiig with her
pretence a SERIES i.fPuUR FESTIVAL PEHFOItMANCES, luten >ed to U>
prtawntad a' tbe period ur tbe approaching NUPllAISnf Ffcr R. yal H iKS:,i -.
PRINCE FREDERICK
Hit Ro.nl lllgln
t>
tbo PRINCE86 RuTAL will
WILLIAM OP PRUSSIA
Fourth PeifCTTD.incc — Ad Engtiab comedy, by Mr. B ickatone'j company of the
Ha> market Thrairc And an aftorplovc, In whleh Mr, Wright «nd merol*r» ff
th" Adelpiii co'ivi'a'iy will jHrform.
Tbo Sitiouf I Antfiem alter tbe eomody.
No peieon admitted In ih ■ pit exe. pt In erenmi drcai.
Tho ilonn will b-> • pened at half-pait »lx, and each lepreaent.itti n commeBcc at
ball-i-iat icren o'clock. O illery. 3a.
• oca It boa. a to las made at He Box<4Bce of the Theatre, an J at
ll'al • .J-.I Ubrary. aJ. Old ~
pRYSTAL PALACK— MARRIAGE OF THE PRIN-
\... . >ta
\J CE>W ROTAU-Oc M 'Uday ueat,
tngland'a Pnoctai will be eeUbratcd at ti c
CONCERT, tueemmenee at bnjr-paat mi o'clock
uppy occaMi n or tbe marriage ^r
c Cryatal I"alA«! by a GRAND
ek VoOallatl — Sjgnor Futnawalll,
Mr. Cbariea Br^h;vm. Mr Wluu. ai.d tin.- full chorus of tlw Royal lu lan Op n.
under th- dm-cUon of Mr. Sm«th«ui. Couductoi -Nr Manna. Frogramtue-
Part It— 4, Wcding March (Mendvlaaobn). 2. Overture. Obcmn (Wcbcr).
3 Madrigal, "Who aha I w.n" (Pcar-.Ul. 4. KM nal S.ng. "TI.e Dtnth of
N«l.on"<Brah.ini> 5. Aria. "Ah fora'k lui,"rrom lj»Tr.Tiau|Vcrdt). 0 Solu-
tion. Rnae cf C«a ille (Bal V). 7 (<er uade. "Ble*-.'d be the honw' fB o*Hot)l
S Air 'Till;, bcirt by war o'truken." from Murium (Wallace). ■ Hymn
writ'en cx|itx*» y for the Wcldli B Ceremony hy I . Olipbxiit. £iu\ lt>. Mn oho
m"X F»mUaux (Mo}'<Tbatr). Part II —I. O'crturc. II Dortil ro dl NiviglU
(B">aini). 2. Madric.l, "No* la the tnouth of ina.ving" (M iU> ) 3 Duet.
"All'awill" A. B.ldeem-W.-'Cbiv»ua. from Her l'lolac UttfWubvr). i. Null < .1
Pat>g, "rbi>lllv a> Biac.y"(Brabu.,i). u. Overt »e, Clown biMixnala (Aub-t)
7. Bvag "Ii.e Outlaw "(l.eder). 8 }tadrlg..l, • Oh. «b» wll' u'ir llat do«:.»"
fl\a-a.L ). 5. Cini'. "UJ||c1uJlh• (Ha de ). I* Finale. Tbo PrilUjl — d
En.'iiah > atux al Aira. Doora i>| en >t aluu C*r»rert at tilf-fas; on., .'.iaii-rloj,
a* UBaM, On* Sbillmg; CbUdnn under twdiv. Siipincc.
MAPLESON AND CO.'S
wmm k mmim mmhL mmm.
OFVI0B8 .
Cl&HSHCE CHAMBER', IS, HAY MARKET, LONDON.
Tan Armey baa been oe'abliabtd for ibe pnrpoae of npplylug what haa been
ao |..og xq dred both by M -uagora and the Muahal Piofeeatoo genu lly, eig.
madiu'i. of communication, and greater fac.litioa for the tranaaetMn of all bou
coni ccted with
T. I» A
Operaile
recpuaUeo: also Ui ueg
re|Kl'c, both rocal
RjaMWal "f obatae!
adr.newnent uf iho h rtc art in Ik a cm
Agency la In a p^ltion to Arrange, with the ulmoat rronipUieae coniplet*
e urCi>..cert Coinpanl.a. and eupply Mt the Chor-.l, Ore oetral, and oilier
alao U, negotiate uug^gemcui a eeery kind f,» Artt-f. ol ability and
to ae-tat in the
Regiatcra are kept for ti e gratuitoua in-pectieu of Mauagera. cocit-untug etitriea
of the nam> a of vocal and Inatinmcutal artiata wanting engagement*, with all
neo aaarv partn-utara, a*c.
MfHicat RrriK"a— M. W. Half -, B«i , Coik- tre*!. Burlington
feixoor Scbira, 17, Pnncevatretl, UaO'..rer.»nu*Te ; J alee Benedict. E-tj., 2,
cheater -*qasra,
McniCAL RUEar.g.— John Ha-tings. En. M D., If. Albemarlr-t'p.'i.
Naiciroa — Cbarlca Maiduck. Kaq , IA, Seryeant e-inn. Temple
Rajrcefuk—Union Bank of London
M«ir.«i _J. n. Mapleaon, E*p, 7, niutuxatet-Mreet, Regent'a partr.
OFFICE HOURS PROM ELJtVEN TO FOUR
Ml
APLESON AND CO. S BRITISH AND FOREIGN
MUSICAL AOENCY — Olljor*, flarrtic* Chamber*. 1" Haymnrket, Landry.
A* tl e Reenter Bookaaie now hcing comieitd, all Prafosaimiala diairou. of having
their haoKs, *c, intend, can be nipptled with forma for the mud*, pnet-fpte, or
on application.
December >1. IS'.?.
THi
HE
MUSICAL DIRECTORY FOR 1858.— Price
, by ivwt U. M. Maybe litvd of >H mue4c and book aeileym. BotU^I.
Ro*t , Carte), aud C >., 20, Charing-crup**. X
N
EW SACRED SONG,
of li*L" Worda by the Rj,
He has come!
nr>
tbe Chrwl
T
HE DRIPPING WELL
by
recently
curorrd. "Tbul*
by Mr
the author at tbo Reunion
ic of the mo.it elegant a ' p »p
B <>*cy »nd Sooa, 29. 1 ' hi
Umick, jierformed
and raplur .aaly
Oollrr.ick'a coro-
Ait».
Mr
(M* FINGER ORGAN for Sale, well ivdapted for
J I'raeUoc, nith two asopi througbcit. Hop dianaa.ni and prrudpil, ;i
octav* of peilala. CC to F. gilt frvnit. Uo»a baud mi 'cot Tna ped-l wort
otilirelv new, by Walker. Low*. l prlf", afsi. T • b? aeen at Mr M Morlav'i
Mualcr
nO YAL GALLERY
Re.ent-atrcel-»IR.
wilt re-uppiar in to vu fn
V, th Juiitiary, at Eight
J nuary, »t Time No ptribrmimee iiturday evruin'ga. Admia-i tj. i» and 2a. ;
StalK it ; wi.lch limy be aee-ure-1 at the Bal!cT}', mi l at (;,an.cr, Boale, and Co..
201. It tciit-eiroot.
OF ILLUSTRATION, 14,
il R. and MRi GERMAN REED (Ulo Ml* P Hortml
for i> abirt wi u, cnimenc ng Mwiday evening next,
it o'clock. Fir*< afteruojii i erforni iiico Sitnrday, Sdn
THE QUEE1S STATE BALL.
The
Drineca were pet I
.11
v. EIFFERT't BAND en t'^ «b.,-o
I.— I.AJ!0'ITX*d TRAVIATA OAIOr.
DALUEItl S I. IN DA CjUADIULLI
i— LAURENT'S MAUD VaLSE.
4— ounols ieti:ruof V.\L»U
V..1 »W7i published S-r v i nr. -ud 01 J .a'r.i by tOOEil* SKtt SOS*
it and iS. UoUes-ttvoet. LtMOttk
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50
THE MUSICAL WORLD.
MESSRS. DUNCAN DAVISON and CO.'
NEW AND
CAREFULLY REVISED EDITIOH
or tiii
SONATAS BY MOZART.
[Jan. 23, 1858. 1
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A minor
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No. 10.
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11
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14.
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14.
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In A
F
A**
PIANO DUETS.
..to
.. II •
.. « «
No. 8. Booata in A But ..
« Fantaala la f minor and
Ttonsa with nn in 0
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PIANO AND VIOLIN.
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PUNO, VIOLIN, AND VIOLONCELLO.
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PIANOFORTE MUSIC
C0^^, d* * ^»K-11 (PUT* Irj alia* Ai
"A BCMMBrVa riAT.-'Ror^^ U» ■•
ANNOUNCEMENTS.
Will U FmUitUd not trot,
SECOND EDITION OF THE VERDI ALBUM,
Very beautifully bound In crimeon end gold, fomimt the aaa
thMh*. * pand tbJaaeaaon. Pn«7a. «d
Now Rtadp,
LAURENT'S ALBUM OF DANCE MUSIC
oorruaua
Slxt«ea fmpulmr Quadrlllea, V«Ue« cialnpa
wr, prioe
MADAME OURY'S MARTIAL FANTAISIE
PRUSSIAN NATIONAL AIRS.
of the
"THE LAST GOOD NIGHT,"
DESMOND RYAN AND C. J. HARGITT.
" exproMl, &r Mr. Sim. Rwrca and i
with bta portrait. 2a. «d.
, Oodd.M) . . • IptATW by Aliat Arabella
'A BUMafEha DAT." Roman™, bv .
4 0
8 0
5 0
I 0
HEW VOCAL MUSIC.
«"g ARISE. MAIDEN MINR" Air Styrlen ■- » - „
••• Tkt abort two Sonc, Kav, A,,. «.„ ail,,, V .. "
JSP* , o
FIRST TOU SHONE BEFORE If F - ha. aw . »_ .
by Madame Bernhardt) r-> by Erneat Brooa (aiuif
"THE NEEDL E,"
a Dumca »y
GEOBGE HODDER AND RUDOLF NORDMANN.
Sr^ABD VI0LIN 0B FLUTE.
OuRNFULLT, BIMQ MOUBNFPLLT," by O. CruwaU. Op. 41 . , 0
l«,0,(;.B^^„-,A,,0, A,<0 VIOLOWOELLO OR VIOLA
>W«. MtHB8lU,''byO. CmwolI.Oi. ,2 „ , 0
JvM Rraif, aril* S>.
"I DO NOT WATCH ALONE,"
MISS FRICKER
rof •■Fadio»TA«ray "X
SOUVENIRS D ECOSSE.
■^l™™'*1**0' AND HORN OK VIOLONCELLO
HUSK xi,
H-OR Ll>
•
LONDON :
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FANTASIA UPON FAVOURITE SCOTCH AIRS,
DBDW4TKO TO
THE COUNTESS OF ERROL,
Ma
MADAME OURY.
Jhrice 4>.
^f T.fVrfSAirf v
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Jan. 23, 1858.]
THE MUSICAL WORLD.
51
REVIEWS.
"Errnis rotra i.i Puso"— ileditcs i Jules Benedict. Par Joseph
ituromel.
These studies, ten in number, are dedicated to the use of
moderately advanced performers, who will G mi them both useful
and agreeable practice. They are written with niusicien-likc
correctness, ana each addressee itself to a distinct mechanical
want, which it is desirable to supply, in order to equalise the
fingers, and acquire facility of execution. We may single out
Nos. I, 2, and 8 (where the task allotted to the two hands is
fairly balanced— a desideratum too oRcu overlooked); No. 3
(an excellent little study of extended arpeggio for the right,
while the left plays a melody); No. 4 (a new ami effective form
of tarantella study for shifting the fingers on the highest note of
the octave triplicately divided) ; No. 5 (a study of double note*
for the right — which would have been twice as efficacious had
some of the double-note passages been intrusted to the left) ;
No. 7 (a good stndy of arpeggio for the left hand, while the
right is engaged on a large melody interspersed with shakes) j
and No. 9 (a quaint romance, entitled ballade — which will
attract on the strength of its musical merit alone), aro (ho best
numbers. And while according this preference to eight out of
the ten, we may add that the remaining two are by no
MR. HAYDN WILSON'S THREE BOOKS.
To the Editor of the Musical World.
January 18/A, 1858.
Sir, — My three books of literary articles (on one hundred
and fifty sabjecta), are not published, or I should be happy to
forward you a copy. Music being my principal forte, the other
I have written for a mere change, after composing a pile of
vocal and instrumental music of every class. Trusting this
why I have not complied with your request will be
I remain, yours respectfully,
Hatdn Wilson.
[Perhaps Mr. Haydn Wilson would favour us with his pile. —
THE DEAD MARCH IN SAUL.
To He Editor of the Musical World.
Sib, — Will jou permit me to take the liberty of calling the attention
ofbandmsslers, especially foreigners, to the metronome measure of the
bandmaster 1
pace at slow
sill be belter
understood by the offioeri of regiment*, by ordering their band to play
its slow march ss a galop, music M.M.,* 160 = A pace M.M., 76
the pace 76 to be taken io the ordinary time. 1 once heard, at Secun
dcrabad, a Sepoy band play the march in the usual parada-march time,
Jour timet quicker than the original measure. It reminded me of
Bus sell's "A life on the ocean site." If placed in the slow, lingering,
and solemn time, intended by Handel, it creates sad and dejected
feelings. If played otherwise it is a burlesque. I beg it to be dis-
tinctly understood the ordinary itep is not to be altered ; but, to produce
tlie proper effect, the music most be played four time* slower. I hare
not beard the march plated by the bauds of the Foot Guards. I do
l doubt but they play it correctly.
I have the honour to be, Sir, ,
Atder.hot, January 19M, 1968.
A HSUDMASTIB
P.8. — Can any of your readers inform me what are the notes of the
cuckoo. Baring had an argument upon the subject with two band-
masters, thry maintain its notes area minor third— V natural, D i I say
they are s major third— D, B net. I found my opinion on Beethoven's
Pastoral Symphony, the notes bong for B flat (olaiionet), I think, E
" Bat perhaps the (Jerman cuckoo notes are different
RACHEL'S OBSEQUIES,
{From the IttneeirtL)
Every hand wielding a pen has by this time paid liberal tri-
bute of the necro logical sort to the illustrious artist who has just
descended into the tomb. The franchise of the press has been
even stretched in this instance beyond the required limits. The
friends of tho deceased awaited not till her ashes h '
cold— till her body were sealed down in iU bier— to i
a post-mortem examination of the artist and of the
Privateat details, letters to and from, autographs, trifling anec-
dotes, so largely anticipated in former times, are all again spread
• dear Ulthone I* " ElfaTbeth RaThel^
f Rachel will scarcely have a fitting sound amidst
out for pasturage before the greedy Parisian public. Little
wanting to have made the departed lady a witness to her own
apotheosis.
We are not going to tack ourselves on in the wake of our co-
brethren, by relating the biography of this young woman, in
whom the geuius of tragedy was incarnate— of this glorious
interpreter of an art not directly within the scope of our pro-
vince. All has been said in reference to the origiu of Mad He.
Rachel, to the gipsy life of her childhood, to her rapid ascent to
glory and fortune (two million francs have been spoken of).
We shall limit ourselves to claiming as our rightful share on*
of the first episodes in the short career, the starting-point
whereof was, as we said the other day, the " SCHOOL OF
CuoBOff."
A carious point in the history of Madlle. Rachel is, that her
name was first objected to, then subsequently restored to her.
When she entered
" What is your l
• That name of Rachel will scarcely have L
our exercises of Christian piety. You will take the name of
Eliza."
Little Eliza, however, betokened a slender vocation for song.
There was disoovured in her a greater aptitude for declamation,
and she was recommended to Saint- Aulaire, who was director
of the little " TboAire-Moliere." Later, when she was about to
make her dibut in the Yeudienne at the Gyinnase, the manager
at that theatre, M. Poiraon, in his tarn said to hsr, " That name
of Eliza will scarcely be suiting in a play-bill : have you no
other appellation I" " My name is Elizabeth Rachel." " Come
that will do. Rachel ! That is a name which not every one
wears. Call yourself henceforth Rachel."
On the JJ4th of April, 1837, the youthful Rachel made her
first appearance in public at the Oymnase, in the Vendienne, a
oomedie-vaudevitle in two acta, by M. Paul Daport. The fair
candidate, with her raucous voice, produced a lively enough sen-
sation. M. Poiraon, however, judging otherwise of the young
girl's special qualifications, advised her to study tragedy. After
taking lessons of M. Samson, Mdlle. Rachel came out for the first
time at the ComeMie-Francaiae, on the 12th of June, 1838. The
great genius at once stood revealed. The house of Moliere once
more echoed with the true accents of the tragic muse. Crowds
rushed to shudder and applaud at Camille, Hermione, Phedre,
Pauline, and the renown ofthe great actress became wide as the
world.
Twenty years later, while still young, she expiated at the foot
of the hills of Cannes the rapid expenditure of so much genius
and of those passions by which it was fed. Her name, however,
will ever beam with glory in the history of the stage.
The eminent tragedian breathed her last on the 3rd of
January, between eleven and twelve at night, being tended in
her last moments by one of her sisters, two physicians, and two
members of the same religious community sent by the Presi-
dent of the Jewish Consistory at Nice, for Madlle. Rachel died
in the religion of her forefathers. Alter undergoing the rites of
purification, the mortal remains of the departed were embalmed
and deposited in a double coffin, of lead and walnut-wood. On
its arrival in Paris, the Saturday following, the coffin was
watched over, according to the prescribed ceremonial of the
Jews, by two females reciting prayers. The obsequies took
place on Monday. The funeral ceremony, it was announced,
would commence at twelve. By ten o'clock in the morning, the
approaches to the Place Boyale, were blocked up by an im-
mense crowd. It was almost an impossibility for the relatives
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52
THE MUSICAL WORLD.
[Jan. 23, 1858.
and friends, and the large number of persons invited to the fune-
ral, to reach thejiouse of mourning, in one of the apartments of
which, according to Jewish custom, the body was laid. Leading
the invited mourners was observed M. Camille Doucet, head of
the department of theatres in the Minittire cFElat. The French
Academy had sent MM. Scribe, Alfred de Vigny, Sainte Beuve,
Lebrun, Lcgouve, and Euiile Augier. The Committee of Dra-
matic Authors was represented by its President, M. August*
Maquet.
MM, Auber, Halevy, and Ambroise Thomas; MM. Soger
aud Bonnebcc ; Madame Borghi Mamo ; all our theatrical man-
agers ; all the actors and actresses of the Comcdie-Francaise ;
all illustrious names in art and literature . our principal journal-
ists, our popular writers — our dramatic artists lrom every stage;
men of finance, magistrates, students from the public colleges-
were all at the mournful trysling.
The departure of the funereal corUfje was delayed until a
detachment of municipal guards, mounted and on foot, had been
brought into requisition to effect a passage through the dense
masses of people blocking up the space in front of the house, the
adjacent streets, and the Boulevard Beau march ais.
The mortal remains of the great artist were placed on a richly
decorated car, drawn by six horses, whose trappings, as well as
the pall thrown over the car, were bespangled with Bilver stars.
From fifteen to twenty mourning coaches followed the hearse ;
after these came some four or five hundred private carriages.
Immediately following the funereal car walked M. Isidore, the
Grand Babbi of the Jewish Consistory of Paris. The ehief
mourners were the father, brother, and youngest son of the
deceased. Barou Tavlor, M. Alexandre Dumas, M. Auguste
Maquet, and M. Geffroy, of the Coinr'dic-Francaisc, held the
four corners of the pall.
The burial ceremony of the Jews differs, as is generally known,
from that of the Christians, in the absence of any religious rites
performed in a place of worship over the dead previous to in-
humation, the body being conveyed directly to the cemetery. A
preliminary ceremony is there performed, called the purification,
which takes place in a little house erected at the entrance of
all Jewish cemeteries specially for that purpose. This ceremony,
however, having been already performed at Canet, the mortal
remains of the tragedian cotild be deposited in the family vault
without further circumstance. On arriving at the gates of the
Jewish cemetery, enclosed within that of Pfire Lachaise, the
body was taken down from tho car, and the Grand Babbi pro-
nounced in French and in Hebrew the prayer of the Resurrec-
tion, after which the bier was carried to the grave, the Grand
Hnbbi following and reciting the OlBt Psalm. Over the grave
the Grand Rabbi repeated in Hebrew the prayer for the soul's
rest, and another prayer in French. Several orations were then
pronounced by MM. Auguste Maquet, Jules Janin, and Bat-
taille, vice-president of the Association of Dramatic Authors.
At the conclusion of their discourses the Grand Rabbi threw the
first shovelful of earth ou the coffin, pronouncing in French and
in Hebrew these words : " Thou comest from the dust— the dust
to the earth whence it came, and thy soul to God
snce it came, and thy soul to Got
whom it springeth." The relatives and friends then came
forward to throw each a handful of earth over the body ; a last
prayer was repeated by the Grand Rabhi, aud the crowd
separated in silence and meditation.
And now of the great tragic actress, of the inspired muse
who for eighteen years centred in herself the glory of the French
stage ;— of the voting girl who sprung from the lower depths of
society, climbed up to the summits ot art and fashionable life —
nothing remains out her memory. Henceforth Corneille and
Racine must return to the shelves of our liurarics, there to
await the discreet worship of the faithful, for from henceforth
tragedy is indeed dear) ! A young girl galvanised it for a
nnniber of years with the broath of her genius ; but a miracle
like this is not accomplished twice. Yet, who knows ! As
much was said when Talma diod. The fortune of art has its
mysterious depths, and its destinies, like those of man, defy all
mortal scrutiny.
SOME REMARKS ON GLUCK
I* his work on Gluck, A. Schmidt has, with great industry
collected a number of detailed facta connected with that com-
poser. Some new anecdotes are found in the second edition of
Noverre's Lettre* tur la Dame, St. Petenbourq, 1804. In the
second part.Noverre satirises his countrymen on the "
appreciation of music, and adduces, among others, the 1
instance of their ignorance: —
" Gluck sppearod in I 'arts with the dsn ins brilliancy of a pheno-
menon ; he won over to bis tide the people of Isste by his melody and
harmony ; the applauie of those who wrre judges, and of those who
were not, waa universal. Covered with glory and praise, the new
Orpheus determined to produce La Cythirt Attiigte. The music was
fresh, learned, and pleasing ; splendid scenery, a costly ballet, sad
costumes ss graceful si happily contrasted, supported the work, lu
apile of this co-operation of all tho srliats, who hud tsken a pride in
eontrihuting to the triumph of this musical masterpiece, it achieved,
with tho nation ' who love music most,' only the quarter of s sncceae.
Our judges, incapable of judging, tailed a great deal of nonsense, and
decided that Gluck would always remain beneath mediocrity, directly
he ieli the eothurnut and dagger of tragedy. After tbo production of
Armitla, and Gluck's fresh triumph in that opera, which ia by no means
a tragedy, the eelobrated composer was requested by Baron Thoudr,
the author of the libretto JCeho und Hareitttu, to compose lbs music to
it. Gluck yirldedtotbu entreaties of the author's friends. The newa ran
all through Paris, where those "who love muaio best' prejudiced people
against the new work, by announcing it mould be a mediocre production ;
all theso reports died away, even in the eaft't, before Gluck had taken up
bis pen to write the first scene | be laughed at the predictions of sit these
small prophets, and brought out his opera. But party spirit triumphed
over toe charm, tho beauty, and the grace which reigned in the work ;
it achieved but a trifling tuoeess. I wished to console Gluck for this
sort of defeat, but he anawered, with the good humour and frankness
natural to him, that he felt in no way offended ; the judgment of
connoisseura had recompensed him (or the verdict of the ignorant
ms>K(. He added that u would require thirty years more to diffuse
a good muaic«l taste in Parts. The greater part of the public, be said,
went to the theatrea less out of a taste for art than because it was the
fashion, and from a want of occupation. This countls »s mass possessed
organs which were not sensitive enough to opprcuiato tbo charm* of
music, and, aa a general rule, their ears were covered with ass'a skin."
We see from this that Gluck was far from being deceived as
to the artistic capabilities of the great masses.
• Translated from the Berlin Echo.
M. GOUNOD'S NEW OPERA.*
(riKST PRODUCED 05 THE lOTTI FEDRUART, IS'V.l
I am not astonished that Molicre attracts musicians. Where
should wo find characters more original and more vigorously
brought out ? — scenes better laid down, better drawn, more lively
and more gay 1— dialogue more natural and frank I A lyrical
form iaall that is wanting to render Moliere's smaller pieces
admirable and incomparable libretti. It is not, it is true, an easy
task to give them this form, nor can it be done without some
injury. There is a frequent necessity for cutting out something
or other, and what can we cut out of Molicre without regretting
it? It is, also, at times necessary to add something, and this is
much worse. Add to Molidre! Alas! a man must love music
very passionately to undertake such a task.
Is it M. Gounod, on the present occasion, who has taken this
on himself, aud been his own cook. Or has he found some willing
scullion to do it for him f M. Gounod was named alone, at the
conclusion, when the pit demanded, with loud cries and great
applause, the name of the author. But, after all, this is not a
question of much importance. I should not be surprised, bow-
ever, if the score of Le Mfdecin malyri lui dates from a long
time back, and was written, quietly, in the ten or fifteen years
of silence and fruitless solicitations which the constitution of
art among us imposes on most composers.
However this may be, the score in question has obtained i
' and a very legitimate success. Tho
• Translated from La
H OazHU MuticMe.
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Jan. 23, 1858.]
THE MUSICAL WORLD.
oucn qualities arc rare ana vaiuaoio. xocy comprise eic
tion and seriousness of thought : precision of form ; correctn
firmness, nod moderation in style ; harmonic elegance and n<
neaa of instrumentation. M. Gounod is an exceedingly aki
largely displayed in it those qualities which established hit re-
putation some years ago ; qualities first noticed in SapAo f
met with again in La Xomu SangianU — a serious work, in
which the musician was the victim of the poet — and which,
lastly, could be properly appreciated and were warmly ap-
plauded in M. Gounod's two symphonies, with which the Soeiiti
Jea Jennet Artittt* has already made the public acquainted.
Such qualities arc rare and valuable. Tbey comprise elcva-
i of form ; correctness,
1 neat-
ilful
symphonist. This is a fact which bos not been denied by any
one for a long time, and it will be even much more clearly
estoblished when every one shall have heard Lr. Mtdecin
malgrt lui.
Do not let my readers mistake the sense of this praise ; it is
not restrictive. Nearly all the pieces in the new opera, the duet
between Sganarelle and Martine, for instance, which concludes
with a volley of blows; Sganarelle'e trio with Lucas and
Volere : the sestet ol the consultation : ' Eh bien, charmanto
demoiselle," and, especially, the quintet of the third act, prove
their author to possess considerable knowledge of the stage.
All I wish to convey is that M. Gounod seems to be accustomed
to think of the instruments before thinking of the voices ; that
the former are his especial favourites, and that, in a word, he
frequently puts (As statu* in M<
^esfrci, as G retry
of
Mozart. Gretry's joke detracted nothing from Mozart, and the
observation which I hare ventured to make will detract nothing
from M. Gounod. Every one is what he is, and must obey his
" La future fertile eu csprits excellent*
Ssit en Ire les auleara partager Irs talents."
An author should follow his impulses, make the best of the
gifts he has received from Nature, and not exhaust himself in
useless efforts to acquire what she has not given htm.
M. Gounod is more a German than an Italian, and fidelio
attracts him more than does Tl Sfatrimonio Secreto. What
matters ! There are several pinnacles to art, and glory shines
round all of them.
We find, however, a few pieces where M Gounod has
placed the voice in the foreground, and where the orchestra,
without ceasing to interest us, occupies only the second position.
Tho most striking of these pieces U Sganarelle's air, the first
verses of which are contributed by Molidre •
" Qn'il* soot doux,
Qu'us font cioux,
To* petit* glouglous," etc.
Not one of the " ouoroatopisms" indicated, and, to a certain
extent, commanded by the poet, is wanting in tho accompani-
ment. The clarionets, the horns, the flutes, the ba&sons, and
the violins themselves give us, iu turn, the •/,<•■■ -j'ou, with an
apparently inexhaustible variety of intonations and effects. But
toe vocal portion never ceases to conduct and dominate this
bacchanalian symphony; it is simple, expressive, elegant, and
delicate, and 11. Meillet brings out all the composer's intentions
with a talent for detail, which is becoming more
every day.
Madlle. <
. G6rard, who wears the cap of tho village girl, and the
j>ron, has been favoured with one of the pieces where
I part occupies tho foreground. It consists of couplets,
the motive for whtch is taken from Jacqueline 'a harangue to
Geronte : " J'ai toujour* out dire qu'eu mariage comme ailleurs
contentement passe richesse." Tho musical inotivo is full of
frankness, fulness, and even gaiety, combined with that heavy
character which one of Moliere's peasant women should never
lose. Madlle. Gerard has Beized the spirit of these couplets,
which she renders marvellously. Amidst the general success of
the work, these two airs, so well conceived, and so well exe-
cuted, obtained an especial meed of flattering applause.
The first air of Leandre, which ho sings with a mandoline in
his hand, did not strike me as being so well appreciated. The
violins in the orchestra play the part of the silent mand
This air, full of grace and tenderness, lis written in Lalli's
best style, and the accompaniment marked with much more
elegance than Lnlli could ever have imparted to it. It is very
delicate and very diningnt, and M. Fromcnt's voice lends it s
great charm.
The little pastoral, also, sung l>y the same person, disguised
as a shepherd, in the finale to the second act, struck me as
very agreeable, and the rural sonorousness of the oboes accord*
admirably with the tenor voice of the artist.— Martine 's couplet :
" Toute femmo s <ost lit patte,
De quoi sc veoger d'ua nuri,"
did not, on the other hand, appear to possess any very remark-
able feature, any more than the chorus of wood-cutters, which
terminates the first act, or Sganarelle's air, which commences
the third. The chorus of peasants coming to consult Sganarelle
is, I think, worth more. It is, at least, interrupted by a charming
phrase, sung by Sganarelle, who recommends his patients to
bury their wives very carefully, should the latter die of the
physic be has just prescribed.
In a large portion of these pieces, M. Gounod has re-produce ft
the style of music contemporaneous with Molicre, the details
of which it is so easy to study in Lulli. M. Gounod lias done
this with cleverness, moderation, an 1 discretion, and has only
taken from the seventeenth century just what he ought to
take. This agrees well with Moliere's language, which is not
ours ; adds to tho general effect of the work ; ond does not
lessen its success, on which I congratulate the author, although
1 have not tho honour of knowing him. He has, by the way,
reason to be satisfied with those of his interpreters whom 1
have already named, anil to whom 1 must add Madlle. Fnivre,
who piavs Marline's scenes remarkably well, and, likewise,
M. Girardot, who, being comic everywhere, has not much
trouble to be so in the character of Lucas.
It was the anniversary of Moliere's birth. After thu piece,
the sceno was changed ; at the back was the crowned bust of
the great comic poot. The entire company filled both sidrs of
the stage. Mod. Carvalho advanced, dressed as a Greek muse,
with a goldeu palm branch in her hand, and sang, with remark-
able firmness of intonation, brilliancy, and purity
" Salut, Mol&rc. 6 grand genie,
Ta mn»e cut sour de I'liarmonie," £c.
The chorus joined, and the audience would willingly have dona
so, too. This cantata retuluded some of the audience of the
finale to the first act of Sapho, in which Mid. Viardot displayed
snch energy. Were they right or wrong! That is a question,
which I shall not undertake to decide. LkoS "
THE PIANO AT EVANS'S.
DEDICATED TO HAYDN WIUWS, ESQ
Thin instrument, iu use so long,
\Va» built by llrosdwood very strong.
To bear the runny hesry thumps
Of tho pianist'* finger Humps.
Its ease is stout West Indian wicd
(Mahogany, bo t understood),
It's thrilling wires, so fuli of funnel.
Do wake the echoes underground.
And never once are heard to go ill.
With song, glee, chorus, or Von Joel,
The harmonica arc very fine, }
Also tho stout, pale sle, and wine, >
And in the hotel you may dine. )
The ainUing face of Paddy Green
On ev'ry fide is often «een.
lie move* aroutnd with itip so 1
With a large muff box in his hand |
Attentive waiters hover nrnr,
And Kthiofsimledietyest-hear.
In short, if musio you do love.
It* full delights you here may prove.
N.B.-A
st sn<
Digitized by Google
54
THE MUSICAL WORLD.
[Jan. 28, 1858.
HAMLET.
Thebi i* a norcl called the HyttorU of Hmmltt, printed in 1608 for
Thorn** Pavier, the stationer in Comc-hill, of which only one known
cop; exist*, and which novel or bytoric bad been originally published,
a* we *re credibly informed bj Mr. Payne Collier, " considerably before
the commencement of the seventeenth century." It it to thu novel
that Sbakspere is believed to hare been partly indebted— in other part,
to the oldtr play, generally attributed to Thomas Kyd, and which was
acted and printed before 1687. This novel, or rather hystorie, is a
considerable improvement on tbe rough chronicle of Saxe-Gramma-
tieus, and shows bow the refining hand of time ameliorate* the inci-
dents of old manners in the process of historical repetition, and that a
tale thrice told is in many respects a different thing from one told only
one*. How the tale was told in Kyd'e Htmlet, we have now no oppor-
tunity of knowing; but it moat have presented much gentler feature*
than the draught of it in the rude page* of the Danish chronicler,
this second version of tbe »t<.ry has received much softening i
softening in it*
, and much philosophical illustration in the superadded reflec-
•—in fact, had evidently been touched up for the sake of a moral
application. It it preceded with an argument, and attended with
marginal indices, all affecting tbe profound and eolemn— settiug forth
how " the deeire of rule causeth men to become traytors and inurthe-
rers," with "the miserable condition of such as rule over others," and
how "Romulus, for small or no cause, killed his brother:" adding
thereto, the opinion of Cicero, the ambitious and seditions orator of
Borne, who, in hi* Paradoxes, "supposed the degree* and steps to
heaven, and tbe ways to venue, to consist in the treasons, ravishment*,
and maasacres committed by bim that first layd the foundations of that
eitty." All this is but the prelude to other classical statement*, con-
cerning Tarquin the Elder, Serviu* Tullius, Absolnn, and David, and
the Sultans Zelin and Solitnan ; concluding with pertinent remark* ou
"the slowness of God's judgment*," ventured on the authority of
Plutarch, and which may be accepted a* an apology for Hamlet's own
tardy manner of taking revenge for his father's murder.
I will now mark a few of the difference* between the statements of
i and those of Belleforeet, from whose Hitloritt Tra-
the aforesaid novel or hystorie is Uken- premising that the
I of BeUeforest began to be published in 1564, and included tbe
atory of Amletb, under the following title: " Aree quelle ruse Amlelh,
qui depuis fut Roy de Dnnnemarch, vengea la mort de son pere
Horvvendile, oceis par Frngon, son frere, et autre occurrence de eon
histoire."
The assumption of madness on the part of young Hamlet is dignified
by tbe novelist with classic references. Accordingly we are instructed,
that though the apparently demented nephew of the usurper •' had beene
at tbe schooleof the Roman* Prince, who, because hee counterfeited him-
aelfe to bee a fool*, was called Brutus, yet hee imitated his fashions and
his wisdome." He made, indeed, " sport to tbe page* ami ruffling cour-
tiers that attended in the court of hi* nncle and father-in-law f never-
theless, " the young prince noted them well enough, mindiug one day to
bee revenged in such manner, that the memorie thereof should* remain*
perpetually to the aorld." For the justification of Brutus'* conduct
we ore then referred, marginally, to Titus Livius and Halicarnassua,
whom we are directed to read. Whereupon, to this instance, the author
adds tbe example of King David, " that counterfeited the tnadde msn
among the pctie kings of Palestine*, to preserve his life from the subtill
praeiioesof those king*." I note these particulars, because in them are
suggestions to the poet, whether Kyd or Shakapere, for the dramatic
elevation of the subject. Sbakspere derived from such his notion of
the famoo* scene bei ween him and Ophelia (act three, eccne one). Those
who wrre of " q'licke spirits," and had begun to suspect that under
Hamlet's seeming "folly there lay hidden a grrate and rare sublilty,"
lost no time in counseling " the king to try and know, if it were possible,
bow to discover tbe intent and meaning of the young prince i and they
count find no better nor more fit invention to entrap him, than to set
some fair* and beawtilull woman in a secret place, that with Battering
speeches and all the craftiest means ahe eould use, should purposely
•eek to allure his mind." But Hamlet bad a friend, who, by timely
warning, saved him from the snare. " He gave Hamlet intelligence in
what danger he was like to fall, if by any meane* he seemed to obaye.
Or once like the wtnton toye* and vicious provocations of the gentle-
woman sent thither by his uncle. Which much ahasbod tbe prince, as
then wiiii y tiering in offection to the lady, but by her heo was likewise
informed of the treason, a* being one that from her infancv loved and
favoured him, and would hare been exceedingly sorrow full for hi* mis
fortune, whome she* loved more than hcrselfe." In all tb
that I do not quota), we have the two episodes of Horatio
The sots* of tbi*
orrowiuu lor his mis-
In all this (and more
f Horatio and Ophelia
lent is a solitary plaoe
within the woods, the one evidently in whioh ;
the absurd equestrian adventure related by bim, but for which Hells-
fore*t, like a true Frenchman, appear* to hare substituted an amorous
temptation. That of Hamlet's interview with hie mother immediately
follows i but there is, in bis account, no Hamlet " dancing upon the
straw, dapping hia hand*, and crowing like a cock t" but the unfortunate
counsellor of the king hide* himself behind tbe veritable arras of tbe
P»V-
Yet the imitations of chanticleer are not altogether omitted ; they
are cunningly modified. Hamlet, "craftie and politique," according to
Bcllefor. ft, when " within the chamber, doubting some treason, and
fearing if he should speake severely and wisely to his mother, I
his secret practice*, he should be understood, a id by that l
crpted, used his ordinary manner of dissimulation, and began to come
like a cockr, beating with his amies (in such manner as eockes use to
strike with their wings) upon the hanging of the chamber ; whereby,
feeling something stirring under them, he cried 'A rat, a rat!'" Ac.
Tbe speech thereafter marie by Hamlet to his mother is, In the norel
and improved version, quite a finished oration, extending to several
pages, and, with some coarseness, containing not a few poetic sugges-
tions. The following paragraph is good ; and reminds ua of a passage
in Milton, as well as of the comparison between the two brothers in
Hhskipere's tragedy.
" It is licentiousness only that hath made you deface out of your
mind* the memory of the valor and vertue* of the good king, your hut-
band and my father: it was an unbridled desire that guided the daughter
of Roderick to embrace the tyrant Pengon, and not to remember Hor-
vendile (unworthy of so strange intertainment), neither that he killed
his brother tmiteroualy, and that shee, being his father's wife, betrayed
him, although he so welt favoured and loved her, that for her sake lie
utterly bereaved Norway of her riches and valiant eoulriicrs to augment
the treasure* of Roderick, and make Ocruthe wife to the hardyest prince
of Europe j it is not lite psrl of a woman, much lease of a prineesse.in
whome all modesty, eurtesse, compassion, and love, ought to abound,
thus to leave her drare child to fortune in the bloody and murtberout
hand* of a villain and traytor. Bruite beasts do not so, for lyons, tygers,
ounces, and Iropard* fight for the safety and defence of their whelpea ;
and birds that nave beake*, claws, and wings, resist such a* would ravish
them of their young ones j but you, to the contrary, expose and deliver
mro to death, whereaa ye should defend me. Is not this a* much as if
you should betray me, when you, knowing the perverseness of the tyrant
and his intents, ful of deadly counsell as touching the race and image of
his brother, have not once'tought, nor deaired to ttnde the meanes, to
aave your child (and only »on), by sending him into Swetbland, Norway,
or England, rather than to leave him a* a pray to youre infamous
adulterer ? Bee not oflrnded, I praye you, madtme, if transported with
dolour and grief, I speake so boldly unto you, and that I respect you
lcuc than duetie rcquireth! for you, having forgotten ince, and wholy
rejected the memoryo of the deceased king, my father, must not be
abashed if I also surpnssc I tie hounds and limits of due consideration."
The queen's reply to all this is not without a certain dignity. 8he
assures her ton that she had not once " consented to the
murther of her husband and Shaksper* credits her with tb
anew io the second draught of hi* tragedy. Further, abe
with Hand*! in his purpose of revenge.
The ttory of Hamlet's voyage to KngUnd j hie behaviour there, and
hia return, with the other matters to the end of hi* atory, is much the
same in both accounts i that, I mean, of Saxo-Qrammaticus, and BeUe-
forest. But one thing must be especially noted. The melancholy of
Hamlet is in the novel historic treated of by name, and the philosophical
cause of it assigned— namely, his inclination for the supernatural.
" For that in those dayes, the north pa-ts of the worlde, living as then
under Ssthan's laws, were full of inchanlers, so that there wa* not any
young gentleman whatsoercr that knew not something therein sufficient
to serve hia tunic, if need required : as yet in those day* in Gothland
and Biarmy, there are many that knew not what the Christian religion
pennitteth, aa by reading the histories of Norway and Gothland, yon
tnair easilie perceive j and so, Hamlet, while his father lived, had bin
instructed in that devilish art, whereby the wicked ipirite abnseth man.
kind, and adviseth him (as he can) of things past," Her* is, aa
the suggestion of the ghost, and of the hero's euspicion, that
"Tbe aerll bath power
To amnios a pirating iharw ; ysa, sod, i
Out of mj weaknrw^ and icy m "
AS hi- is Tcrv ,£l. ut with su,
!UthepMsagetbUeieit
by reason of Uf
Digitized by Googl S
Jan. 23, 1858.]
THE MUSICAL WORLD.
55
itemed those impression*, devining that, which never anything but
aimself bad before declared, like the philosophers, who, discoursing of
direr* deep points of philosophy, attribute the force of those damnations
to sack ae are eaturnUta by complootion, who oftentimes speak* of
things which, their fur/ ceasing, tbey then already can hardly under-
stand who are the pronouuoers," Ac. Here we liave tike melanoholy
and philosophical prince and supernaturalist depicted to the life ; and,
furthermore, in passages which we hare no room to cite, the subject
enlarged upon and enforced by extended reasonings, and historical
example* in reference to magical operations. Here, too, is drawn oat
at fall, what Shaksper* only hints at in the matter of Ophelia ; that is,
the want of self-control in Hamlet with regard to women. ■ This
fsnlt," adds the novel-historian, " was in the great Hercules, Sampson,
and the wiseth man that ever lired upon the earth, following this trains,
therein impaired his wit -, and the most noble, wise, valiant, and dis-
creet personage* of oar time, following the same coarse, have left us
many notable examples of their worthy and notable verities." In a
word the tragedy of Hamlet is written in the very spirit of I Ke Hystorie i
the events being restricted within dramatic limits, and the action sub-
limated by the working of the poetic genius dealing with prosaic and
merely didactic materials, extracting their essence, and re embodying
it in a new and artietio form, of which beauty was the principal and
a neceasary feature.
It may thus appear that it was not at a leap that the auth.-ir of the
tragedy of Hamlet effected his transit from the chronicle of Saxo-
Orammaticus, but that there were intet mediate stages, I y which rude
history became purified into philosophy, and was prepared fo;- the high
poetic purpose for which it was Busily destined. We thus see the
spirit of Shakspere, and peruana of his predeoeesor Kjd, working not
alone, but in communion with the spirit of the epoch in which they
lired t while that spirit itself acknowledged its relationship with the
past, and I he various changes to whioh it bad been liable in ita progress
towards the state of perfection in which our poets found it. And this
consideration serves to explain the immortality of those worka which
were the results of such influence*, not by arbitrary creation of the
poet, but as the growths of time, and the products of nature in the
appointed order of her manifestations.
Fran k fort-on-tih- Mai nr. — (/Vows a Correspondent.) — The
fifth Museum Concert, on the 8th January, waa crowded. The
patronage bestowed by amateurs on these concerts ia deserved,
for not only are performed old and new first-class works, sym-
phonies, overture*, grand vocal pieces, with orchestral accom-
paniments, littler, Ac., but rirtvoti who visit our town on their
artistic tours are introduced, and rising talent brought forward,
so that the institution deserves protection. The conductor,
Hcrr Franz Messer, directs the performances with ability. On
the above-mentioned evening we heard— besides a symphony of
Mendelssohn, an overture by Robert Schumann, and a new (to
us) scena aud aria ol C. M. von Weber, introduced in the opera
Lodoitta — a triple concertool Beethoven, played b\ Heir Heakel,
(piauoforte), Heinrich Wolf (violin), and George Hausmann,
from London (violoncello). This gave unqualified satisfaction.
Hcrr O. Hausmann, our compatriot, sustains his reputation by
means of solid acquirement and thorough knowledge of the
instrument he professes. The Staduarins violoncello of
Herr Ilauamann excited the greatest admiration. Besides) the
trio he played in a Swiss fantasia with the greatest success.
Herr Hausmann gives a concert next week previous to his
departure for Vienna. — IHdastalia.
Musical Aorncy. — We beg to call the attention of our
readers to our advertisement columns, by which it will be seen
that Messrs. Mapleson aud Co. have established a musical
agency, for the transaction of engagements between managers,
artists, &c. The Messrs. Maplosou's experience in the above
affairs has been the work of upwards of half a century. The
managers, secretaries, promoters, and committees of our musical
festivals, philharmonic societies, &c, may now be relieved of one
of their greatest anxieties, viz. : the immense disappointment
and inconvenience experienced when, upon the eve of any of
their public performances, they may be informed that through
indisposition or any unforeseen cause an artist will not be able
to fulfil his engagement. A simple telegraphic message to the
above agency would immediately remedy the disappointment,
fktch an agency was a great desideratum. Messrs. Mapleson
appear to be admirably fitted to carry it out.
MUSIC AT MANCHESTER.
(From a Correspondent .)
Aptxr presenting The Messiah (some time since), under the
direction of Professor Sterndale Bennett, In a highly satisfac-
tory manner, the Committee of the Lancashire Festival Concerts
gave a second entertainment (of a miscellaneous character, but
of equal attractions), in Free Trade Hall. No sucoess could b«
greater, or better deserved ; and nothing less than the very
interesting performances that were listened to with delight by a
numerous audience, on this occasion, could have atoned for so
grievous a disappointment as the absence of Mr. 81ms Reeves,
who, though he had beet) announced, was prevented by severe
indisposition from appearing.
The concert began with an excellent performance of Mozart's
Symphony in E flat — one of the three masterpieces in that style
produced* by the great musician in 1788, the year after Don
Giovanni. No one understands this music better than Professor
Bennett, who was nurtured in it. A duet from Lucia di
Lammermoor was then very well sung by Mad. Lemmens-
Sherrington and Mr. Weiss ; and this was succeeded by Mr.
Weiss's own song, "The Wreck of the Hesperus," given by him-
self with characteristic expression. Some variations on " Sul
margiue d'un rio," introduced by Mad. Lenimens-3hcrriugton,
were astonishing as displays of vocal facility; and a ballad of
Mr. Hatton'a, intrusted to Miaa Helen Walker (of the Liverpool
cheap, concerts), pleased by the unaffected manner in which it
The pianoforte concerto, No. 1, of Mendelssohn— performed
with marvellous vigour and fluency, accompanied with the most
refined and exquisite taste, by Miss Arabella Qoddard, the
undisputed queen of contemporary pianists — was the richest
treat of the evening, at least to all the lovers of genuine art who
enjoyed the advantage of being present. It was gratifying,
moreover, to find such fine pure music, and such masterly
playing, devoid of all pretence and affectation, thoroughly appre-
ciated at Free Trade Hall — where concertos and symphonies
are of rare occurrence. The applause at the end waa enthu-
siastic; and Miss Arabella Qoddard may now be Raid to have
won and received the freedom of Manchester city.
The second part opened with a spirited performance of the
overture to Zattberffote, into the manifold beauties of which
Professor Bennett entered with congenial spirit. Mr. Weiss
then gave, with his accustomed fire and energy, the racy and
irresistible air, " I'm a roamer," from Mendelssohn's comic
opera, Htimkthr (the only one which his reluctant survivors
have granted to the world) ; and this was followed by another
splendid exhibition of pianoforte placing, from the fairy fingers
of Miss Arabella Goddurd, who haviug asserted her supremacy
in the classical style, now proved with equal success her entire
mastery of its opposite. The piece she selected — Thalberg's
Mamadto — is crowded with difficulties ; but these were van-
quished with consummate ease. The whole performance electri-
fied the audience, who recalled the youug pianist nund shouts of
applause, and insisted unanimously upon another display. Miss
Uodd.ml complied ; and the touching grace, combined with
brilliancy aud neatness, with which she pt- rformed some varia-
tions on " Home, sweet home" (attributable, if I am not mis-
taken, to Mr Viucent Wallace), eucliatited every one, and led
to another flattering " ovation."
An Irish ballad, by Mad. Sherrington ; Mr. Balfe's •• Merrv
Zingara," by Mia* Walker ; the spleudid war march of the
Levites, from Mendelssohn's Athaliah, brought to an end a
concert that reflected credit on every one engaged, and on no
one more than the accomplished musician who directed the
performances.
HKJfLKT-ox-TirAMiM — {From a Correspondent) — The same
programme, which conferred such satisfaction when the Braham-
Fumagalti party appeared at Maidenhead, was equally successful
at the Town Hall, in this quiet place. There was a numerous
audience, iucludiug many fashionables. "Encores" were in great
request, which unnecessarily lengthened the entertainment The
heroine and hero of the evening were Signora Fumagalli and
Mr. Charles Braham. The lady pleasing every one, not only by
Digitized by Google
56
THE MUSICAL WORLD.
[Jan. 23, 1858.
her brilliant Italian vocalising, but ber agreeable tinning in
Engliah ; the Utter creating the uaual furor* with his father's
patriotic songs. The little party has created quite a sensation
in tliis neighbourhood.
Marlow— (From a CorretpondentY — This pretty old town
(once the residence of the poet Shelley — who derived his im-
pressions for ths scenery of Alatior from the Thames and
Borham Wood) was thrown into musical excitement by a concert
of a very attractive nature, given under the auspices of Mr.
Charles Brnhani, the other vocalists being Siguora Furaagalli
and Di Oiorgi ; conductor, S<g. Vianesi. The Town Halt was
filled by a highly select company ; there were a great many
encores (especially to Siguora Fumagalli and Mr. Brabam), and
the whole enlertaiument went off with the utmost possible tdat.
Amateur Musical Society, Brixton — (From a Corre-
spondent).—Yh\» Society gave their first concert ot the season
on Wednesday last, in the ball of the new Institution at
Brixton, the "oflice of conductor being taken by Mr. Boose.
The programme opened with Haydn's Symphony (Letter Q,)
which was given with precision and effect. The samo praise,
may be awarded to the execution of Mayer's overture to Ade-
laide, and of that of Auber's Masaniello, especially the Utter.
The instrumental gems, however, were a concertante duet ar-
ranged for pianofoite and clarionet, from Harold's opera of Le
Prt aux Cterc*, and a cornet-A-piatcm solo, " Vivi tu," from
Anna Bolena, by an amateur. The first piece was perlormed by
the eminent clarionet player, M. Lazarus, aud his young and
promising daughter, both charming the audience by their bril-
liant execution. The vocal department was not so strong as
the instrumental, but reflected much credit on so yoang a
society. The tctna " Softly sighs," from Der Freitehuti, may be
mentioned as the most satisfactory achievement. There were
several attempts to obtain encores in the course of the evening,
notwithstanding the rule of the society forbidding them.
THIATRE ROYAL, H AYM ARRET. —Under
the mniuftgemei.t nf Mr. Backatonr. On Mntidar ;t] il T\le d ty, Janu <ry 2jlli
mi t«tn (Iwt tw.i i.laUUX Mr BUCKSTOXE Kill appear m thu coined, of
SPEf-D TMR PLOCOB. W.d .oUy, .tit Th>tiwUr. January vTth and 2»Ih
lu Mm comedy • f A CUBE FOR THE HEART ACHK To nminiM erery
eeenlojr nt 7 o'dncK. After irh. a ti< w yntu 1 rrnuSc Clmetmaie Palit"-
mime. ■ ntaled THE BLXSPIXO BEAUiY IN THE «.» t>. OR, HARLEQUIN
AND THE sriTEFUL ► AIRY. T e -r ittrj- b Mr W Ilium 1 nhcntt Harleqiuu.
Mr. Am ur Lavle'r , , to btr>e. Mia« F nor Wright : PauUlonn, Mr Muckay ;
Clown, Mr. Ch.rlca Lec'orcq ; T.'ie I'Hno on her ti--.»ele. M« Louise L* c*erc*l
Frtda.. J.nuary 24 the first .lUVEMi-E MOST, when ttio I'ento . Ime will I*
Mwedid by FISH OCT Of WA'I Ell S-itu <\ , Jan ary SOlh, a Co-iedy md
t)ie Panton-iaie MuRMSO FLItrOttMANCEs 011 Muevt y an 1 Ibureday.
Januiry 21tl. and fith. :o trn mir.ee .t 2, . i.d co .c uic at quarter jii^t 4
NEW ARRANGEMKNT OF PRICES.-O.ch tirs stall* (which ninr be n<-
totntd tb. w ole of thv •renin*, 111 tor which ti ere will be no c »nre or Lookl>i«X
6». atjSk. Fin-i Pmcr-Drc-i Uoxea. ' v ; Cpr
8x»;.D Price Dreu B x.\ "
Pri» >te Bnxn, Tw 1
Mr. C.lpn odaii!.
(, > lli lorwnicu ti ere win oe not- wire or twaniiU
1 Lloxee. la. ; C|i»« r B Xe«, .;». ; Pit. J- ; G.llery U.
, 3. : l')rr B-xt- P,t. la ; Ga'ery. «d-
and On..- Gune* and a ha f tacit. Stag. Manager.
CT. J A MES"S THEATRE - PROFESSOR WILJALBA
»rJ FHIKEl — Wedutuday at. I V'l r ! .y .\fntr.o ■ -.« nt 3. «a 1 every •trei.ltijr
>(■'*. B'ttlU i* i UnkiHiy SieJl". 4». : Bvxt*. 3a. : Pit. Osltery, le. Priests
Buxe*. T» o Gui"<*A*. One Guinea .tud-n-l a. f. Sfsl One Gu uea, P-acea to be aecuied
at Mr. MiUScJ'e Boyo: Lir-rery. S3. Old Boud »:re<.t
GKKAT NATIONAL STANDARD THEATRE,
911 pHKDITCII.— IV i>i-»lor. Mr. JnHX Dnoeut •
NOTICF, >n lo our .i< t <• m rri «<• nl tl.e P Iuc-.h R ya1. mi Monia • noil,
Janiiar . Mi to erg 1 Th r P»r( T • of the Oi* A Olni.' l aut -mi e
s< tl.e nVov in air,, M' RMNO PFKF<'KHAK' P al l«ir<n er 11: »PTI:R.
NOt'N PkAFOBMANCh at a quarter | tut 3; EVENIXi. PKI1F0RM \NUE ,t
» .(.-artel m T. I'eori ■ |«n Laif an hour >jcf t* lb- ah,*c Gniea. P SS> aa tiauai.
In- poutomiMre wr will U ).„ uu ti.e lt„ ll.luit at-.l aft
lu the t\e i.iug tin p ntuui um xu l a rxnuiittc drumi
ROYAL PRINCESS'S THEATRE.
UNL'ER THE MANAGEMENT OF MR. CHARLES KEAN.
rP HEATB E ROYAL. ADELPHI — Thia evening,
I J niiar S3rd. llio m * dnnn r,f THE POOR STROM.ER9. lu w l°>
Mveeie. B W. b-ier. Wtight, Pa I Bo fori, .nd Madtrno Cele te »i.-.^ir.
Af er w Kh tho Hurlc an. au Pat.u.nilme i.f HAMLEtH'IN AND THE LOVES
OF CUPID AND PftYCHE. flarleq lu. MIm M ric Wl ton ; Coiomhi ... Miae
Vary Keely: P111t.blr.ollo, Mr Le Barr ; Cloeni, Mr. Ue.jeiaon; Pantawn,
Mr. B.ixlii(jli..m.
0
N MONDAY, WEDNESDAY, and FRIDAY,
A__MID8UMMER_ NtOH'Ta DREAM. TUESDAY sud^THUBsDAY.
HAMLET. 8A1URDAY. THE CORblCAS
ee.ry
i »lti. THE WAIT).
no M^Jjy^t-uS
130YAL OLYMPIC THEATRE. — This evening, the
IV ,*rtbnniu»oe will comment with THE TRAOEDY gUEEN. After »hfch
t ie new e»tr.»a.:.nea of THE DOOE OF DURALTO. Tg coueltade with
BOUTS AT THE SWAN Commence at iisif-pu. T
THK MUSICAL WOULD.
LONDON, SATURDAY, Jakuary SSbp, 1858.
The absence of Mr. Charlea Kean from tho dramatic fes-
tivities in honour of the nuptials of the Princess Royal has
been commented upon far and wide ; but uot a word has
been said about the absence of Mr. Sims Rwvea, our greatest
English singer, from the performance of English opera, to
which one night in the programme was devoted. Now here
is a case that stands exclusively upon its own merits.
Mr. Reeves never directed any representations of English
opera at Windsor Castle, at which palatial residence — be it
said, with deference— foreign musical talent is almost exclu-
sively patronised. He was, therefore, in uo position to
charge the Court with ingratitude on account of services
overlooked. He had incurred no obloquy on behalf of the
Court, through the forced exerci.+e of a strict and rigid
thrift. The unwelcome task of selecting, from among
his fellow artists, those presumed worthier than the rest —
on the ground of morality aud manners, no leas than
on that of professional ability — to exhibit their talents
within those hallowed precincts, wan never hU to perfonu.
No Rogers could point a finger at him, or acquire immor-
tality at his expense by bequeathing the Royal emolument
to the poor-box. Mr. Keeves can prefer no such claims to
consideration With respect to him. then, at least, the
Court has nothing on its conscience.
But that Mr. Reeves was slighted somewhere is evident.
If it be granted that the object of Her Majesty in these
festivities was to entertain her illustrious visitors with the
best that London could produce in the way of dramatic and
operatic amusements, there is no accounting for the fact of
Mr. Reeves not being invited to appear on Thursday night.
Any question of term* would have been out of the question
at snch a time. Our great tenor is too loyal a subject to
haggle about money matters, where the gratification of the
highest jiersonageR of the realm, together with a large circle
of their relatives nnd friends, was at issue. At such a crisis
he would have sung gratuitously, rather than disappoint
such illustrious pleasure-seekers; aud thus, if it was indis-
pensable that the profit* of the enterprise should not be
lessened1 by the extravagant demands of singers and players,
that important desideratum would not have becu imperilled
j by Mr. Reeves.
Every one who reads the Musical World knows our opinion
1 of Mr. Bdlte's Host of Caslill*, and of its admirably effective
performance, under tho suj>erintendance of Mr. Alfred
Mellon We shall not, therefore, be accused of any want of
consideration for the talent and liberality expended on tho
production of that opera at the Lyceum theatre Nor is tho
high regard we have always expressed for the remarkable
accomplishments of Miss Louisa Pyiie at all compromised
Digitized by Google
THE MUSICAL WORLD. 57
Jan. 23, 1858.]
in the protest we are making. Mr. Sims Reeves is
universally acknowledged to be the legitimate represen-
tative of English song at this actual period— the Braham,
in short, of his day. To pass him over, on such an
occasion, was, consequently, to ignore his position as
an artist, and to reflect an unmerited slight upon
himself as an individual. To say the very least, the
manager of the State performances should have applied
to Mr. Beeves at the outset. The names of Mr. Balfc, the
most popular English composer, and Miss Louisa Pyne, the
best English stage songstress, were no doubt indispensable ;
but Mr. Balfe's Rose of Castillo was sorely not indispensable.
In the Bohemian Girl Mias Pyne and Mr. Sims Beeves
could have appeared together ; and then the distinguished
foreigners who were Her Majesty's guests, might have been
convinced that England possessed, at any rate, two singers
not to be matched in Germany or Belgium.
Mr. Sims Beeves may indulge in the consolation that,
even had he been invited, he must have respectfully
declined the invitation. Nevertheless, had the courtesy
been extended to him which is his due, the admission of
his just claim to preference as the first of English singers
might have cheered bim in his illness, and have helped in
some measure to accelerate his convalescence — thus restoring
him so much the earlier to the public, which entertains too
high a sense of his deserts to wituens anv intentional dis-
regard of them with indifference.
Truth is, indeed, stranger than fiction — stranger with a
vengeance. We challenge our readers to conjure up before
their mental vision some formidable image — symbol —
hieroglyph of dulness, that shall exceed the specimen of
actual dulncss, with which we have been afflicted this week.
They may, if they will, fancy themselves travelling through
a tunnel an hundred miles long, in a carriage unprovided
with a lamp ; they may conceive themselves reading a thick
twelve- monthly volume of the Saturday Review ; they may
attend, in imagination, the funeral of a person they do not
know by name ; they may cajole themselves into the belief
that, on a foggy night, they are rolling to the Marylebono
theatre in an empty Atlas omnibus ; they may dream that
they are witnessing Mr. * * * * "s spick-and-span new comic
entertainment on a wet night, in an atmosphere hazed
with the steam from seven gingham umbrella* ; they
may saunter, auspice Beckford, through the halls of KM;.,
with hands clapped upon their aching hearts; they may
roam, Shelley -conducted, through the desert of Ozymandiaa.
Bat let them spur their imagination, ransack their memory,
read, dream, invent, as they list ; we defy them to produce
a visionary dnlness, that shall equal the actual dulness of
Macbeth as performed last Tuesday on the stage of Her
Majesty's Theatre, before the Queen, and the host of Boyal
and ducal guests, who honour our land on the occasion of the
marriage of the Princess Boyal. How, in the presence of
that vast dreariness, must the august party have sighed for
the mythical period, recorded in nursery rhymes, when a pie,
that when opened, disclosed two doten singing blackbirds
was deemed a " pretty dish" for the entertainment of royalty.
The pie was a lively— melodious pie-a sort of "Musical
World" in pastry — but the tragedy— oh, the tragedy of
Tuesday last !
We don't blame anybody ; our powers of discernment are
deadened, when wo wish to trace the immense dulness
of Tuesday's tragedy to some definite cause, or to ascribe it
to some particular individual. Nay, we do not believe
that any individual shoulders are strong enough to bear
that mighty weight of dulness, which distinguished the
evening of the 19th instant. When one site in a dark
room, one does not say that the darkness is in the corner, or
behind the chair, or under the table. One simply says, " It
is dark." So, on Tuesday, the effect could only he described
by the phrase, "It is dull"
The torture of dulness endured by the actors must have
been something amazing: even we, who arc still suffering
from the dead weight distributed among the audience, cannot
conceive the melancholy sublime. To utter speech after
speech, without any acknowledgment beyond the merest
modicum of applause given by a few scattered enthusiasts,
and those situated in the least distingue part of the house —
to observe that the faces of the spectators are turned in any
direction rather than that of the stage— to be aware, by a
sort of infallible instinct, that the l»ck of a box, whence the
stage cannot be seen at all, is rather selected than avoided
by the man who has paid a fabulous number of guineas for
the whole small tenement ; — to find the Boyal party arrive
in the midst of one's best speech ; to feel that whether one
acts well or badly, it will be all the same, as far as any
excitement is concerned — truly the state of mind produced
by circumstances such as these must be perfectly indescri-
bable. Mr. Phelps took a world of pains with Macbeth.
We regret that so much pains were bestowed on such a
thankless task. One wish— the wish that Macbeth would
come to a conclusion, pervaded the entire audience, and the
man who could gabble the quickest would have been deemed
the Boecius of the night.
The gift of prophecy is not lost ; it exists in Mr. Charles
Kean. Like a true Jeremiah, he foresaw what a dismal affair
a " festival " Macbeth would be, unless he had full power to
make of it a grand Shaksperean spectacle, and he wisely
kept out of the concern. Such a mere ordinary style of
producing a work, some three hours in length, and a serious
work into the bargain, could never make a figure on an occa-
sion of public rejoicing. Very respectable castles — very
respectable woods — very respectable armies — soldiers, well-
picked, though few— but no more suited to an audience
accustomed to the Princess's Richard II. or Winter's Tale,
than orange wine to the epicure iu rl: ret. Oh, says some-
body, we grant you that Mr. Kean puts things better on
the stage, and that in his little theatre he could make a
better show of Macbeth than was made at the big theatre
in the Haymarket. Well, Sir Somebody, and a show
was just what was wanted for Tuesday night. People
did not pay £20 for a box, in which they might think
— reflect — meditate; they wanted to look on bright and
lively things ; and if the stage presented a fine sight, as
well as the royal box, so much the better. It was a great
hardship on tragic actors, accustomed to well-merited ap-
plause, that they should merely serve as foils to a festive
entertainment. If Mr. Kean had been entrusted with full
powers, he would have got up Macbeth in grand spectacle —
or he would have left it alone altogether. As he was not so
entrusted, he did not choose to be the central figure in such
a middling picture as was exhibited on Tuesday. The
Hamlet of the day is indeed under deep obligation to his
"prophetic soul." Many who applauded him for his
" pluck " doubted the expediency of his conduct in refusing
to take part in the festival performances ; bat sorely all
Digitized by Google
58
l Macbtth on Tuesday must bo impressed with
a sense of his consummate wisdom.
At all events he gained a happy evening. While the
tragedians at Her Majesty's Theatre were tuiling, faintly
cheered, to make Macbeth palatable to an unwilling audience,
Mr. Charles Kean at the Princess's was going on with his
Hamlet as glibly as possible, greeted by enthusiastic ladies
and uproarious gentlemen as the representative of the
British stage — the martyr of courtly caprice. Then he
made his speech (printed in another column), declariug his
loyalty to the public, and the public with acclamations ac-
cepted the homage. Of u truth, in the cams of Mr. Charles
Kean, the crown of martyrdom has proved a crown of roses.
Music appears to be making enormous strides in Yankee-
land. " Reancmtp de bruit, peit de fruit," may possibly
represent, with a near approximation to truth, the actual
condition of the divine art in the Emperor City ; but that
some kind of enthusiasm attends its various manifestations
there can scarcely be a doubt. To draw any conclusions
from the criticisms of the American press would be a w*k
beyond the faculty of common men ; ami we shall therefore
uot attempt it. The American press is much in the same
state as the press of France (Paris), Austria (Vienna), Prussia
(Berlin), and Italy (length and breadth), with respect to
art. It is either eccentric quand tnfme, or the mouthpiece
of cliques. The former applies to the great morning and
weekly journals that can boast of thousands of readers ; the
latter to the "class " papers that are scarcely read at all.
Nevertheless the mere records of facts — independent of
avowed opinion* (equivalent to the professions of advocates,
engaged, pro or con, in legal disputes or criminal actious) —
may be iu some sort accepted as a tolerably genuine reflec-
tion of what is really passing, and from these we learn that
mnsic is making enormous strides in Yankce-Ixind.
Perhaps no city in the two hemispheres is so thoroughly
humbugged, with regard to the real merits and demerits
of musical artists (singers, players, and composers,) as
New York — with the solitary exception of Paris. And
this is the more singular, because the Americans n-ally
love music, and besides are as shrewd, sagacious, far-
seeing, and auspicious a imople as can lie named on the face
of the globe. It is indeed extraordinary that such
a people should be so easily led by the nose. A noble,
liberal, generous, and highly intellectual people, moreover,
able to compete in politics, morals, and philosophy, with any
of the nations of the Old World— a people, iu short, so like
ourselves, that their very jealousy springs from the fact of
their being English to such a degree that they cannot be
*u/*»r English ! And yet, wherever their "amusements" are
in question (and music- just the same as in England— is
their chief amusement), they are tutored by a self-elected
conclave of interested and superficial judges as though they
were absolutely in leading strings. The fact is inexplicable,
but it is not the less true. The progress of the American
press in all matters of commercial and political inqvortance
has 1m<pu unprecedented in the history of the world ; and yet
in such a simple (or apparently simple) matter as the philo-
sophy of social recreation, they are no better off than the
nations of mouldy Europe, which drag on a snail-like
existence under the blindest of despotisms.
Mr. Sim
M sir,
is at Brighton, still indisposed. Repose
will speedily enable him to resume his
HER MAJESTY'S THEATRE.
The first of the Four Festival Performances, in honour of the
approaching royal nuptials, was given on Tuesday evening. We
append the programme, in txtento, which will save a world of
trouble. A glance will enable our readers to understand how
both the tragedy and the farce were played : —
MACBETH.
(Preceded by Sochi's Orerture to Macbeth,)
With Locke's incidental Music.
The scenery arranged bj Mr. Charles Marshall.
Duncan (King of Scotland) Mr. T. C. Hsrris.
Malcolm 1 .„ , , _. . ( Mr. F. Bobinion.
Donslbsin / (*>»«<* the Xing) [ Hsu c. Fsrkss.
££? . . )«>en^.or,hcW.snny) ... [JfcJ?*
Macduff ■) (Mr. Howe.
Lennox [ ... (Noblemen of Scotland) ... i Mr. Seyton.
Ho.se ) (Mr. Belford
Klcance ... (8on to Baoqao) ... Miss Williams
Siward (General of tlie English foreea) Mr. MeagrNou
Heyton. ... ... Mr. C. Fcnton. Physician, Mr.:
1st Officer, ... Mr. Lee. 2nd Officer, ... Mr. Lickford.
Lad; Macbeth, ... ... ... Miss Helen Faucit.
Gentlewoman, ... ... Miss Rnwlings.
The Three Witches, Messrs. Emery, Kay, and Lewis Ball.
11' ate, ... ... ... Mr. Weiss.
Singing Witches— Mad. Weiss, MadUe. Sedlataek, Mr. Moutetu Smith,
Mr. Winn, and Mr. Bank-man.
At the end of the play the National Anthem, by Madame Weiss,
Madlle. Sedlaliek, Mr. Weiss, Mr. M. Smith. Mr. Winn, and Mr.
ltartlcman, assisted by Mr. Benedict's \Srel Association of 300
Conductor of tlte Music,
... ...
To conclude with Mr. Oxeuford's Farce of
TWICE K1LLK1).
Mr. Euclid Facile Mr. KeeUr.
Mr. Ralph Heckles Mr. Kinloeh.
Tom. ... (bis Servant) ... Mr. Clark.
Mr. Holdfast.
Ml •*■ Ml •*• Mr. Tilbury.
Mr. Fergus Fsble, ... Mr. W. Tcmpletou.
Robert, ... ... Mr. (ilindon.
Mrs. FaenV, Mrs. Leigh Murray.
Mist Julia Flighty, ... Mias Oliver.
Fanny Pepper, ... Mrs. Kealey.
It is to he lamented that the cast of Macbeth was not as strong
as it might have been. The names of the artists, two or
threo allowed for, were altogether unknown to fame. ITad
Mr. Charles Kean, for instance, appeared in the principal
character, with Mr. Phelps as Macduff, Mr. Anderson as
Baoquo, and Mr. Creswtck as Rosae, it would at least have
represented our Knglish strength in tragedy, if not have been
exactly a model representation. As it was, to speak within
bounds, with tho exception of Miss Helen Faucit and Mr. Howe,
the acting was mediocre from first to last, and must have
considerably "bored" the Koyal visitors.
Thanks to Mr. Phelps* laboured elocution, studied delivery,
and slow acting, the performance of Macbeth did not terminate
until midnight. The Royal party, who arrived at the end of
the second act of the tragedy, and remained until the end of
the farce, did not quit the theatre before one o'clock. Upon
their entrance the audience displayed the most praiseworthy
decorum in not interrupting the performance by any outbreak
of loyalty. Wheu the tragedy was over, acclamations resounded
from all parts of the house, which tier Majesty graciously
acknowledged by rising and saluting the audience. The
National Anthem was given, not with solos as wc have been
accustomed to, but in qmvrtett and chorus. The audience
received the anthem with tumultuous applause, and three
cheers were successively eivun from the gallery for the Queen,
the Princess Royal, and the Prince of Prussia.
Ill" interior of the house has been renovated and new
decorated. The warm red winter furniture has disappcare
ie golden
The uau
-amber, the livery of the season, has taken its
of the theatre is scarcely to be recog.
Digitized by Google
Jan. 23, 1858.]
THE MUSICAL WORLD.
The panels of the boxes are entirely concealed by a
\g of pink gUuced muslin, over which are suspended
hangings of white open-work embroidered lace, giving gnat
lightness and elegance to the whole. The hangings are sur-
mounted by festoons of artificial flowers, united at the junction
of the boxes) with coronals, wreaths or garlands bound with blue
and white satin riblioo. In front of the grand tier there is, in
addition, a draping of blue satin, united by flower-knots
composed of significant whito lilies and orange blossoms, which
lends an especial brilliancy to this part of the theatre. The
four candelabra which M. Jullion at his concerts used as supple-
ments to the grand chandelier, and which look like the satellites
of Jupiter, afford additional light, and more than supply the
place of departed lustres of last season. In fine, the interior
of Her Majesty 'h Theatre is more splendid than ever, and the
decorations have been so universally admired, that it is probable
Mr. Lumley will preserve them throughout the year.
The second Festival Performance took place on Thursday,
and comprised the following programme : —
THK HOSE OK CAST ILIA
Musio by M. W. Balk.
Words by Me«sr». Falconer mi 1 A. Harris.
Tins scenery arranged by Mr. Charles Marshall.
The opers produced by Mr. Edwsrd Stirl.ag.
The costume* by Mr. 8. May.
CBARACTtKii I
Don Pedro Mr. Ferilitisnd GUvvcr.
Don Ssllust Mr. A. Hi. Albyn.
LWKlorio Mr. George Honey.
Pablo ... Mr. Wallwurth.
Usher ... Mr. Edmonds.
(s Muleteer) Mr. Hsrrison,
Klvira Miss Louisa Pyne.
Mist Susan Pyne.
Miss M. Preseott.
To conclude with the Faroe of
BOOTS AT THE 8WAN.
Mr. O. Murrsy.
iiing.
Mr. H, Wigan.
Mr. O. VillMtf
Mr. Kobton
Mihh Cat I It ton.
Miss Cotterell.
Mrs. Etndcn.
Mi's Rvans.
that of Tuesday — in the
Farce in England could
1 than by a company in which
CHAKA
Mr. Henry Uiggins
Frank FrUkly
Peter Pippin
Jacob Earwig
I Yet. in Moonshine
Emily Trevor
Sslly Smith
Hetty Jenkins
This performance was far superior t
principal piece, he it understood, sine
not be more effectively reprei
Mr. and Mrs. Keeley were the principal actors, and by such an
inimitable specimen as Mr. Oxeufonrs Tttict KitltJ. The con-
trast between the two nights was remarkable. Macbeth,
Shakspere's mighty tragedy, was so inefficiently represented,
as to ennuiee the Royal party, bore the audience, anil throw a
wet blanket over the whole proceedings. The ISote of CattHit,
on the other hand, was delightfully executed, and went off with
infinite spirit. No one was wearied, ami the Queen and her
illustrious visitors appeared thoroughly to enjoy. Thore were
three encores— to Mr. Harrison, in the " Muleteer's Hong " and
the ballad " Though rank and fame have tempted thee," and
to Miss Pyne in " The Convent Cell."
The Royal party arrived at the beginning of the second act,
about nine o'clock, and took their places amid the meat respect-
ful silence, the audience maintaining the Rame decorum they did
the first night. At the conclusion of the opera, the public gave
rent to their smothered enthusiasm, and hroka forth into thun-
ders of applause. Her Majesty graciously bowed, and retired
from the box, followed by ner distinguished guests. The cur-
tain then rose, and discovered the whole operatic company on
the stage, Mr. Alfred Mellon elevated his b<ito>i. and ' the
National Anthcui was commenced in full chorus. The people
stood up, but the chief attraction was wanting, Her Majesty not
being present. The Royal lady, however, soon returned to her
place, and was welcomed with vehement applause from tho
entire an
ginning —
dionc Mr. H.
tho verse, bo-
"O Lord, our Ood arise,
Scatter her enemies,
And make them fall!"—
delivering it with so much emphasis, and making every note and
won! tell with so much point, as to excite the assembly to
E eater enthusiasm than before. At the end of tho anthem,
er Majesty, after bowing most graciously to all around her,
retired to the refreshment-room. In about twenty minutes, the
whole party returned, and remained to the end of tho faros,
which they seemed to enjoy most heartily, being apparently
delighted beyond measure at the inimitable drolleries of Mr.
Rohsou.
The whole performance was over at half-past eleven, and
everybody left the theatre delighted and amused at the e
ing's entertainment.
To-night, La Sonnambula, with ]
and Sig. Qiuglini as Elvino.
8T. MARTIN'S HALL.
Mr. Hullah resumed his orchestral concerts, on Tuesday
evening, with distinguished and well-merited success. These
entertainments might appropriately be denominated "Winter
Philharmonics," their exclusively classical character and the
scrupulous pains that accompany their preparation taken into
account. The series is to consist of six ; and if at each perform-
ance Mr. Hullah can manage to bring forward the same amount
of interesting novelty (iu the form of works by great masters,
so rarely presented as to possess all the charm of that desirable
element of attraction) he will render essential service to the
cause of true art, and entitle himself to tho gratitude of the
musical public — more especially that section of it which
{vatronizes the "shilling area," and which, it is only fair to add,
las been already in a great measure indoctrinated by the
example of M. Jullien. The programme of Tuesday night's
concert well deserves being cited, since if. was not only
judiciously varied, but composed of masterpieces without
exception : —
T4ST L
Of crture— " Ruy Bls»" Mendelssohn.
Alia—" A te, fra tanli affsnni," Mr. Thorpe Peed ... HoSBft,
Preludes aud Fugues— Pisnoforle, Miss Arabella
Ooddard ... ... ... ... ... ... J. S. Bach.
Aris — " Vieni, torus," Miss Metscnt ... ... ... Handrl.
Symphony in F (No. S) ... Beethoven.
VAST II.
Rondo Brillant on a Russian air — Pianoforte, Mitt
Arabella Qoddard Hummel.
Aria — *' Agitato da nnnriis funesta," Mr. Santlcy ... Pser.
Overture snd Finsle (1st Act), " Obtl fan tutte** ... Mosart.
Bach, Handel, Mozart, Beethoven, and Mendelssohn — five of
the giants of music — were thns worthily represented ; and
nothing was wanted to coinplote the illusion but one of the
sacred or secular songB of Haydn, which (as Mozart's name ap-
peared twice) might have taken the place of the air from Dmwmk
$ £¥\ lt&Tlt£ tlQ &H tlirkt 1 3 Tl 1 1 1 HI \ 1 1 i f \ 1 \ s&f l\nd - 1 Ii'l.ll' 1 1 . 1 1 i F [~ 1 1 j ' i i ^
ito-art. The advantage of such a change would have been two-
fold, sine<>, besides adding another illustrious name to the pro-
gramme, it might have Rpared a young and inexperienced singer
from adventuring on a task considerably beyond his powers.
The names of Hummel and Paer, satellites moving in
very different orbits, enhanced the value of tho selec-
tion ; for, although they cannot be numbered with the
lumiuaries that shed tho greatest glory on art, they arc among
those who have, more or less nearly approached them. Paer
(a favourite of Napoleon I., nnd predecessor of Chernbini as
director of the Paris Conservatoire), though not a man of Renins,
nor even a great musician, was one of the most prolific and
skilful of Italian composers, ami until the star of Rossini ap-
peared on the horizon, was the operatic hero of his time. Before
that star hn paled ; and, after on interregnum of nseless jealousy
and envy, began to imitate the very rival he affected to despise,
thus losing his Individual style and with it his hold upon the
Digitized by Google
60
THE MUSICAL WORLD.
[Jan. 23, 1859.
public. The air from / Fmrudti ("The Freebooter*"), one of
Paer's latest and feeblest operas— an English version of which
was given in London, a quarter of a century ago, at the Lyceum
(then « English Opera")— is an instance in point. Mr. Santley
wing it with spirit, but it did not create any sensation.
Huramfl had a better chance. The sefeetion of his Rondo
for pianoforto and orchestra, founded on a Russian melody, was
happy for more reasons than one. Few of the compositions of
Hummel. — one of the most consummate professors of the piano-
forte, and only second to the greatest musicians, for the number,
variety, and excellence of his contributions to the instrument —
excel the Russian Rondo in those characteristics which distin-
guish the author from his precursors, contemporaries, and followers,
aud stamp him at once a master and an original. Like all the
elaborate pieces of Hummel, this Rondo is immensely difficult,
and, moreover, demands for its correct and effective performance
not merely supple and elastic fingers, but refine. I and exquisite
taste. That these qualities should be found in Miss Arabella
Goddard, who has proved herself a mistress of every known
school of pianoforte playing, was by no means surprising. Her
execution of the Rondo, was In every respect perfect, and the more
to be commended because, amid a profuse abundance of passages
of display, exacting all the mechanical dexterity of the pcr-
mer, expression was never once lost sight of, nor the most
icste gradations of "light and shade" ever once neglected.
At the conclusion, Miss Goddard was enthusiastically applauded
and recalled— obeying the summons with her accustomed reluc-
tance, and reading a lesson to many artists (foreigners especially),
who, for a fourth part of the encouragement, are in the habit of
returning with alacrity to the orchestra, and reseating themselves
at the instrument, to the surprise rather than satisfaction of
" indulgent audiences." The selection from John Sebastian
Bach, performed with such marvellous spirit and fineue on this
occasion by Miss Goddard (who is never more wolcome to rent
amateurs of music than when interpreting the profound inspi-
rations of the patriarch of musicians), comprised the fagae in
B flat, on the name " Bach " (the letters of which in German
represent four musical notes), and the fugue in D major, from
the " Griepenkerl " collection — each with its prelude. The
authenticity of the first is disputed by many of the writers on
Bach ; nevertheless it is preserved in all the editions of his
work, and, whether composed by himself or by one of his sons
(Emmanuel is the most likely), is an admirable piece of contra-
puntal writing. The fugue in D was left by the great musician
in the form ot a sketch, with such ample indications, however,
as enabled the late M. Czerny to fill it up without much diffi-
culty. Both are interesting cariosities, and Miss Goddard is
entitled to as much credit for the artistic impulse that induced
her to bring them to light, as for the admirable execution which
rendered them not only clear and intelligible, but highly
attractive to her hearers.
her ovati novelty was the beautiful air, " Vieni toma,
Idolo mio, from Handel's almost forgotten Teteo), which
Miss Messent sang remarkably well — to the satisfaction, indeed,
of every connoisseur present. Mr. Hullab can hardly do better
thai; have further recourse to the operas of Handel, which to
aspiring singers should represents mine of wealth. The selection
from Mozart's CoH fan lulu constituted a treat of an uucommon
kind, and would have been still more charming had the per-
formance been on a par with the music. This, nowever — the
delicious overture excepted, which was played with infinite zest
by the band — was not precisely the case. Moreover, it was a
mistake to introduce such a long dramatic final* at the termina-
tion of the coucert. It would have been listened to with much
greater attentiou at the conclusion of the first part— an arrange-
ment which might easily have been contrived by placing the
symphony of Beethoven at the beginning, and the overture of
Mendelssohn at the end. Both these fine compositions were
performed with great energy and decision, although the sym-
phony (the aRtgrtUo tchtrxtndo in which was encored), would
have been all the more acceptable if the passages marked
" piano" in the score had occasionally been played as indicated
by the author.
The first "orchestral concert" was followed up on Wednesday
night by an oratorio— Handel's Judat
the whole, was extremely well performed. With the <
pathetic, martial, and religious, in which this fine dramatic work
abounds, the members of Mr. Hollah's "first upper singing
class" are sufficiently familiar; and, among the rest, " Fallen is
the foe!" and " We never will bow down"— the two most ela-
borate and magnificent in the oratorio— were, perhaps, never
more satisfactorily executed in St. Martin's Hall. The vocal
solos were intrusted to Misses Kemble, Fanny Rowland, and
Palmer, Mr. Thorpe Peed, and Mr. Thomas. Tho most artistic
singiug of the evening was decidedly that of Mr. Thomas, who in
the air, "The Ixird worketh wonders," distinguished himself
highly, both as a vocalist and musical declaimer. Mr. Thorpe
I Peed, the new tenor, supplied the place of Mr. Sims Reeves, at a
I very short notice, and being a mere novice was justly entitled to
indulgence, though at present he is unequal to the arduous music
I which Handel has allotted to the character of Judas Maocabtsus,
I and more especially to the tremendous battle-song— " Sound
I an alarm." Misses Rowland and Palmer satig their duet* re-
I markably well, and in the devotional air of " Pious orgies," the
first-mentioned Lady was at once correct and effective. Miss
Kemble goes on improving, but hardly so fast as might be
desired. If it be true (as we have been informed) that this
young lady only commenced the study of tho vocal art
twelve months since, great hopes may be reasonably entei '
of her future ewer. Her intelligence is unquestionable, her \
fresh, powerful, and of pleasing quality— the development of it*
range and flexibility depending on that degree of earnest a|
cation which it can hardly be doubted she will bestow. We i
especially pleased with her reading of the well-known song,
" O Libertv !" in which the violoncello part was admirably
played by Mr. Horatio Chipp, and with her sentiment and ex-
pression in the solo preceding tho sublime and touching chorus,
Ah, wretched Israel." In the famous air, "From mighty
kings," and in one or two of the recitatives, there were certain
evidences of inexperience, and even of false intonation, which,
although they were more than compensated by the mauy good
points in her performance, not the leas showed the audience,
while they must have convinced the aiuger herself, that much
remains to be acquired before she can assume the position to
which she ambitiously and honourably aspires. As on previous
occasions, Miss Kemble met with the heartiest encouragement.
MR. HENRY LESLIE'S CHOIR.
The third concert of the season was given on Thursday
evening, at St. Martin's Hall. The following was the pro-
Part-songs for male voies, £ ,
past I.
Funeral snthem
Song to Msy morning
Madrigahen chorus, " In these delightful pleasant j
Integer vine" ,.,
"War song"
fast n.
Olee, - There is beauty on the mountain"
Part-song, " Ave Maria" ...
(Composed ex ptessl y for the choir. First
Part-song, " Departure ...
Glee, " Hauls y«, soft galea" ...
Madrigal, " Now is the month of Maying"
Madrigal, " Flow, O my tears"
Serenade, " Bint be tho home"
Four-part song for male voices, " When r Tening's \
twilight" ... ... ... ...J
Boat song
The Funeral Anthem of Handel,
atteution at the second concert, again
appreciation in the nail. The two-part songs for
exquisitely sung, were encored unanimously. An
also swarded to Mr. Henry Smart's new contribution — a
ing pendant to the part-song which excited so
at the first and second concerts. The other piece*
less applauded, and the whole concert seemed to
Henry Leslie.
J. Goes.
Henry
of performance.)
Mendelsohn.
Martin.
Morley.
Bennett.
Benedict.
Digitized by Google
Jan. 23, 1858.]
THE MUSICAL WORLD.
61
DRAMATIC.
Princess's. — The feeling prevalent in the theatrical world
that Mr. Charles Kean has been somewhat slighted in the
arrangement of the dramatic performances at the Opera
House, led, on Tuesday night, to a special demonstration of
respect at the Princess's Theatre. The house was crammed
to suffocation in every part by an audience more tbaD usually
brilliant, and at the conclusion of the second and third acts
of Hamlet, Mr. Kean was called with an enthusiasm exceed-
ing the mere avowal of approbation. On the mil of the
curtain, be was twice summoned, amid the must vociferous
acclamations, which were immediately hushed when, stepping
forward, he delivered, in an impressive but unaffected manner,
the following brief speech : —
" La die.-i and Ushtlkmin, — It is not niy custom ever to
address an audience except on the concluding night of a season,
but T fear that on the present occasiou, were I not to respond
to so remarkable an ebullition of public feeling as that which
you have exhibited towards me this evening, my silence might
be wrongly interpreted. I am deeply sensible of your kindness,
and beg you to aecept my heartfelt thanks. It would bo nlTc ela-
tion in me to pretend not to understand the motives which have
influenced this particular excitement, and it is another instance,
in addition to the many I have already received, that when a
public man acts in a conscientious oiul upright manner, the
public will always afford him their sympathy and support.
Throughout my life I have coveted the verdict of public opinion,
professionally and socially, and this evening impresses on me a
moat gratifying conviction that my wishes arc realised."
Renewed cheers followed the delivery of this discourse.
LTCECTf. — Public curiosity was excited to the uttermost by
the announcement, a fow days ago, of a new drama from the
pen of the veteran poet, Leigh Hunt. The announcement was
unusually modest, considering the demonstrative tendencies of
newspaper advertisements »ud play-bills. No adjective lauda-
tory and Bounding, was prefixed to the author's name. The
piece was pronounced by Leigh Hunt — no more ; and that was
enough. The Bimplc appellation bespoke a deeper recommenda-
tion than a column of superlatives. The la*t in life of that
glorious galaxy of talent, which shone so conspicuous in the
commencement of the present century, after a long fit of silence,
not surprising considering his years, and the repose necessitated
by a multiplicity of labours, was about to bequeath to the
world, when it was least expected, a new emanation of his
genius. The announcement was hailed with mingled delight
and fear— delight at the prospect of au original work from so
emineut a hand, and fear lest the work should prove an expiring
flash of genius, rather than the outpouring of a matured mind,
with all lie power and faculties at command. A dense audience
assembled at the Lyceum on Wednesday night, to witness the
representation of Leigh Hunt's new play ; and never, perhaps,
did the curtain rise on a more excited and interested assembly.
The new play is entitled. Loveri A uicuetntnU ; or, How it it to
End ' Wo agree with our moming contemporaries, the Timet
and Horning Herald, that it belonccs more properly to that
class of representations denominated " Proverbs," than to plays
or dramas. The personages are four in number — two ladies and
two gentlemen— whose fortunes arc interwined in a manner
somewhat striking and original. Each gentleman has loved
twice, the first love being merely a momentary feeling, not an
.. passion. So with the ladies. They too
twice, and found first affection but a prelude to the second. The
four lovers are well contrasted, but Mr. Leigh Hunt has ex-
pended his main strength upon the dialogue, which is singularly
pointed and refined. Even those — and indeed they are not
few — who are puzzled to make out the mystery of the plot, are
turned aside from animadversion by the felicity of the thought,
the grace of the expression, snd the quaintness of the humour.
The difference between Mr. Leigh Hunt and our modern dra-
matists is remarkable. He has nothing whatsoever in common
with them. His conceptions, dictiou, wit, and deliueation of
character are entirely his own ; or, if they are traceable to any
source, they must be referred to the Elizabethan period, the
writers belonging to which he, as everybody who reads must be
aware, has loved and admired from bis earliest days.
Loeeit' Amaumentt demands from the artists the utmost
subtlety and /sum in the acting. When we name Mrs. Alfred
Mellon, Mrs. Charles Dillon, Mr. J. Q. Shore, and Mr. Charles
Dillon as the personages of the drama, it will be at once seen
that the characters would have been more strikingly repre-
sented had the author sketched them with a broader pen and in
brighter colours. The audience, nevertheless, were satisfied,
and recalled the four favourites at the fall of the curtain with
unbounded cheers. Au uproarious cry was then raised for Mr.
Leigh Hunt, when Mr. Charles Dillon appeared leading him on,
and the whole house rose to greet him with thunders of ap-
plause as the veteran poet crossed the stage, apparently deeply
affected by the enthusiastic demonstration. Subsequently Mr.
Barrett came on aud annonneed Lovert'
night until further notice.
Adelphi. — The new Adelphi drama, The Poor Stroller*, pro-
duced on Monday night, achieved a success that promises to
make amends to the management for the disappointment caused
by The Beadlcu Man. Mr. Watts Phillips is the author, whoso
drama, Joseph Chavigny, it may be remembered, produced some
months since at the Adelphi, was so favorably noticed by the
press. The Poor Strollers has not the purpose, i
of Mr. Phillips's first play, but it is more amusing,
exciting. The plot is plain and straightforward ; nevertheless,
it would scarcely repay the trouble of perusal. The scene is
laid in three different countries — France, England, and Ireland,
and the author has endeavoured to infuse the national element
into the hist named locality only. The Irishmen, however, to be
gleaned from the Adelphi Company, are but sorry and listless
specimens of Patlanders, and the fun and frolic of two scenes are
entirely lost for want of a bit of the brogue and a knowledge of
the blarney. The parts of the strollers — an old itinerant musi-
cian, dancing master and actor — and bis daughter, are person-
ated with much truthfulness and power by Mr. Webster and
Madame Celeste. Mr. Webster possesses one art in perfection,
that of "making up," as it is called, and nothing can be happier
and more striking than the manner in which he dresses himself
as the old stroller. Mr. Wright is fitted with a most extra-
vagant part — a caricature, in short — and keeps the house in
roars all tho time be is ou the stage. The now piece was
entirely successful and promises to have a long run.
Olympic. — In consequence of the absence of Mr. U. Vining,
who played at Her Majesty's Theatre on Thursday evening, Mr.
Walter Uordou undertook the part of Frank Leveson, in the
popular comedy of Leading String*, — aud was equal, in every
respect, to the task. His comic and sentimental parts were
equally good.
ONE THOUSAND POUNDS REWARD.
For the precise signification (in plain English) of the following
notice — from an unknown quarter ("ante —page — ): —
I— a long farewell— to all my greatness."
HWw'l Speech.
ONE FARTHING REWARD.
I ho above will be paid to sny Person discovering tbe
Sixty Msunsss or m Gaubkx Club,
(riaVPublio Pr»w).
forming Hie Grand Demonttrstion to put down Her Msjcstv snd
Mitchell, on Tuesday E.ening. Jan. 19tb, 1858.
Yivat Phelps !] [Not an Order given.
Whoever (say Mr. Punch) will furnish ns with a clue to the
above (especially to "the Grand Demonstration to put down
Her Majesty and Mitchell on Tuesday Evening") shall receive
the reward specified on the forehead of this announcement.
Digitized by Google
62f
THE MUSICAL WORLD.
[Jan. 23, 1858.
MUSIC AT NEW YORK.
M. Thalbkro has been bidding adieu to New York in a style
almost unprecedented. We subjoin the programme of the so-
called * Thai berg Demonstration," which came off with such
idea on Saturday, January 2 (afternoon snd evening), that Mr.
Ulmann, the entrepreneur, immediately afterwards announced
a repetition, with a modification or two, for the Monday
I.-OPERA MATIN KE.
LUCIA SI LAatlilBMOOS.
Madame dc Is Orange,
Labocetta, Gassier.
II. — GRAND PHILHARMONIC CONCERT.
ItT A OUAM> OKCBKSTHA OF SIVRNTY rSHTOSMIIlB.
1. Svmphony, C minor (the fifth) Beethoven.
1. Allrgro con llrio. 3. Hehrrzo.
2. Andante con Moto. 4. Allegro.
2. Festoverlure (Op. 12 1) Beethoven.
8.— THALBERG'S FAREWELL CONCERT.
nunim
1. fantasia, " Don Giovanni," Thalbcrg,
8. Thalberg.
2. Fantasia Vicuxtcmpa.
Henri Vieuxtemp*.
3. The Wanderer Schubert.
Carl Forme*.
The accompaniment* by 8. Tlislbcrg.
4. Scene, " Der FrryBchuts," Weber.
Msd. Caradori.
6. Fantasia, "Lilly P»I«," Thalberg.
Expre**ly composed for thwjwasiou and performed by
6. Dust, " The Huguenots," Tlislbcrg.
Vicuxtemps and Thalbcrg.
4.— GRAND ORATORIO.
MOZ AST'S KiqriEM.
By Caradori, D'Angri, Milner,
Rignardi. Lalxxxtta, Perring, Sin
and Carl T
The poetical lady of the New York Albion (of "Cruel Carl'
notoriety) thus amusingly apostrophises the " monster" enter-
' When such a thing a* a Rehearsal can take place in Fourteenth
tet, we cannot imagine, but wo suspect that the whole harmonious
army of Herr I'lluian must spend their nights as the French at Pole-
tiers spent the teille de la bataille, in shouting and singing j and
alarming v isions rise before us of whole neighbourhoods, roused to furv
by midnight recitation* and overtures that long anticipate the dawn.
It is a colossal exaggeration of Dick Sniveller practising ' Away with
Melancholy ' on the flute, in his bed, from 10 r.u. till 6 *. v. 'How-
erer, as our own alumber* hare not vet been disturbed, we can bear the
possible sorrows of our fellow-citizen* as oompowdly as Charles Lamb
endured his friend's snguish, when tie thwacked him orcr the legs with
a poker.
"But we cannot so tranquilly resign ourselves to the necessity of
hearing all the performances for which these midnight rvhearnals are' but
the 'fearful note* of preparation.' What are we to do for instance ou
tbi* first Saturday of the year 1S58! At 1 r.u , we are expected to
surrender ourselves for at least sn hour and a half, to t lie spell of lore
and sorrow, which Donisetti knew so well how to wield, and to give
Abilities of our whole nature to the emotion* of Lucia d
up the sensibilities of our whole nature to the emotion* of Lucia di
" Can one be sentimental before dinner F This is a
which our personal experience tend* to resolve in the
approach it with the prospect of an affirmative
matter. 8uppo*e we are diasolved iu tear* on the
lunch, who will answer for the consequences ?
"But whatever the event of this Matin, c (why does not Herr Ullmsn
ion
i and to
is no light
ofa*imple
give us on Aubade, say the ifireeiltaue, sung by six hundred voices at
7 a.m., between the hath and breakfast,) may be, we must bear it, and
at 7) p.m. come back refreshed enough to enjoy and criticise a Phil-
harmonic 8yinphony of seventy performer* thundering through the
grand originalities, and tenderly evolving the delicate pathos of
Beethoven's Fifth Symphony. This symphony leads one through all
the most intense experience* of the inner life up to the goJdea gates of
faith, hope and victory, and lift* the soul s* high above all eartblv
things, a* mortal thought can soar, and jet be conscious of itaelf. Lore
after lunch, and now after dinner. Religion — can the frame of man
(gjf. woman) resist such a *trsin as this? But Herr Ullmsn has not
done with us yet. He suddenly summons ua away from the exalted
dream* of the finale of the C minor ■ymphony, to bear and appreciate
for the first time in our lives ono of Beethoven'* matures! works, the
Conttt-ratitm of lie Temple, a composition pitched in the majestic key
of C major, and speaking of worship as the symphony speaks of Faith.
" Surely, this is a good hour's work, and after it one might well
implore the boon of rest. But the inexorable doors of the Academy
refuse us egress. At si. while the consecration of tha Temple still
pervade < the place, we are rapt out of our pious testacy by a ' Grand
Farewell Concert,' not a farewell to the year, not a farewell to earth,
but a fnrewell to Monsieur Thalberg, who always has fared well, and
seems likely always to continue to do to. And such s concert ! Here
a gleam of Thalberg's delicioua sunny execution — and there a flash of
magic beauty from Der Freyechutt — a melodious cry from the violin of
Vieuxtemp*, mingling with the ghostly threatening! of Carl Formes'
basso in the weird song of the ErT King.
■ And then— then ! do you ask— is there sny * Iken ' after all this ?
Ay— and a moat appropriate finale it is! then comes just a* a pleasant
' good night !' a mere friendly salutation, that brief and trivial compo-
sition— the Requiem of Mozart Requiem indeed ! we shall not need
all the implorings of genius to secure us a quiet rest after such a day.
In fact, we fear that some of us msy hardly rise in time for the mom-
ing service of the churehe* to-morrow. By this Herculean foot of the
week, our distant reader* may judge the whole week, and form some
estimate thereupon, of the enterprise of Herr Ullmsn, who may go to
sleep (if he ever sleeps) to-night with the proud consciousness that be
has out-Julliened Juliien, and made the monster concerts of the Crystal
Palace ridiculous. He has also, however, as we have already said,
brought us critics to the very verge of suicide."
The whole affair (if we may credit tho .Veto York Herald,)
passed off triumphantly ; —
"The Thalbcrg festival wa* the grandest affair of the season, and
waa a demonstration wcll-dowrvcd. Mr. Thalbcrg gave us tho best
lied here, and spared no money nor pains to sur-
the very best artists. After «uch concert* as those
given by M. Thalberg, no single artist will ever succeed here, no
matter how great a name may be borne upon the announcement*. It is
to M. Thalberg chiefly that we owe the forty-four performances of
Italian opera which have been given at the Academy of Music since
September last, a season unprecedented for the brilliant and varied
entertainment* that have been given to the public. M. Thalberg'*
position with regard to tho Opera, waa simply this :— He gave to the
director, Herr Ullmsn, tho weight of hi* name in Europe, and here he
might have lo.t something by the season, but refused to have sny
present or prospective .hare in tho profits. These facts were pretty
well known to the public, and the demonstration of Salurd
of the most fluttering ever given to any artist anywhere in
Every clique of society— art istio, literary, fashionable, aud
able— wa* represented, and the constellation of female
dazzling, quite re-affirming the fact (if any *uch process
that American women sre thu handsomest in tho world,"
(And the Americans, " tho most beautiful men,"
the fftm York Albion).
" Tho affair is to he repeated this evening, with La Traviaia in the
afternoon, in which Madame de la Grange appear*. In the evening,
the tame connect programme, with Mozart's Requiem, with all the'
arti*U, the orchestra under M. Anschutx, and the chorus of the Lieder-
kranz, conducted by Mr. Pauer,
"M. Thalberg leaves town for the South on Tucsdsy next, riviu*
•mil tin. «.~.V .) m„U-iJ .„A \V..\.: wi .J.6 T*
was ono
concerts thi* week at Richmond snd Wuhiogton. From thence he
goes to the other southern cities, as far a* New Orleans, and afterward*
to Cuba and South America.
Of Herr Formes tho Herald speaks as follows : —
*' The vocal gem of the evening, however, created such an immense
sensation that it deserve* particular mention. It was Herr Formes'
Digitized by Google
Jan. 23, 1858.]
THE MUSICAL WORLD.
63
ringing of the little ballad, "The Wan
girts with to much delicacy, Are, and
: I _ e . I. _ t I.'
Wanderer," of
expreuion
f
mlnoritr, who hare been disposed to derate their
laudita of the house.
It *M
as to more tba
Even the members of the Italian
at the great
, were conquered."
The lady of the Albion in fierce in her anger
Italian clique. Alluding to a not very successful [
of Fidtlio, at the Academy, she writes as subjoined: —
" H»rr Forms*, as Bocco, wai left quits alone, like Samson among
the Philistines. The voioe of Madame Caradori (Fidelio), which was
noticeably wiry in oratorio, was not more affluent in opera. But
however hi* opera* mar be cast, Herr Ullman ought to see to it that
■he petty clique* of the eotUittt* are not permitted to interrupt the
performances of the house by their contemptible noise and clamour.
theVtlpVfluo'u* Italian SMjinriHlsft* rf Ha Coras bt nitMIMsWImSS
kicked out of door*, for they really ought not to be allowed to be a*
disorderly in the galleries a* they always are on the stage. la the
Utter case they are a necessary evil ; in the former they surely might
be abated."
Herr Formes has appeared with great success) as Giorgio, in
/ Puritani, and also in the AfcssiaJi (performed on Christmas
erening), with Miss Milner in the soprano, Mr. Ferring in
the tenor, and Mad. Angri in the contralto music. The Albion
praises Formes to the skies, comparing him to " Blum " and
"Gern," though endowed with more power than " "
so infinitely more varied culture than " Oern."
and
.'EN AND
Mr. C. Saxamaw ox Bei
Ur. Salaman, the pianist and composer, delivered a new concert-
lecture on Beethoven and his Compositions, at the Russell Insti-
tution, 8, Coram Street, on Tuesday evening last. lie was
assisted in his musical illustrations by Mr. Louis RiOsi, violinist,
and Mias Williams, vocalist. The lecturer gavo a graphic account
of the great master's personal character and habits, and com-
mented, in a highly interesting manner, on his productions.
Mr. Salaman, being limited to a single lecture, confined his
observations to the earlier works of Beethoven, ami to that class
of compositions which ho was best able to " illustrate." lie
selected the ConeertanUs Sonata* for pianoforte and violin, and
the chamber vocal music of the composer. Mr. Salaman exhibited
himself to great advantage as a pianist. His lecture was delivered
with point and distinctness, Ho was listened to throughout with
attention by a numerous audience. Mr. Salaman baa announced
a concert-lecture on Weber and hit Composition, for the l«th
February.
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plain arv to hUbly api>r«ciated In all port* of tho world to require any
oommeodiition— the tost of yvora liaa proved their cflkwey In curing bile,
iiidigCritiiin, flatulenry, atck hond-achc, ncrvmuaicioa, and debUitatesI cunstitutiona.
Tlury invigorate Uw l*ody, atrengthctt the laculiuce »f tho mind, and increase the
appetite; old and young, rich and jkjct. ruourt to thtm when aftlwUd with any
ailment, and nune arc disappointed with their effect upon the *y»tet». Sold by
all Medicine Vendors throughout tbe world ; at PTofe»**ur Holloway'a Ei ' '
rneuta, 344, Strand. IsOfuiuO, rai l HM>, Matilc-n-lnnc. New Tork ; by A.
Couatautinopto; A. Guklicy, Utnyrua; and B. Jtttir, Malta.
BLAIR'S (JOUT AND RHEUMATIC PILLS. — Price
Is ljd. and 2a. Bd. |»r box. 1 baa p.vp.uat.oy la one of tbe lci.ef.ts which
the scieuce or un.dcru chemistry BM ccmrtrrsd «|<on mankind; for during the
first twenty years of the prceetit century to apn** H a cure ror the Oout wa*
considered a romance ; hut now I he efficacy and safely of thia medicine is so fully
demonstrated by unsolicited testimonials from persons In every rank In tile, that
public opinion proclaims this aa otic of tbe most Important dl.oover.es of the
public opto
present age. These pills
certain to prevent the "
Bold by Prout and
Important .
atteuU "ii Dor o
vital part.
; and all 1
FREDERICK DENT,
i R .lit; o( ti)t Onat Clodt Cot t.t JSijiuts of tyatluflunt,
And sale Successor to E J. Uajrr In all his pales t rights and busineas at
61, Strand, aod 34 and 36, Boyal a^change, sud lhe Clock sod Com-
paaa V acton- at Borneiert Wharf; Cbmuonictcr. Wluh. and Clock Maker to the
Queen and Prince Consort.
8 Guinea*.
LadlM* Gold Watche*
Gentlamsn'* -
Strong 80ver Lrver Wstohe*
10
0
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64 THE MUSICAL WORLD. [Jan. 23, 1858.
NEW PIANOFORTE WORKS.
BRINLEY RICHARDS.
BRINLEY RICHARDS' PIANOFORTE TUTOR.
TRICE 4*.
The best, the newest, nud cheapest of all instruction books, containing 60 pages of fall -stud innsic, all necessary elementary instructions,
scales, exercises, and a great variety of the most popular theme* as progressive lessons. The attention of Professors is expressly requested to this
most useful work ; also to
BRINLEY RICHARDS' NEW SET OF SHORT PRELUDES.
PRICE 3*.
Intended as introductions to any pieces ; expressly written for amateur* ; and to the
NEW OCTAVE STUDIES.
PRICE 3s. 6d.
By the same popular Composer.
RICHARDS' Edition of Caerny's Etude* du la Velocite, preceded by new cuercist*, and a new study on the octaves, composed expres»ly '.. d.
Or in two Parts, each 6s.
Edition of fieri.}'* 101 preparatory Studies, with additional finger eaer.-i.eH and other .tudic. written expressly for thi*
edition by Brinley Richard* ... ... ... ... ... ... ... ... » 0
Or in two Parts, cadi 4s.
•Juanita," popular song by the Hon. Mr*. Norton, arranged for the pianoforte ... ... ... ... 2 6
'crt popular ballad, arranged for the pianoforte ... % ... ... ... 2 6
i on airs from" Lea Huguenots." (Just published) ... ... ... ... ... 3
G. A. OSBORNE.
*. d. a. i.
OSBORNE'S " Ireland," fantasia on labourite Irish airs 3 6
„ " Scotland," fantasia on favourite Scotch aire 3 o
"II Ftrata," fantasia solo or duet 3 0
OSBORNE'S "6ul camp., della gloria." from Beueano ... 3 0
», Sehnbcrt'o Serenade ... ... ... ... 3 0
N.B.-In the press, " Fmnce and England," fantasias on EngUsh and French sir,.
ALBERT LINDAHL.
UNDAHL. India, a lament lor the pianoforte 2 6 I LINDAHL. Switxeriand 8 6
Le ebant du eaptif, noetnrne 2 6 | „ Germany 3 0
T. A. NAUMANN.
NAUM ANN'S U D*. teSMm 3 0 I NAUMANJTS The MiU » 6
WeWnoddin' 3 0 La Beriert 3 6
Comiii' thro' the rye ... 2 6 1
A'oio Heady,
D' ALBERT'S ALBUM FOR 1858, 21s.
ALSO
D' ALBERTS TROVATORE WALTZES (just published), 4«.
D'ALBERT'S ESPAGNOLE WALTZES, 4s.
D'ALBERTS SIBYL WALTZES, 4s.
IV(IDDjS5S MARINO FALIERO QUADRILLE, 3s.
DALBERTS LE BQNHEUR POLKA MAZURKA, 3s.
^HAPPELL AND CO., 50, NEW BOND STREET.
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'TBK WOBTH OF AST APriAJU
It id
most ijrrxiXT is Mtbic, uses rr seouibes mo kateual, ko scbject-hattek, whose truer most
POWER, A!tD IT RAISES AND BKKO
_ for Postage, 20i. per annum-Payable in advance, by Cash or Poet Office Order,
to BOOSEY A SONS. 28, Holies Street, Cavendish Square.
VOL. 36 — No. 5.
SATURDAY, JANUARY 30, 1858.
t FRICE 4d.
1 STAMPED Sd.
A DAM K SCHWAB begs to inform her Friend* and
Pupil* the hu rcmorod tp 33, Wei beck street, Ca»endiih -etquarri.
M
HERR ADOLPH 8CHLOESSER begs to
that he hu remand to 18, Cambridg»etreet, Hyde Pwk.
THE MISSES WELLS beg to acquaint their friends
^ ami pupde thet^ they barslTEMOVEIl to Si. Koppcl rtrcet^-
IGNORA FUMAGALLI, SIGNOR DI GIORGI,
cn ARI.ES RRAHAM. tod r.ai ty, will tine on Monday, Febrtrary Irt,
toko ; on Tuceday, February »ud. nl W,M»b4| and on Wednesday,
s:
OYAL
Resent*
GALLERY OF ILLUSTRATION,
na F '
I repeat tbslx^
At ths gallery, and at Crannr. Bcele, aud Co.. i'OI. hV«ent-'.trcct.
crery eveula? (except Saturday) at S.
la ai<d 2a. ; otalU, Sa ; which can b
PROGRAMME OF MI8S ARABELLA GODDARDd3
FIRST SOIREE OF CLASSICAL CHAMBER PIANOFORTE MUSIC,
at l»er residence. (7, W«!beck-»lreet, Carendis'i.rqiisre, on Tuesday, February
Aid, ltoS. when alio I- aaaitted by M. SAINTON and H.rr I.IDKI- To
commence at Half-put Eight atlik. Parti. Sonata In F Major, Pianoforte aud
Violin. (Haydn) Mua Arabel'.e Goddard and M Sainton; Grand Bormta in O
"Didorjo AliondounatA," (Seen* Traglca,) (ClomeiitiX Pianoforte, Miaa
HSHSj
Arabella Oodilani : Prelude and Fugua, In A Mlm'ir. "(A h> Tarantella,) from Book
• of F. C. OrterioiikeriM " Complete Collection or the Pienofbrte Wort, of Bach, 5
(J. S. Bachl Plat of.irte. Mi*. Arabella (io.ld.rd. IVrt II. Gran,! ronata In C
BUj'T. Op. M (Weber) Pisuorbrlo, MLee Arabella Goddard ; Grand Trio lu B Fbu
Fl.inoforto. Violin, and Violoncello (Rcethoveo, Mlas Arabella Goddard, M.
Sainton, and IT err Ude).
Hubaenptlon Ticket for the Three H-ireea. One Ouinet; Single Ticket. Hair-a-
Oulnaa. To be bad only of Mba Arabella Goddard, 47, Welbeck-atraet, Oaveodl.h
■nast,
The Second Soiree will take place
Goddnrd «l)l hs«s the honour of performing W.
and Violoncello, vilh Big. Plattl; Dussca a So,
Ultra;' Beathoren a Sonata iu C Minnr. Op. Ill:
md'ai rkttf'' 8eh"u"1 B"h '• "*d ■ ** *
ST. MARTIN'S HALL.— ORCHESTRALCONCERT8,
under the direction of Mr. JOHN II DLL AH — Seaaon. 1&&8. — SECOND
CONCERT (of tba aeriea of six). TUESDAY EVENING, Febntaiy 5, tooommenca
at Eight o'clock predaelv.
PROGRAMME — Part* I. Overture, •• Leonora 1 (Beethov.n); Recitative, "Me,
whan til* .un" (Handel) : Air, •• Hida me from day's garish, era," MUa Banks,
Handel; Ana. "O del mio dole* ardor." Miaa Dolby (Hiradella) ; Symphony. In
C minor (No. l)(MeudelaaohnX
Part 1 1 Grand Hepiol, For the pianoforte, nut*, oboe, hoi n, tiola, violoncello,
and double ' iiaa, Mias Howell (her lltit appearanorX Nwl Ruckatio, Nlch' laon
Mann, i.. Chlpp, and Howell (Hunimell); Air, " Reiuni. r»,i>n|im retwla."
Mr Thomas (Ponall); Finale (Sd ActX Aaor and ZemirV Mia. Bank-. Miaa
Fiuinj R^whmd, Miaa Dolby. Mr. Tborae I'ted. and Mr. Thomn Bi^br;
BalUd. "Bonnie Goorge Campbell" fftrat time of perfcrmanco). Miaa Dolby,
(Tlullah); Overture, "Obcroo.- (WeberX
Ikhsta and | roa-r.u., .nr , may tx had si St. Martin's Hall, and of the principal
mustcaallers. StATla, lira shillings : galleries, half a croon . ana. one .hilling.
Subscription tickets for Uia Berk. : stalls, one guinea ; galleries, half n guinea.
HER MAJESTY'S THEATRE— EXTRA PER
FORM ANCES. — Tuesday, February 2. Thuwday. February 4,
day. February S.
<% Tuaaday. Fabraary aid, U T HA VIA I a
Glugllnl
On Thursday, February 4. LA SON.VAMBULA
Ssrutkr; Coots R. dolfo, Bdletli ; and Elrino. (Ilusllnl.
On ratiirday. Fcliruary Sth, will be produced lor the firat time in Eagtaod. LA
ZING A P. A. bring tba lialbui rcrsioi. of Balf..'s opeia of THE BOH hM I AN GIBX.
By MisdUts. Firchtnitil. fannlrr. Slurri Bsllattl. VlaletiL and Oliigllnl.
Tnconelude EACH EVENING wub tba ruoreaaful Dl«»r iswmout by M. Mjmo\
entitled L'UTMBNEK, by Meadlles. OaVelli, MorUrchi, Pssqiiae.
raicxs — Pit alalia, lis Ad. ; boxaa (to bold four peraonsX pit and one pair,
tl 1*-: grand tier, XS 9s.; two pair, an Sa.; three pair. Its ; gallery boxes,
10s. ; gulfery talk, U, Sd. ; pit, Ss. ed, ; gallery. *.
; Alfredo,
AraJna, Plccolomlnl ; Llaa,
■u eaiabllehad for tlie purpose of supplying what hu been
by Manager, and tl»e Muai«d Pir.foaalon geuarally. rla. :-«
MAPLESON AND CO.'S
nmm a mmim mmrni mi\m.
OFFICES :
CLABLEHCE CHAMBERS, 12, HAYMAEKET, LONDON.
Tula Aiienr-y hu been «
ao long reauirud both b
oiettiint or eommnnictt
oonuected with Music.
This Agency is In a noeltioo to arraiigft with the utmoat protniitneaa. rornplete
Operatic or Conosrl Coenpanira, and supply all tba Chord, Orclieatral. and other
requhutes; also to negotiate enga«onicota of erery kind fur Artiates ol abilitr and
repute, both rocal and lAstrumei.taJ, which cannot fall materially lojuwdatin the
re.oova! of obataclca and difhcultiea which have 1
a>1«a»comeot of the lyric art in Una eo'intry.
Reglirtera are kept for ihc gratoiloua imiwetieo of Manager., containing eutrlee
of the name, of vocal and T
nrc;*«ry ,«rtlculaia. Ac.
Musiol Ksrsasrs.— M
Si jnor Schlra. 17, 1
cheater ar|uare.
M KDtoa l Rsraua. — lohn UaXinga. Esq.. M X) . 14, ,
BnnnToa — Charlea Maddork, Baq . in, Serjeant'
B»»«««»_Unimi Bank of Londou.
" H.. 7. OIoucoator-i
with sa
TO FOUR
MAPLESON AND CO.S
MUSICAL AOENCT.-Oflicca, Cla
As the Rc.i.ter Book, are now bang comi lied >
ihelr namta. kc., entered, can be suppllid with
on appllcaUon
Ikoccuibcr SI. 1847.
.Of baring
NEW SACRED SONO, "He has come! the
of God." Wordi by the R.v. HotaUits Bonar,
J. Dinner. P*b-'r>on and Hon», Kdlnbunth and Glasgow.
D I>.
C!hri»t
by
CONCERTINA CLASSES.— The increasing popularity
of the Concertina induce* Mr. Cue to project a acrke of CLAB8 M RET
INGft. for the purpoae of linpaitlng liiatrnctiou in tni. Instrmxitut to persona
unacquainted with music, and also u a menn« of eupplying sgtocable psrt
pnn Uce to Ihore a'rouiy aom whul fedranced. Mr C.m i t. ■ ■ i I : til a i; ,i>,
tor ladlea In tlie afternoou, and one for Keutlcn en in the cVLnlnc. the term, to
each to be fixed at euch a rate a. will admit of all peteon* joining them. Mr.
Caae truata that a permanent couree of inatruciioo, at a moderate co.t, will be the
mean, of rondertng the Conccrtiun .(111 mwro gsnw'ly popular, f.U ng auuicii
that lis many peculiar odnntsg-s ov" "tber in»tmmont» will uliluiateiy gain it
the prsferauce with all aaioieura aniiou. to steal lu uaualc with a. little trouble
ss possible Prisons d-ainua of Jotuln^ thtae olaaaea are Teqneeted to cutn-
munlcdc with Mr. Case, to tue care ef Boosey nnd Soua, Hollca itreet.
THE PRINCESS ROYAL'S MARRIAGE. — " When
.L the lut new camera (iu the Colonnade of St. Janiea'a Pal ice) had been duly
crltlciaed, the brill aut aa»mtdag.t beguiled the time '
Bride's troui-soau, ins l«.tl»al
hut new sons. " I 10" am Henu...
tlielair young bri<ieamaid« aing wub
futore in fuhiouabte rirolea." — Londou
Guardian." Word, and miuic by Nectarine
Ciamer, lleale, and Co., 501, Regent-streeU
lulled Ihe time by discus>lng the Royal
ancsa at Her Majesty'. Theatre, mid ilia
.inmar which, isw.s T wbUpcrsd. aome of
much archueu. and which ia curing a
of the
THE QUEEN'S STATE BALL.
The I
1.— I.AMOTTB'8 TRAVIATA GALOP.
D'ALIIBIIT'S 11NDA QUADRILLE.
3 —LAURENT'S MAUD VaLSR
4. — GUNGL1S PKTKRHOP VALSE.
The above arc pobllahodlor jtomo and wcbwiraliy BOOSEY AND SONS,
Digitized by Google
66
THE MUSICAL WORLD.
[Jan. 30, 1858.
MUSIC FOR VIOLIN AND PIANO.
To b« pMUktd tarty in February,
POPULAR RECREATIONS FOR THE VIOLIN."
A COLLECTION OF POPULAR O PIRATIC XXLODIKS FOR VIOLIN AND PIANO.
ARRANGED
PRICE ONE
BY GEORGE CASE,
SHILLING EACH.
L ROBERT, TOI QUE J1
«. QCAND JE QUITTAI8
•I V / \ TH I Er<!V*AD
.. RobrrtlaDUbU.
3. NOBILSItlNOR
4. NOOABO EOUAL
6. VA PBNBIERO
& ERNAXI INVOLAlfl
7. TOTTO E 8PBEZZO ..
8. LA MIA LETIZIA
0. LA DoNNA B MOBILE
10 E 11. SOL OKI. ANIMA
1$. INTRODUCTION AND GALOP RIGOLETTO
14. MISERERE— AH ! CHE
15. 1L BALKS DSL SOU
1* 81 LA STANCH KZZA
17. MERC1. JEUNES AMIES
Is. AMI LE CQJCR DUELEXE
ii>. .mi n hivrrhmk :
III. L1IIIAMO. RRINDISI
SI PARIOIOCARA
« 1)1 PROVB.NZA
S3 AH' FOKSK K LCI
S4. SEMPRE LIBERA
n^ic-.t.-..
Tmvatore.
"BOOSEY'S repertoire;'
CONTAINING SELECTIONS FROM MODERN OPERAS, ETC.,
ARRANCED BY FRANZ BOSEN AND OTHERS.
-Care
1 Vi r.wu«^Tu i
1. Tutto»<ctoRo— Ah t perch* non ..
■. d.
• * •• ..SO
» 0
a o
4. Frendl 1" anei il dono S 0
8. Ah ! foeco cloln — Ah 1 nn giunge .. .. •• ..SO
0. Bon faioan— Tut to 8 gtnta 10
LINDA Dl CHAMOUNI:—
7. Cera hraihl— O lane di qneat' anima ..SO
8. E la voce— Ah I cocacj.rml 8 0
0. Ah bel dettlu-Dl tu pane » ">
ERNANI:—
10. Kruani, Invotaml
11. Boliugo erranto— Iufclia
-Viva All
. d.
S 0
It Coroc ru.-ia.la al uospit.
L. OORDIOIAnT;-
18 Three celebTattd Song*
14. Becood &d«lioo of dip
RIOOLETTO:-
15 Introduction— q\i**t»<> quell*— Tatto egioja— Bellst*. 4c
16. B II col dell' auiina— Caro noma— Zlttl, ZltU— Dvh m parla
IT. Panni voder — La donua a mobile — Bella figlia
CHARLES
DE BERIOT'S COMPOSITIONS.
Published by B0OSET AND SONS.
let Air varied, in D major, with Pta.no. Op. 1
2nd do., with Varieties!* in do , with do , Op. 3
tit Corrected, tm proved, and fingered fay the Author.
Urd do. varied, lu E, 4 Sharp*, with do., Op. 8
IIJ Oorroctad. improved, and nnirrrad by the Author.
4th do. or Air Muotantiard, In B flat, with Variations, with do.. Op. 5
Sth do. varied. In A. wirb do., Op. II
(Sib do. in E, with do., Op, 0.. *• «. ■ •
Hh do. in R, with do.
8lh do. In D, with do.
with do.. Op 3S
«. d
let Concerto, with ace of Piano
il! The Or. beetle part*
I nd do. with acc. or da
The s.nie, with Orcbeetre
The Andante and Hondo
3rd Concerto, with do. .. ..
4th do . with do.. Op 4S
Le Tremoto: Caprice »ur un Thflm* de
d'Orcheatrc ou <k Pumo— With
Orcliortr* parte
And LA BARREL Grand Duet on
And BENEDICT, "
a. d
« 0
CHARLES BE BERIOTS DUETS, ETC.
Uv 1
eur le clwwu- d
b de Corlnthe
Uv. ft
— Pantalalc *ur dr» motifa dc MoTae
Uv. S,
— Suurtnlr* de la Muctte de Portld
Uv 4.
OSBORNE. Fanbdsle lur de* motif* i
Comte Ory .. . , .. ,
Uv. 8.
— Variation* brillautca en IV. .iodic*.
!» Rein* dc« Pajs lla*
Uv. «.
— Grande* Variation* en Lft mlneu
d»diec« a M*J. Cottlnet
Uv. T.
— 7antai«l* IrllUnta I
GitUlaunie Till
Uv. 8.
BENEDICT Duo bnlla
de la 8- ia>*iubiilM
Uv. 0.
— Duo brtUaut en Mi b, d«di* t
Bortln de Vaux
Uv. 10.
OSBORNE. FauUl.r*
tuotifc du Pre* aux Ckrva
Uv. 11.
>1 \ — , SCtlOBERLr.CHNKR Duo brlllant aur
u> it.
— OMUORXH Duo IrUlaul
de* Punta.ua
"V. 1».
ai«lV«IK.H»Pw
a. d.
3 «
3 6
s a
$ o
S 0
5 0
7 0
7 o
6 I
5 0
a o
a o
4 o
4 0
a o
a o
7 o
IMPORTED BY IIOOSEY AND SON8.
Liv. IS. a, d.
0 0
J.
— Duo brlluuit ear un tbtoe original ..8 0
Uv. 17.
BENEDICT KunralUe trlllanto eur de*
mn'.ini de Norma
Liv. 18.
OSBORNE Duo bnllant aur due motifs
du D' tnluo ooir
Uv. 10.
WOLFF. Grand Duo brUlant eur da*
motite de Robert *o diabl* ..
Uv. 10.
— Duo brlllant «ur dee n. otifi dc Zmietta 8 o
Uv. 11
— Grand Duo brlllant I
Dim: ante do I
Liv. SI
TUALBERQ Grand DuobrUlar.t *<ir de*
miHift dea IIujrxKii .fs ,, ..7 0
Liv ».
BEN EDICT. Ixi fruit de rdtude. « Duo*
faeii— at brUhnU war du milodlea celebro*,
fat > Suite*. 1 re Suit* 8 0
Uv. 24.
— Idtim, 2mo. Butte i o
Uv. SO.
LAnARRB. lrr. .iuetllno eur le Statut
Mater de BaaMni so
Uv SI.
— !nd. duetUnonrrloBUbatMater ..JO
Uv. ax
1 0
Duo sur dee motifa del* Part
du Diabla so
Liv. 47
.. d.
08 BORNE Second' grand Duo rur do* '
ttiutlfe d* OuilUnmo Tell « o
Liv. 48.
F. Duo brlllant aur do* motif* da
• ,. • 0
Uv 40.
Duo brlllant nr dea motift
••Mb.. « o
Uv. SOL
— Orand Duo brUlant *ur da* motif* da
laGaaaaLadra « 0
Uv. 51.
WOLFF. Grand Duo tirilUntanr do* motifa
de U Don Da del lag.. (R,,bert Bruor) ..0 0
Uv. »J.
— Grand Duo bnllant sur de* motif, da
! . M netted. P. rtlcl so
uv. as.
— Duo brlllant Mir de* motif* da
Hnydee .. ..^ s 0
— Duo brlllant >ur dea motifa dn Vat
'•Andorra • •• » 0
Uv. 18.
OHBORNE Duo btlllant aur da* motif*
dolaFavtwita 40
Uv. 87.
trorde* n10Uf.de 1. Cena-
"uv.ai. t0
ut aur de* motif* du
• • , 4 0
Uv. 60.
I sur dee motif, du CaJd .. 4 0
..4 0
BOOSEY & SONS. 24 & 28, H0LLES-STREET, LONDON.
Digitized by Google
Jan. 30, 1858.]
THE MUSICAL WORLD.
67
REVIEWS.
"The Yorso RecBnrr." Quadrille, founded on popular melodies,
by Stephen Glorer.
Tnia " quadrille " U adorned with a frontispiece the contem-
plation of which might inspire the coyest of our hale and lioarty
earth-tillers with martial ardour, iuduce them to embrace the
sergeant, and enlist for India with alacrity. The tableau com-
prises a large number of military and husbandry, the one hand-
somer than the other, and all iu such romantic attitudes that it
would make a sentimental young lady's mouth water to look at
them. The music is not so attractive as the frontispiece,
Mr. Brandard (not for the first time) having all the glory to
himself. The times selected for the various figures are good
enough in their way ; bnt they are not always treated after
" • deserts. For example : —
Moreover, Mr. Stephen Olover alters for the worse, and neglects
to acknowledge one of the most familiar of them — a part of
which, according to his new version, we subjoin : —
Not content with remodelling the seventh and eighth barsi
Mr. Glover harmonises them (page 8) in the following queer
pi
m
Sureiy this most be an oversight,
"Oca Exousa Ross." Poetry by J. J. Londadale, E»tj. Music by
W. T. Written.
"Mr Mothbb'i Gsxtls Wobd." Written by J. E. Carpenter, Eia.
Composed by W. T. Wrighton.
The words of both these ballads are unaffected and nicely
written. The music aims at nothing and hits the mark —
although objection may bo taken (by pundits) to the following: —
ly heard that word, re - proach, my
m
5
That Mr. Wrighton has no objection, however, is evident, since
L 1 written the bar twice over.
Exolaxd's Pravbk to AlMIOHTY God," for the happy union of
Her Royal Highness The Princess Royal of England, with His
Royal Highness Prince Frederiek William of Prussia, on tho 25th
day of January, 1868. Composed and arranged as a fall anthem
for four voices, and moat humbly and loyally inscribed to Her
Most Gracious Majesty the Queou, by Thouuu Lloyd Fowls,
Mm. Doe. (Author's property — T. Lloyd Fanrle, Mns. Doc.)
If England cannot lift her voice to heaven in purer harmony
than that of Dr. Fowle, she will do well to offer up her orisons
unaccompanied by music. Hero are pretty examples lor a
"Mus. Doc."— and in the prayer, too, of a whole nation "to
Almighty God'!-
Dr. Fowle should refer to tho Second
by Gerald
" I LOVI BtT IOVK IK TUB MOBHIXO," four part ion
Griffin, music by G. B. Allen.
One of the moat unpretending and at the same time one of the
most charming part-songs we remember. The tune is sweet and
vocal, and the barmonisation for the voices at once simple and
irreproachable. The beautiful linos of the lata Mr. Griffin
(which, had we space, we should be tempted to quote) could
hardly have been wedded to more congenial music Mr. Henry
Leslie might do worse than consider this part-song, which would
be sure to please the multitude.
Mr, Handel Gear's soiree miuioale, on Wednesday evening,
was fully attended. The artist* were Miss Julia Bleadon, Mrs.
Theodore Distin, Mrs. Aguiiar, Mr. Oraef Nicholls, and Mr.
Frank Mori. Several talented amateurs also assisted. Among
the principal vocal pieces were Mr. John Bamett's elegant trio,
"This magic wove scarf" (Muuntain AVf A), very nicely sung by
Miss Bleadon, Mr. Handel Gear, and a clever amateur ; Mr.
Benedict's charming little song, " Auge adore," and a trio from
Ernani. The instrumental performances were Mr. Aguilar's
" Bolero," played by the composer, two fantasias for the flute by
Mr. Graef Nicholls, and Haydn's "Toy Symphony," by Mr.
Handel Gear and his pupils. Mr. Frank Mori presided at the
piano with his accustomed ability.
Wioax. — (From a Corropvn'lerU.) — M isa Graham's concert
took place in the Public Hall, under the patronage of the Ladies
Lindsay and the aristocracy of the neighbourhood. The artists
were Madame Eudcmsohn, Miss Fanny Huddart, Miss Graham,
Mr. Millard, Mr. Allan Irving, and Mr George Russell. Miss
Graham, a great favourite at Wigan, took part in various con-
certed pieces, and sang a ballad composed expressly for her,
entitled "The maiden's reply," with taste and expression.
Madame Enderssohn, who is as popular here as everywhere
else, sang several new songs, among which were " The deserted
bride," ami her husband's " Stream beside the mill," both " com-
posed expressly" for her, and both sung charmingly. The
crowded.
Digitized by Google
68
[Jan. 30, 1858.
M. FfiTIS ON THE PRESENT STATE OF MUSIC.
M. Fitis has commenced a series of Articles for the Revu* et
Gazette Musicale — in which he seems about to enter the lists
•gainst the modern schools, or as he insinuates, no-schools, of
music — under the somewhat lengthy and solemn heading of
" What can be done to ameliorate the condition of young composer*,
and to remedy the decadence of music T" These important
problems M. talis promises his best to solve, and devotes his
first article to an exposition of the state of things which has
rendered their enunciatiou necessary. He objects to the practice,
followed in the Belgian and French academies, of sending a given
number of successful students, called "laureate," to sojourn a
certain time abroad. When, says M. Fetis, the competitions were
first established in France, for the election of students to be thus
rewarded, it was good that young composers, having acquired a
sufficient technical knowledge of the art of writing, should visit
Italy, and shake off the trammels of pedantry inculcated in
their course of study. Moreover, they would acquire, by this
expedient, a better comprehension of the value of melody,
and become familiar with the art of singing — at that time, in th'e
schools of Italy, the point from which the education of composers
started. On both these subjects the " laureats" of the Institute
were witiMMt tlwjnoat rudiuicntal notions. ^There^existed tw-
in the admirable traditions of a former age— traditions which
led to writing with elegance, and making every part ting in a
natural manner, throughout the most elaborate combinations of
counterpoint and fugue. Lastly, the pontifical chapel, then at the
height of its splendour, presented masterly examples of the
ancient religious music, executed, too, with a degree of perfection
unexampled elsewhere. A rich field was thuB open lor the con-
templation of style, and its essential properties, in the various
branches of musical composition. Fresh knowledge was acquired,
routine broken through, and the circle of ideas enlarged — under
the inspiring influence of an Italian sky, and surrounded by the
splendid creations of art, and the inspiring monuments of the
eternal city. This was offered to all the young protegts of the
government, though — the critic observes — only a few of them
profited by the golden opportunity. Many, captivated by the
fascinations of the "far niente," returned from Rome with no
other experience than was afforded in the cafi* of the Piazza
di Espagna, and the villa of the Academy.
Germauy, at the same period, offered immense resources for
the instruction of students and the enlargement of their ideas.
Haydn, his Creation finished, was working at The Seasons;
Beethoven was advancing with giant strides in his glorious
career ; Mozart had just ceased to exist, leaving behit d immortal
works, which stirred the nobler hearts of his country; and the
pupils of John Sebastian Bach were making the vaulted roofs
of the German temples echo with the colossal conceptions of
their master. Thus, after the charming melodies of the Italian
theatre, the calm and noble grandeur of the music of the Vati-
can, the " laureates" were edified with deep-stirring harmony,
richness of instrumentation, and variety of form.
From that period the remnants of the ancient Italian school
began to disappear; the number of masters became every year
less; the singers in tho Pope's chapel grew old, and were never
replaced; and the traditions of that school which had made the
singers of Italy the greatest in the world were gradually lost.
A few professors however remained, who upheld the reputation
of the country; and as a compensation for the past, a great
genius arose — one of those who alone suffice to illustrate an age —
and seized tho sceptre of the lyrical stage — Rossini. In tho
works of this illustrious composer, the student found abundant
materials for tho study of melodic writing ; and in Italy alone
wore they to be heard, since in France, always tardy to recog-
nise novelty, scarcly anything but the names of Rossini's operas
was known until 1820.
In Germany, during tho interval from 1814 to 1840, Beet-
hoven had fulfilled his career— the genius of Weber had given
birth to Dtr Freischiitz, and Schubert, Meyerbeer, Mendelssohn,
had arisen ; while in Italy, the operatic stage had produced
Bellini and Donizetti. Thus abundant points of interest and
sources of iostrnction were offered to the young students sent
to travel by the French Academy. Is this the case now! — demands
M. Fetis. Has art maintained its high supremacy t la it
any longer advisable for a student to leave his country ? — and is
he likely to add anything, by the step, to the sum of his ac-
quirement J In a word, is there anything to be learned any-
where I These queries M. Fetis resolves emphatically in the
negative, proclaiming the actual state of music — and, indeed, of
art — in France and everywhere else, deplorable. All the great
men are dead — have ceased to write— or write only for France.
A few meritorious workers still remain in Germauy — Hiller,
Lachner, Reissiger (!), and one or two others. But what can
these do against the extraordinary doctrines which have lately
been promulgated, and encouraged by a revolutionary public t
How will it fare with the student's reverence for the great
masters, when ho is a witness of the scorn with which they are
assailed 7
M. Fetis terminates his denunciation of the new movement
beyond the Rhine, by charging its partisans with exerting every
effort to arrest and counteract the influence of acknowledged
masterpieces. He relates how this conspiracy was revealed to
him by a young Gcrmau musician, who, when one of Haydn's
symphonies was performed at the Conservatoire in Brussels,
gave vent to such expressions of admiration and delight as
though he had not dreamed of such music before, at the same
time confessing that it was never played in his own country,
and that he had scarcely beard the name of Haydn more than
once or twice in his life !
To the manifest dangers with which such a state of things
must be fraught for tho young " laureate" is added another
serious disadvantage awaiting them on their return home : —
the assistance granted litem by the State ceases at the very moment
they require it most. Patronage is withdrawn, and they are no
longer thought of. The libretto, to which they are entitled by
the rules of the Academy, is speedily found to be a mere de-
lusion; and before they can obtain an opportunity for the exer-
cise of their taleuts, they are driven to the resource of teaching,
an alternative which M Fetis aptly designates as the tomb of
genius and imagination.
A statement of the number of " laureate" who have been
accredited from the commencement of the institution brings tho
first article to an end. Botweeu fifty and sixty in number,
with few exceptions, all have died — as M. Fetis expresses it— of
the malady incidental to the music-master.
(Tab* eoutitued.)
Racuei.— Mdlle. Rachel leaves two millions of francs to her
eldest boy. She died a staunch adherent of the Mosaic dispen-
sation, though oft and oft rumoured to have joined the prevalent
form of Christianity in France. A rabbi from Toulon presided
at her last hour. She was buried in the Hebrew Cemetery
at Paris. The Figaro has devoted twelve columns to a kind of
omnium gatherum of anecdotes, letters, and occurrences during
her short but brilliant career ; and some of these letters are odd
enough. There is one in exceeding bad French from F. M. the Due
dc Wellington, who can't go to her " benfice," as be has to attend
Parliament, " of which he is a member." The account of her
singing "La Marseillaise" is full of piquancy. Her visit to
Madame Lafarge in prison, her various appearances in London,
her failure in America, her triumphant progress through other
European capitals, are all fully dwelt on. She is computed to
have received twelve million francs from the time she first
appeared at the Thc.atre-Francais, twenty-five year* ago. More
than a dozen sculptors have executed her bust. She was born
at a small inn iu Switzerland, in 1820, her father being a sort
of gipsy and travelling showman. She sang for yoars in the
cares about the Palais-Royal, and the plate was handed round
for stray sous. In every sense she was one of the most remark-
able women of this century. — Globe.
Nick — Mr. Alexander Billet gave a concert last week at Nice,
where he has been staying for some weeks past. A large number
of the aristocracy of tho place and all the artists attended to
hear the eminent pianist play some chefs d 'ceuvre of the old
masters. The various performances were received with great
Digitized by Google
Jan. 30, 1858.]
69
L VAN BEETHOVEN'S COMPLETE WORKS,
PxblMed under the Xevition qf Dk FlUXZ LlslT.»
Tbk firm of Herr Holle, in Wolfcnbllttel, has just commenced
a new speculation, in connection with the former one, with which
we are already acquainted, and which again justifies us in
believing that it will render general what was previously ex-
clusive, and give the people what was formerly within reach
only of the wealthy and the learned. On this occasion,
Beethoven's works are promised, and the first volume, con-
taining the eighteen sonatas, is lying before us.
Although, when thene editions were first started, we ex-
pressed some apprehension about the rights of older publishers,
our fears have diminished since the issue of the action for piracy
brought by the Berlin publisher, Sehles'mger. A complete
edition of Beethoven's works in their original form, with all the
full tcortt, strikes us, however, as being beyond the resources of
any one speculator, and, therefore, nntil we are informed to the
contrary, we shall understand the title, Beethovem'i Work*, as
applicable only to his pianoforte compositions, with his songs,
and other vocal piecea, to which the symphonies will be added
in a pianoforte arrangement Of the latter, also, we have two
The title-page of the first volume designates Franz Liszt as
revising editor. A comparison with the good old editions of
Haalinger, Breitkopf, etc., shows that Liazt's revision has neither
added nor omitted anything, and this is well, for we desire and
wish for nothing bnt the genuine and original composer, without
nny didactico-Ksthetical assistants. t
We may, as on the former occasion, remark with regard to the
outward getting-np of the work, that it is successful and respect-
able. We hear, however, from many quarters, a quiet complaint
about the dazzling whiteness of the paper, and of the fact that the
notes do not produce so agreeable an effect upon weak eyes as
the usual copperplates, or Breitkopf's more modern type. As
we have no right to prouounce a judgment in the matter, not
having experienced the inconvenience complained of, we do not
announce the fact as a subject of censure, but simply whisper it,
as an observation we have frequently heard, in the ear of the
and prudent publisher; he will consult his expe-
i eye, and perceive what •» the best course
The pianoforte arrangements of the Firtt Symphony, both for
ro hands and for four, are by F. W. Markull, Royal Musical
r in Dantxig. Herr Markull, whose name is favourably
in the musical world, by a great many compositions, such
as vocal and pianoforte works, says, among other things, in a
"It is, perhaps, almost superfluous to mention that this new ar-
rangement, on which I hove betlowcd the greatest trouble and care,
Isys claim to the most perfect independence, and is the immediate
result of a special knowledge of the orchestral scores, without the
intervention of any of the more or less excellent arrangements pre-
viously published. My aim has been to reconcile as true a* possible a
version of the original with an easy pianoforte arrangement, sad to im-
part to the latter a natural flow and clearness combined with the neces-
sary fulness. I have endeavoured to avoid all unnecessary turgidity,
and, at the same time, not to fall into the other extreme of poverty and
emptiness. That s pianoforte arrangement must abandon all preten-
sion to the richness of colouring belonging to the orchestra is a matter
of course ; hut it is possible to convey some notion of this wealth of
tone, without preparing actual obstacles for the practised pianist — and
only such a one will be able to master successfully and completely
Beethoven's symphonies. The arrangement for two hands naturally
■ ;ree of manual dexterity than that for four.
i the Siederrheini*che Uutile-Zeitumg.
t There is, however, a materia) addition, namely, the two-lino
capital letters (A, B, etc.), by which the periods or sections of every
composition are distinguished. We consider this plan exceedingly
serviceable. It is pursued all through, from Op. 2 to Op. 91, and we
strongly hope it will bo continued, since, especially in the case of the
grand sonatas of the later period, it will considerably facilitate, even
for dilettanti, an insight into the structure of the movements and the
but still, it may, comparatively speaking, be mastered with ease, since I
hsre exerted myself, at least, to write in a style perfectly adapted for
the piano, as well as carefully to avoid all inconvenient and unthankful
difficulties. The addition of the Angering for the more difficult
pasisges 111 the arrangement for two hands will be found useful, espe-
cially on plsying the symphonies through for the first time. I have,
likewise, marked where the pedal should be used, because excess in this
particular may matai ially injure the effect of classical com positions."
We have found, with pleasure, that the arrangements, espe-
cially that for two hands, in conformity with the principles
enounced above, which we consider quite correct, and perfectly
adapted to the cud in view, are successfully carried out, and
possess peculiar advantages over any of a similar kind pre-
viously published, without being particularly difficult. The
arranger's task will, it is true, be more arduous for the other
symphonies, especially for the Eroica, and all the subsequent
ones. With regard to the arrangement for four hands, we
must, in this case, too, await the appearance of the later
symphonies, for instance, of this very Eroica, in order to pro-
nounce a deliberate opinion on Herr Markull's work, compared
with former pianoforte versions. At any rate, the edition is,
from the (happily) continually increasing popularity of Beet-
hoven's symphonies, a very welcome and meritorious one.
L. B
PIANOFORTE COMPOSITIONS BY J. S BACH.*
Publi.hed by F. t'HBTSAKOER.
This collection concludes with the fourth volume, now lying
before us. The volume contains the six English Suit**, two
fantasia*, C minor, two fugues, C major, three fugues, C minor,
D minor, and £ minor, two preludes and fughcttaa, D miuor
and £ minor, a fugue in A minor, three toccata*, 0 minor, D
minor, and F sharp minor, fantasia and fugue, 1) miuor, and
prelude and fugue on the natue of " Bach, by an uukuown
author (D tunjort).
The wish expressed by our respected colleague Dix't in No. 8
of this year's aeries of our paper, with regard to the correctness
of the order selected by Chrysaudcr for the two parts of the
Clavier bien Umpiri, in his edition of that work (forming tho
third volume of the collect ion j is gratified by Herr (Jhrysander
in the preface to this fourth volume, in so far as " it is possible
for him to do so in all brevity, and with the proofs which are
for the moment at his command." He says : —
"Stmrock's edition, 1701, but not Peter's old edition of the same
year, placed the Second Fart first, and five versa (see vol. in., p. 209)
simply, I believe, from commercial considerations. The Second Part
was universally proclaime i tho mora important of the two, and, there-
fore the publisher thought it would be (us safest plan to commence his
German- French edition wit i it. Bach himself never called the Second
Part ' Clatter bint [temperr' and, consequently never designated it as
the second part of this work. Miller, in his sketch of lioch's life,
reckons up the lattor's works, and ssvs laconically of those not
printed: — 'Number 9, twice 21 preludes (lorepielt) and fugues,
through all the keys, for the pianoforte.' [Musical iscke Bibliothet,
Leipsic, 17343, iv., 163.) To distinguish the two collections from each
other, they were named during Bach's life, and even some years after
his death, not tlie First Part and the Second Part, but the twenty-four
old and the twenty-four new fugues. Which, now, were the old ones t
About 1758, Kirnberger composed a two-part fugue, which Marpurg
attacked, and the composer afterwards brought out, in 1759, 'composed
and defended by O. Philip Kirnberger.' This afforded Marpurg an
opportunity of condemning it in detail. Both relied ou Bach and the
Clavier bien temperr, and Marpurg, who was almost sa well informed as
Bach himself of the origin sud age of the lattor's preludes and fugues,
expressed himself, on the occasion, as follows : — ' In the aetc four-and-
twenty fugues of the late Ilerr J. S. Uacb, we shall not find a
single instance where tho counter-tbome stands in tho place of the
leader. And, in the older four-end twenty fugues by him, we shall
find only one such instance, where the conclusion of the leader, which,
however, has perfectly strengthened tho fundamental key, belongs to
the upper fifth. Since, however, the notes, which would have belonged
to the leader, must instantly strike us all, every one will see that the
* Translated from the Niederrheinisehe Mneii -Zeituag.
t Query B flat major ? There is no B (which in German stands for
1 fiat) in the key of D major.-Eo. if. W.
Digitized by Google
70
[Jan. 30, 1868.
author, although only onoa in twenty-three (ague*, studiously desired
to make an exception, since, on the other hand, alt the rest, as well aa
the twentv-four newer one*, are quite regular, and exhibit clearly
enough his principles in tlte matter. Hut it doe* n<<t fall to the lot of
everyone to go to Corinth.' (Krit. Breife, 1760, i., 241!). I havo
given the passage entire, because it is inetriictivo in more respect* than
one. The fugue from the older collection, to which reference ia here
made, is, a* ia clear from the example* adduced, the one in E minor
(roL III., p. 38, the Aral throe bars). So much for the present, and ai
far aa facta are oouccrncd."
If we return once more to the third volume of the collection,
the volume which contains this very Clavier bien tcmpfri, we do
bo principally ou account of the appendix, which is especially
intervsliuo, because, iu addition to the thematic catalogue of all
the preludes and fugues, it offers us the " most important and
most instructive," variety of reading*. These roadings affect
principally the preludes, of the first part, too (the older part),
and do not simply consist of isolated departures from the text,
but often of important curtailment*, and even of entirely weir
version*. In the case of the first, Chryaander gives in the ap-
pendix the longer form afterwards rejected by Bach (but which
ha* passed into most previous editious), the shorter one beiug in
the body of the work itself ; in the case of the last — in the pre-
lude in E minor, for instance — he adopts the same course, so that
ws have both readings, the earlier and the later, before us in all
their entirety.
He explains the plan ho has pursued by the passages referring
to the subject in the ninth aud tenth section of Forkel's treatise:
• Utb*r J. H. Bach's L-btn, Kunst und Kurutwerie* As this work
is probably to be fouud in the libraries of only a few of the
musicians of the present day (we have far too much to do with
art-philosophy, to occupy ourselves with art-history, which is
a great deal more instructive), wo here give these interesting
passages : —
"I hate had opportunitiea of comparing with each other a great
many copiea of his principal works, dating from different years, and I
must own I hare often been amaxed and delighted at the means he
employed, in order gradually to render what waa faulty good j what
waa good better ; and what was better even mill better. Nothing can
be more instructive for a connoisseur, as well as lor every sealous
student of muaie, tban such comparisons. It would, therefore, be
extremely desirable that ti c edition of Bach's complete works" (then
commenced by Kiihncl in Leipsie) "should bo followed by a separate
part, in which the most important and instructive reading* might bo
1 from his best works and placed aide by side for the purposo of
ion. Why should not such a thing bo done for tbo works of
it, the poet in lone, as well as for those of the poet in
Forkel's wish was not then fulfilled. Something of tho kind
.■now given us by Chrysander for the Clavier bit* tempiri.
Forkoi says further :—
** In his earlier works, Bach, like other beginners, waa often in the
habit of repeating the same thoughts, only with other words, that is to
say : the same modulation was repeated in a lower, or, fwrhspa, even
in the same octave, or, also, with another melodic figure. Such
poverty he could not bear in Ins riper years ■ whenever, therefore, he
found anything of tho kind, he rejected it without hesitation, no
matter in bow many hands the piece might bo, or how many persons it
might have pleased. Two of the most remnrknble instances of this are
the preludes in C major and C sharp majur in the Firtt Part of the
Clavier bien tempfre. They are both, it is true, rendered half as short
again in consequence, but, at the same time, freed from all useless
redundancy. In other pieces, Bach frequently says too little. II, a
thought was, therefore, not completely expressed, and needed sosne
additions. The most remarkable instance of this kind is, in my
opinion, afforded by the prelude in D minor, from the second volume
of the t'laeier bien tempore. I possess several different copies of this
piece, lit the oldest, we do nut find the first transposition of the
theme into the bass, ns well as many wther passages necessary fur the
perfect representation of the composer's thought. In the second, the
transposition of the theme is inserted in the b.«s», as "fieu «s it
occurs in relative keys. In the third, other phrases are more fully
expressed, and better connected with each other. Lastly, there re-
mained a few turns and figures of the melody which did not appear to
• On the Lift, Ike Art, and the Artistic Wriina of J, 8. Hoc*.
belong to the spirit and style of the wholo work. These are so im-
proved in the fourth copy, that this prelude has become one of the
most beautiful and blameless in all the Claeier bin lempere.
Many people were well pleased with the first arrrangement,
and did not consider the subsequent alteration so beautiful j
but Bach was nut to be led away; he improved tho work
as long a* it pleased Aim to do so." (Tbia prelude is printed only in
the most perfect form in all editions. On this account, and because
Forkel lias described quite clearly enough the transformations it went
through, it was unnecessary to give the various readings). " In the)
beginning of the last century, it was the fashion to overwhelm single
notes upon instrument* with all kind* of run* and ahake*,* similar to
those certain persons have for some time past introduced ia vocal
works. Bach proved his respect for the fashion by composing a few
pieces of tho sort. Such a ono ia the prelude in E minor, in the
First Part ot the Clavier bien tempore, lie soon returned,
however, to nature aud pure taste, aud altered the piece as
it is now printed. The 8eoond Part of the work consists,
from beginning to end, of nothing but masterpiece*. Ia the
first Part, on the contrary, there are still some few prelude*
and fugues, bearing evidence of tho unripeness of early youth . they
were probably retained by tlte author, merely to make up the number
of four-and-twenty. But even here he has, in course of time, mads
improvement* in every instance) that improvement was possible. He
has either rejected entire passages, or given them another turn, so that,
according to the later copies, there remain but few piece* open to the
charge of imperfection. I reckon, among the few such, the fugues in
A minor, Q major, and O minor, C major, f major, and F i
the others are, on tho other hand, excellent i some of
so, indeed, that not one can be thought inferior
the Second Part. The Second Part, alao, i
the outset, aub-equeutly received greater improvements, a* may be i
by a comparison of older with later copies. At any rate, there i* in the
two |»rt* an artistic treasure such as assuredly is to be found in Ger-
many alone."
Bach completed the First part in Ktithen, in 1722, when be
was thirty-eight years of ago, and the second in 1740.
AN ENGLISH PRIMA DONNA IN HIG1T LIFE.
(Tut following paragraph, which has obtained considerable
circulation, is doubtless that to which our Turin correspondent
makes allusion in his recent letters. — Ed. M. If.)
" Xot very long ago a marriage took place between a member nf a
family of the highest rank and a young lady what* only dowry was her
youth and beauty. After the wedding lour they returned to' London,
the bridegroom beiug much sought after < /rum hit high connection*
and his many amiable qualities), aud the youthful bride could not but
hold her position among the most beautiful of the beau monde. To
her many other attractions she added that of the possession of a very
splendid voice ; ond, from her being always ready to accede to the wishes
of those who desired to hear her sing, she was doubly welcome in every
talon. Within two tears of t he marriage, howevcr,thcnuracroiisA<i}<f*e*
of the bride's weekly soirees dansantet and occasional private theatricals
were n->t a little surprised at an announcement that the parties would
be discontinued ; and a fen weeks after the ynung couple's tastefully,
arrange! residence in Belgravia was closed, and ere long the furniture
waa publicly dispoaed of. Varioua were the reports as to tbo cause of
this sudden change ; a few friends only knew the truth, namely, that
the husband's fattier had refused to augment his son's allowance. Our
readers will not care to know where or how those who are the subject
of these remarks s[ient the two years which hero passed since what wo
have related took place ; suffice it to say, that, not a month ago, they
were residing in a small house in the suburb* of London, and that it
was here, the week before last, a communication was received which is
likely to effect a most important change in their circumstances. It
was to the effect that the director of the Theatre Royal of Turin,
having heard tnat the fair songstress possessed a voice far more beau-
tiful than any he could find, even in the land of song, and dramatic
talent of high order, hopod that Madame would consent to become a
prima donna in his establishment during the coming season. The
Udv's surprise can scarcely be dcsrrilwd. However, after a few hours'
consultation with her husband, she decided that what Mdlle. Picco-
louiini, a la'ly belonging to one of tho highest families in Italy, could
do— what Madame Soutag, the wife of an ambassador, had done— she,
the wife </J an English commoner, could do also, ai
• Laufwerk.
Digitized by Google
Jan. 30, 1858.] THE MUSICAL WORLD. 71
when there wis iin object 10 dear u in the present cue— namely, that
of rescuing a doroted husband from a slate of poverty, into which lie
had been cart for the lore of her. The young couple left town on
Monday last for Turin; and although, among the many aristocratic
families to whom tie and her hiuband arc related, we fear the majority
will mndrmn her for the aten rbi- has taken, vi't wo are clad to find
■—namely, that
: related,
'will condemn her for the »tep ahe has taken, yet we are glad to
that there arc tome who giro her their beat wtabc* for her aucce»».
What operas she is to appear in, and when ahe is to mako her debut,
are question* we have heard and which we hope our transalpine friends
will anawer for ua. All that we do know is that Fides in Sfejerbeer's
ProphXe is a rAU that has been offered and has been accepted."
MUSIC AT TURIN.
{From our own Correspondent.)
Jan 20th.
Ntwithstanding the cold, which for the lut month has been
excessive, and a heavy fall of snow, which baa rendered all out-
door exercise anything but pleasant, night after night hundre<U
of persons have tramped their way to the Vittorio Emmanuclo.
This theatre, by a very efficient representation of Mosi, carries
everything before it, and leavea the Regio, which is, jntr excel-
lence, the opera-house of Turin, far behind. The success of Mosi,
far from diminishing, has so increased that the direction has
determined to receive no more regular subscribers. At the
Regio, in spit* of the laudable exertions of Hadlle. Marai, who
sang and acted pleasantly enough as Berta, and Signors Masai-
miliani and Benedetti, who showed themselves equal to the
of Jean of Leyden and the chief Anabaptist, the
execution of Le Prophite was by no means satisfactory.
to ■!..■> has been produced, for Madlle. Moreau-Sainti. The
French party, which here is considerable, mustered strongly
on the occasion, and applauded their fair compatriot enthnsiasti-
csjly. Their applause, nevertheless, failed to make the public
satisfied with the lady, and the press in general is not eulogistic.
Some years ago, before Madlle. Sainti bail appeared on the stage,
I had the pleasure of hearing her sing, and then I formod an
opiutou, which is still unchanged, that she is much more suited,
in every way, to the French Optra-Comique than the graud
Italian Opera, and perhaps still more suited to the concert-room
than to the stage. Since I heard her she has evidently studied
a good deal, but the traces of the French method, so opposed
to the Italian feeling, are too visible for her to become a
favourite on this side of the Alps. In her aria, "Caro nonie," she
showed taste, and in other portions of the opera displayed no
want of facility ; but she is entirely deficient iu dramatic power,
and has too small a voice for so large a theatre as the Regio.
Bignor Mirati, the tenor, looked well as the Duke, and sang
and acted with vigour and energy. He was much applauded,
and has already become a favourite. In Italy, however, it is not
always those who have the most merit who obtain the greatest
reputation. An artist, with a good robustissimo voice, and one
who does not object to favour the audience with nu occasional
Ut de poitrine, is sure to find admirers. Such a singer as
Signor Mirati, although hero ho is considered a first-rate tenor,
in London would be voted unrefined and noisy. When he sang
the audience were most uproarious in their applause. After
the popular " La donna d mobile," the demonstrations of enthu-
siasm were such as can only be witnessed in an Italian theatre.
Though I speak of him last, the artist in the piece mint worthy
of notice is Fizzicati, who is the best Rigolctto I have seen any-
where, with the exception of Ronconi and Corsi, and to the
latter I doubt not that by many he will be preferred, as he has
the great advantage of possessing a fine voice, which ascends to
notes scarcely ever found but in Italian barytones. With a
S repossessing appearance and a truly dramatic action he pro-
uccs a genuine effect. In the duet with Gilda, " Si, vendetta,''
in which he almost surpassed Corai (who in this scene is exceed-
ingly grand), he displayed some splendid notes, and also showed
iperior dramatic power. As a buffo I should say that ho does
but in any part that calls for
w> (• ;„t,.\-; ,- — — • •
ne is interior.
I told
the secondary part* being respectably filled, and the
chorus excellent, RigoUtto was entirely successful.
At the Teatro-Nationale La Tniviata has been given for
the rentrtt of Signor Castellani, who. eight years ago retired
into private life. Had it been his debut one would not
have wondered at a little want of self-possession, bat
as he has sung scores of times on these boards the painfu[
nervousness under which he laboured the first evening was
unaccountable. Had I only heard him on that occasion I should
not have pronounced him a diamond of the first water; bat, in
the subsequent performances, having recovered hi* courage, he
has been able to do himself justice, and I do not hesitate in
saying that he is a most agreeable tenon Uggitro. His voice is
exceedingly sweet, and his singing bears strong proofs of his
having studied in a good school. In the scenes towards the end
of the second act, in which Alfredo furiously dashes the purse
and portt ait at the feet of bis mistress, he showed himself an
energetic actor, but was unable to conceal the ravages Time had
made on his voice. In tho duet " Parigi, o cara," however, the
brinditi and other parts, where the composer has not written
too high, his singing was so pleasing and so skilful that the
defect to which I nave alluded was imperceptible. Violetta had
a very efficient representative in the person of Madlle. Sootti.
Her naive coquetry at the commencement, her subsequent
distress and her burst Of jov when she meets with hur lover,
were all very good in their way, and duly appreciated bv an
indulgent audience. Coming so soou after Piecolomini, whose
performance is still fresh in the memory of all here, sub-
jects her to a comparison by no means advantageous. Never-
theless the papers speak well of her, and at the National* the
audience are very lavish of applause, so I dare say the lady is
satisfied. Sig. Monari, the barytone, who possesses a clear,
fine-toned orgau, deserves a word of praise tor the care he
bestows upon the part of the elder Geruiont, and, as the band
and chorus are much bettor than might be expected at a theatre
where the prices of admission are so low, I nave not been sur-
prised on every visit I have made to find n large assemblage.
Madame Lancia, who I stated in my Inst letter was to have ap-
peared as Fides, in 11 Profelo, has informed the director that
she would prefer a less arduous part for her first apwarance.
I am told that Rol>erto Deferens has now been decided on for
the lady's debut. As I hope to be able to obtain the entree to
the rehearsals at tho Regio, I shall have an opportunity of hear-
ing " the prim'i donna in high life," as she is termed, beforo tho
public in general, and immediately I have heard her, you may
rely on my giving you my opinion, without loss of time. I
heard the other day that the professor under whom she is com-
pleting her studies, declares she is the cleverest pupil he ever
had and capable of great things. I must not omit to mention
a fact which a musical journal here gives as news.
Speaking of musical affairs in London, it says Her Majesty's
Theatre is at present closed, but will opeu tor the season in a
few days with Meyerbeer's L'EtoiU du, /ford, Madlle. Piecolomini
essaying the part of the heroine.
Warsaw, Jan. U. — There has recently been a sort of national
celebration at tho theatre in the first appearance of a Polish
opera, the title whereof is Ilalka, and the author M. Moniuszko.
The public of Warsaw received it with quite a patriotic warmth,
and greeted several pieces with plaudits, among those an air
sung by our tenor, Dobsky. The piece is of the most primitive
simplicity ; but the score, though not containing many melodic
and original ideas, is the work of a musician of talent.
Madame Paulino Viardot bade adieu to us yesterday in a
benefit concert. Not a place remained empty, and this amount
of support was justified by the ingredients of the entertainment
as well as by the celebrity of the artist. She gave us a
formance divided into four parts. 1. Excerpt* from the Bar'
the music lesson, in which she
the cavatina, the duo, and
duced a mixture of S|
air from Me;
sred duced a mixture ol Spanish airs and Polish roeioaies. x. too
loes grand air from Meyerbocr a Prophit*, hitherto unknown to us.
thoB 3. The third act of OteUo, in which Madame Viardot was sup-
fins portod by Dobski. 4. Last, the finale and rondo from the
and Sonnambula. Overwhelmed with applause and bouquets, Made.
2. The
to ua.
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THE MUSICAL WORLD.
[Jan. 30, 1858.
Viardot was recalled no less than fifteen times in the evening.
Io order to keep her among u» a few days longer, the ladies
hero have Latched a small plot gracefully conceived. They
have prepared a morning concert, in which Madame Viardot
will be aaved all tronble except that of singing. The Prince-
Governor has aent 1 ,200f. for hia box on the benefit night.
Amateur Theatricals at Swakelkyb. — (From a Corre-
spondent).— The hospitable mansion of Mr. Clarke waa thrown
open on Tuesday evening, the 12th inst., to the aristocracy of
the neighbourhood, to witness the performance of The Loan, of
a Lover, Tventy Minute vitk a Tiger, and Belsy Baker. All
the characters were sustained with spirit, in particular those of
Delve and Gertrude, by Mr. Clarke Thornhill and Miss Clarke.
Captain Harry Lee Carter, in the part of Charles Beeswing, in
Tuent^ Minutes with a Tiger, elicited roars of laughter; an 1
Mrs. Clarke Thornhill, in spite of its being her " first appear-
ance," played with the tact of an experienced actress. In the
farce of BtUy Baker, Mr. Twiss and Miss Clarke, by their clever
performance, kept the audience in good humour till the end.
Private theatricals have seldom been carried out with greater
success than at Swakcleys.
His Majesty the Kinu or thk Belgians has been gra-
ciously pleased to bestow upon Mr. Henry Bradbury the Belgian
Cold Medal of Merit, for nature printing.
rpHKATRE ROYAL, H A YM ARRET.— Under
A Hit i,, r ml of Mr : : . i - Od Muudar. February l»t. Mid during
the week, to commence at 7 o'clock, with &hendan'e comedy of THE RIVALS, as
performed ■ u Friday night, January i j h, by command of tier Majesty, in honour
of the nuptials of H R.H. the Princess 11. y'.a with HIV II. the Prince Frederick
WdJUrji or* Prussia. The characters will tie represented, as on that occasion, by
the Haymarkct Goai|arjy. 8tr Autbony Absolute, Mr. (Jiiltipcrjdalc ; Ca-jitain
Absolute, Mr. W. Parr en ; Faulkluid. Mr. Howe ; Acres, Mr. Buck atone , Sir
I.ucms OTVsjrgrr. Mr, Hudson; Peg; Mr. 01. irk ; David. Mr. Ke~lcy: Coachman,
Mr. Crie; Mm. Malaprop. Mre Poynter; Lydla Lrtnguiah, MUe Reynolds; Julia.
Mlsa Chalmers; Lucy. Mr*. K r'ttxwill »ro After wl ich. e new grand comic
Christmas IVub>ttunie. entitled THK SLEEPING BEAUTY IN THE WOOD;
OR. HARLEQUIN AND THK SPITEFUL FA1HY. Tl.« so ■ i.ory by Mr w,:i»»,
t'sjlradt llartsqulu, Mr. Arthur Lscieroj ; t'oluiubtne, MLu F .uny Wrtjfht ;
PauUluon, Mr. Meeker ; Clown, Mr. Charles Lcclercq ; The Priuoren ou her
travel*. Mien l-ouiee f^clem)
NEW ARRANGEMENT OF PRKPS.-Orehcetra Stalls (which mar be re-
tained the whole of (be evening;, imd for which lucre will be noeliargetor UhAIujiX
6s. each. Pin i r Peace. -Dree Uoice. 6a. . Upper Doxee, He. : Pit, I*. ; (lallrry, le.
■, 3e : Upp r Boxes ?s. : Fit, le ; Gallery, Sd.
, and One O.iioea and ahaif each. Stage Manajer,
ROYAL PRINCESS'S THEATRE.
UNDER THE MANAGEMENT OF MR CHARLB8 KRAN.
ON MONDAY and during the week will be presented
Sl.ek.miv-. Way uf A MIDSUMMER NIGHT'S DREAM. And tbe
THEATRE ROYAL,
Jinuar^ SSta. the
After
OF CUPID
Mary Keel, y ; Punchinello. Mr Le
Mr. Rxkli.gl.aiu.
AD EL PHI — This evening,
el THE POOR STROLLERS, iu Ml ich
•a. B. W.b.tnr. Wright, Paul Beiford, Mid Madame CHe-u will api-
wMch tbe Burto-o,ueanl Pantomime of II ARLKO.U1K AND TnB LOVK8
UPID AND PSTCHB. Ilarlenuln, Mice Mario Wi ton ; ColUBir4..c, Mies
; Ckiwn, Mr. Henlereou; Pantaloon,
ROYAL OLYMPIC THEATRE— This evening, tbe
l-erforoi'iuee will coruracuee with THE TRAGEDY O.URBS
ti c new eatrirao-nnu of THK DOGE OF Db'RALTO. To
HOOTS AT THE SWAN. Commence at Lalr-p j ~.
QT. J AMES'S THEATRE.— PROFESSOR WILJALBA
V~1 FKIKEL1. —Wednesday and Sot rd>y after ii--.ii* at 3, ami every evening
■>t 8. 8-ailo. &s ; Babxioy Stall., 4* : Hoses, 3s ; Pit, Ss.; Gallery, la. Private
and One Guinea, Places to be secured
, T«o (liinw. Owe Guinea auda-balf. i
al Mr. Mitchells Royal Lib rare. W. OU Bou.l .trevt.
r«REAT NATIONAL STANDARD THEATRE,
VT SH(>Hn>ITCH.-Pr-ph.U.r. Mr John Docaiaea
CONTINUED i.tantloirs SCO E4s OF IHB GREAT P.iNTOMIMB OF
THE SEASON The Trius!-'»ni*i:»u Iwnt l r..n..nn.-.el uneejiulle-l Huu lnds
unable •» ob' iln a iml« <in. No cha. n iequire.1. The Pur.tnrninn every e.enina.
Pantomime ffr.t. tfOBMINU PKRPOHMASCB or 1 e PHur.aoimo e.crr Mtm
day atbair-iKatlt. Kv«ry evening to cnmtiwoce with tbenew, gor.oous, eomie Pan-
toutime of GEORGEY PoROEYPUDDINO AND PIE : OR, 11ARUSQUIN OLD
DADDY LONG LEGS, with t»e magniSceitt Tramfbrmatioii Seooe. ackitowl dged
hv all the beat ever produced in England To cniK-lud* alteniately with the
d'rnmas of MARY, THE MAID OF THE INN. and THE BAT OF BISCAY, 0
TO CORRESPONDENTS.
Mr. Crahe's /«ff*r arrived too late.
Mcsicolo.— We have no remembrance of the " Mutual tale," and
no room at present for ■ John Bull."
Habitur— H Matrimonio Segreto.
MAKK1E0.
Recently, Henry Wylde, Mtu. Doc, to Miss Jane
THE MUSICAL WORLD.
LOUDON, SATURDAY, JaNUAar 30th, 1858.
Another of the demigods has passed away ; another
genuine artistic glory is extinct On Saturday the patri-
arch of the Italian stage — " noire pert d tout" as bis com-
patriots reverendly styled him — died, of dropsy, at Naples.
Lablache lias gone to join Rachel in a better world.
The death of a great dramatic artist, whose genius and
physiognomy have long been familiar to the public, leaves
a void that cannot be fillod up during the life-time of the
actual generation. He may be replaced by another in his
best parts, and even efficiently replaced ; but it is not
enough for those who, accustomed to the first model, have
become past- worshippers out of pure affection. Which
among ourselves could tolerate another Dr. Bartolo,
another Don Pas. pule, another Geronimo, another Don
Muguifico, after having seen Lablache, who identified himself
with these characters and made them hia own 1 What other
face, what other figure, what other voice, what other talent,
would bo accepted by the present race of opera -frequenters
as substitute for his? Nor is there anything unnatural or
unjust in this predilection for long-establuthed types; on the
contrary, it is honorable to humanity, since it represents
gratitude for favors conferred, and shows that the pub
after all, is not so unfeeling and utterly heartless an
as certain moralists have endeavoured to paint it.
Of all the lyric artists that ever came from Italy to
England, Lablache was, beyond comparison, the most
popular. We make no exception. By popular, of course
wo do not intend tho most "attractive," even the uninitiated
being aware that a bam, no matter what his merits, can
never by any chance expect to rival a soprano or a tenor in
the eyes of managers of Italian theatres, or in direct influence
upon the paying public. As in a novel, or a play, so in an
opera — the hero and heroine are the personages that absorb
the greatest amount of interest ; and the hero and heroine
being, in most operatic representations, impersonated by the
tenor and soprano, it is not at all surprising that they
should bear away the palm in the estimation of the
crowd. An indignant parent, a deep scheming villain, a
deposed monarch, a rabid priest, a besotted magistrate, an
eccentric charlatan, lias no chance, in the long run, against
the Romeo or the Juliet of the stereotyped lyric drama.
And this is quite independent of the peculiar spell wLich
the highest voices, both in the male and female register,
have exercised, exercise, and must always exercise, upon the
sympathy of tho masses — just as, without knowing why, nine
persons out of ten, who listen to a quartet for string instru-
ments, will award .ill, or nearly all, the merit of the execu-
tion to the first fiddle.
The popularity which— iu common with all who have
watched the progress of Italian opera in this country, during
the last quarter of a century — we have adjudged to Lablache
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Jan. 30, 1858.]
THE MUSICAL WORLD.
73
is, therefore, apart from such considerat ions. He was a man
rui generit, thoroughly original, a consummate artist, and
endowed with an idiosyncnu y, both personal and mental,
that separated him from his compeers, and enabled him to
set his mark upon everything be took in hand. Early fami-
liarity with the public grow at length into a sort of
intimate confidence between the actor and his patrons;
and this ultimately reached such a point, that, instead
of undergoing the ordeal of criticism, in common with
his fellow-artists, Lablacbe was accepted by the Opera-
Etrons as a sort of brother AriBtarchus before the foot-
hta, sharing with them whatever opinions, favor-
able or hostile, the performance might elicit If Grisi,
Son tag, or Jenny Lind sang well, Lablachc and the audience
would simultaneously declare their approval ; if things went
slovenly or ill, Lablacbe (invariably, and seldom otherwise
than deservedly, held blameless) would convey— by a shrug,
or a wink, both eloquent and unmistakeable— how entirely
he coincided with the audience in their smothered or openly
manifested expressions of dissent
No actor ever "filled the stage" more entirely than Lablacbe;
and this not so much because bis frame was colossal, as be-
cause he was born an actor, and the stage was his element
How dignified his deportment in tragedy — how easy and
graceful in comedy — how unrestrained, intensely humorous,
(and, even when most exaggerated, never verging on licen-
tiousness) in farce.
The great artist expired where he first saw the light —
at Naples— in his 64th (some say 62nd) year. All Naples will
mourn his loss and respect his memory. In this one feeling,
if in no other, Englishmen can sympathise with Neapolitans ;
for the death of such a man as Lablache is a blow to every
country where art is recognised and cherished as an important
of civilisation.
There is in the career of the great French actress whoso
funeral obsequies were recorded in our last number, a point
very likely to escape comment among the thousand charac-
teristics and peculiarities, true or false, destined to form the
staple of her biographers. Yet the point, though calling for
no remark in her own country, as being in the common
course of things, should not pass unnoticed with us, to whom
it may furnish a theme for useful reflection. Rachel, who
revived the faded glories of the French classic drama and up-
held the proud traditions of the French stage— Rachel,
whom the world acknowledged as an unmatched exemplar of
the true genius and the faithful artist — Rachel was essen-
tially a product of that effective support and fostering
patronage of the arts, which is a system in French society,
and a principle in French government. Not only is it a
special business of the State to provide the amplest means of
education for all who seek to devote themselves to the arts,
and exhibit the necessary aptitude, but tho French people at
large follow spontaneously in the same path, and private
institutions for training proficients in the various depart-
ments of art are abundant The result of such a careful
wardship of the artistic talent with which the nation is on-
trusted is, that scarcely any becomes lost for want of opportu-
nity, or through discouragement and despair at insurmount-
able obstacles. Thus the eminence of the country for
natural capacity to shine in this important element and
higher grace of civilisation is comparatively enhanced.
It has been pithily said — by Goethe we think — "Take
care of the beautiful ; the useful will take care of iteelf."
Nothing can be truer than this, and no truth has been more
neglected in this country. Hard necessity — mother, as the
proverb has it, of invention — will drive us on rapidly enough
in the way of practical progress ; and such inertness and
opposition as is met with only acts as a healthy stimulant
to the rougher sort of energies engaged in the work of
material advancement. Not so with the delicate growth
of the world of art ; not so with our unbidden aspira-
tions towards all that is graceful, beautiful, and sublime : for
these no nursing can be too tender, no attention too soli-
citous. Indifference, neglect contempt, rouse not, but stifle
the powers of tho artiste The stormy turmoil and trouble of
every -day life scares away the halcyon brood of tho Muses.
Yet England has scarcely a single institution by which
assistance, fostering protection, and useful guidance, are
afTorded to the early struggles of the art-student. Such as
do exist — the Academy of Music and tho Academy of
Painting — are on a narrow and stinted basis, crawl sluggishly
on away from public ken and control, and lack the liberal
scope and effective agency of national institutions. Strange
to say, too, the only instance of State patronage systematically
accorded to any brauch of art — a recent innovation, from
which some hope might be derived — is useless as a pre-
cedent, from the abject utilitarian motive on which it is
grounded. We allude to the Government Schools of Design
— a notable specimen of state solicitude for national taste I
It might figure in that old burlesque play of the Aniipodet,
where old men go to schools kept by their children, and
everything is conducted in a similar topsy-turvy fashion.
Would not the Government of the Antipodes rule, that for
actors, poet*, musicians, composers, singers, painters, and
sculptors, the antipodal public might even shift as it
could ? — while its weavers, paper-hangers, and cabinet-makers
were vital concerns, and the State must look to them ? They
might get a sublime symphony, a soul-purifying tragedy, a
heroic painting, on any hedge where such tilings grow ;
but paper patterns, designs for silk and calico, the lines of
an arm-chair, the moulding of a cornice, the shapes and
colours of the meanest household utensil, must be on true
principles of taste, to develope which the State builds hot-
houses and conservatories— at Kensington, Brompton, and
elsewhere; appoints head gardeners— Owen Jones, Redgrave,
Cole, Ac. ; supplies manure — Parliamentary grants.
Is it not worth reflection how much we are losing by
this insane neglect of the worthiest and noblest ingredients of
civilised life in favour of all that is comparatively " rank and
gross in nature V If haply a Siddons be wandering at this
moment, tambourine in hand, from tavern to tavern, will
even a miracle place her, four years hence, on the boards of
Drury lane, a proficient mistress of English, learned in all
tho arts of the declaimer, in all the resources of the
mimic art — with all appurtenances and means to boot —
to give immediate scoihj and efficiency to the great
within her!
There are some remarkable echoes that go babbling on
so long after the sound to which they owe their origin is
hushed in silence, that we may almost take them for an
independent voice.
Such an echo is tho echo of the " Nisbett laugh," one of
the most charming sounds that ever fascinated the hearts of
a theatrical audience. The fact comes drily stated to us —
much too drily indeed — that Lady Boothby, commonly
called Mrs. Nisbett, is dead. To the stage she has been
dead for some years; and although her earthly career has
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THE MUSICAL WORLD.
[Jan. 30, 1858.
been lamentably short, she almost belongs to a past period of
the histrionic profession. But still at the sight of her name
the " Nisbett faugh " awakens within us.
There is, indeed, nothing to obliterate the "Nisbett
laugh" from the memory. It was altogether unique — mi
generit— not to bo rivallod. Wo do not remember the
readings or the renderings of Mrs. Nubott, but wo dwell
upon the music of her laugh. Her " Neighbour Constance" —
the character with which, above all others, she is associated —
was an incarnate laugh,as feminine as it was mirthful, and how-
ever other actresses may succeed in the part, they are sure to
fall short of the laugh. The excellent actress, whoso dtitnt
at the Haymarket was the event of last autumn, once more
added Mr. Sheridan Kuowles's liveliest play to the list of
" acting dramas," and Neighbour Constance became again a
familiar figure. Nevertheless, she was without the " Nisbett
laugh." That is sure to be unattainable.
Deeply is it to be lamented that every death or retirement
in the theatrical world leaves a gap that cannot be supplied.
We have few aspirants waiting in the background for a
vacancy that may enable thorn to display talents previously
hidden, but the histrionic car/tt becomes thinner and thinner
with each succeeding mortality, and the rise even to com-
parative eminence is slow indued.
Mrs. Glover, Mad. Vestris, Mr. W. Farreu, Mrs. Nisbett —
who supplies the place left by auy one of these, and what can
comedy Ik> with the several gni>s formerly filled by their
names? No leading old man — no leading old lady — no
elegant toubreUe — no representation of feminine joyousncss;
and to all these negatives let us add another of longer
standing — no dashing young gentleman.
Fuimxu Trots. This is a dismal state of things. Let us
e'en console ourselves by thinking of the Nisbett laugh.
DEATH OF MRS. NISBETT (LADY ROOTIIBY).
Tun very sudden death of this lady, which took place on the
16th inst-, at her residence, Rose Mount, St, Leonard s, Hastings,
was brought on by domestic afflictions. Louisa Crauatoun
Boothby, born at BaU's-pond, Islington, on 1st April, 1812, and
at the time of her death, in her forty-sixth year, was eldest
daughter of Lieutenant Frederick Hayes Macuainara, 62nd
regime ut, aud Jane Klizalieth Williams, his wife. Early in life
this lady was obliged, by family misfortunes, to make the stage
her profession, and, appearing in the provinces at the early ago
of thirteen, laid the foundation of her career as a comic actress,
in which she was subsequently unrivalled. After a short
engagement in London, and being then scarcely nineteen, she
married Captain John Alexander Nisbett, of the life Guards,
in January, 1831 , who shortly after lost his life in trying a horse
not thoroughly broken in. Captain Nisbett being under ago at
the time of his death, aud the widow not boing then allowed
any of his property, she was again induced to appear on the
stage, where she again obtained fresh fame, and added new
lanrels to her great name as an artiste. About the age of
thirty she married Sir William Boothby, ninth baronet of that
name. Retiring with her husband, Sir William, to Ashbourne-
hall, Derbyshire, she was allowed but short domestic peace.
Sir William dying shortly afterwards left her again a widow.
Once more she returned to the stage, but ill-health shortly after
obliged her to retire, since which time she has resided with her
mother and brother in great retirement. Repeated shocks,
caused by the almost sudden deaths of her nearest and dearest
relations (mother and brother), so preyed upon her already
over-worked and over-tasked frame, that she was unable to
bear up against them, and on Thursday week she was attacked
with an Alness from which she never after rallied, and died on
the Saturday following, deeply regretted by hex family, by
whom she was dearly beloved, and lamented by a numerous
drclo of friends, who Joel greatly the loss they have sustained.
HER MAJESTY'S THEATRE.
Tub third Festival Performance on Saturday was the best
attended of the three, for reasons unfamiliar to the audience.
The theatre presented a magnificent appearance : all the rank and
fashion of the empire— excepting such families as were debarred
from appearing in public iu consequence of the deaths of the
Duke of Devonshire and the Countess of Wes
present. Ths following was tho programme : —
LA SOHMAMBULA.
MUftio ut actum.
r arranged by Mr.
CnAIUCTCKS.
Count Rodolpho Signor Belletti.
Teresa Mademoiselle Sondins.
Amina Mademoiselle Piooolomini.
(Her Snt n|.paurwfe in that camuitar).
Elvino Signor Giugllini.
Lisa Mademoiselle Sunnier.
Aleasio Signor Cwtelli.
A Notary Signor Msrcuriau.
Conductor Signor Arditi.
A FESTIVAL CANTATA.
Composed for the occasion by Mr. Howard Glover. The word* by
Mr. John Oxenford.
To COKCIHI WITH
A DIVERTISSEMENT A LI. KO O HI Q UK.
By M. Msasot.
Scenery by Mr. C. Msr.lisll. Urease, under the .upsriatendooce of
Madame Cop* re.
Iris... ... ... ... Mademoiselle Clavelle.
(Her first &ppr*n»n(xt in Bngtaod.)
L'Hyinenee ... ... ... Mademoiselle Morlacchi.
Flora Mademoiselle Pasqusle,
Mdllu. Piooolomini attempted the arduous part of Amina
for the first time; and, considering ths difficulties presented
by the music and the young lady's means, tho performance was
highly creditable to her talents. That she sang all the music
with the requisite brilliancy and power was simply impossible;
but that she surpassed expectation in more than one instance
was squally true. The rondo finale was decidedly her best vocal
achievement, and here her passion, intensity, and abandonment
were displayed to infinite advantage. In the aria tTinJrata,
however, Mdllc. Piccolomini would have done better to adhere
more closely to Bellini. The effect of tho rondo jinaU was de-
cisive, and at ths fall of the curtain the audience were in rap-
tures, and summoned Mdlle. Piccolomini unanimously before the
footlights.
Sig. Giuglint s Elvino is in many respects one of his most
remarkable achievements. True, we might have desired ~
grief and less display in the icena'" Tutto 6 sciolto," and i
what more earnestness in the by-play of the last
feeling and power of voice, however, displayed by 8ig. Giuglint
in the finale to the first act, when Elvino believes Amina,
guilty, were worthy of any tenor of any tims. He was raptu-
rously applauded.
Sig. Belletti sang the music of Count Rodolpho to perfection,
and Mdlle. Sannier gave importance to the unthankful part of
Lisa. Mdllc. Sondiua, too deserves mention for her careful
performance of Theresa.
The Royal party arrived at nine o'clock — her Majesty is
punctuality itself— just in time to interrupt the finals of
the first act. The grief of Amina and the despair of Elvino
could not divert the combined fseliugs of loyalty and curiosity
from their course, and the majority ot the audience turned their
attention from the stage to the box, observing, nevertheless, a
decorous silence.
After the opera the new festival cantata, prepared for the
occasion — the poetry by Mr. John Oxenford, the words by ~
Howard Glover— was performed. We subjoin tho words :—
CHORUS.
" liaise on high s joyous song,
Lei the world your rapture know |
In s torrent full sad strong
*WV » viA V M k\ UUVU t viVVO 4a V jf s
Digitized by Google
Jan. 30, 1858.]
THE MUSICAL WORLD.
75
Loyalty each bo*om fin*,
Beeped lore each toul inspires,
Shout aloud ; th' exulting sound
Will from heart to heart rebound."
SOLO— Siowoa OroaLDri.
" Xlie great Iloheiutollera will bear you rejoice,
Tlie Ouclpb, lion-hearted, will liat to your Toice ;
From Heav'n they look down on their children below.
And greet the broad earth they adorn'd long ago I
They view ui now, the mighty of the past,
A bleating on oar land to cast,
The leafy palm they
Hail, thou shad* of the hero !
Hail, thou shade of the bravo!"
CHORUS.
" Te people of England, all aorrowa forget.
Thi* day not an eye mutt with grieving be i
Thi* day we devote to the holiest joy,
No trouble or care mutt th 1 feeling alloy.
When future years are numbered with the past,
Enshrin'd in mem'ry still shall last,
The happy day that gave
To the daughter of heroes the sod of the braTC."
SOLO — Mapcmotsilir PicooLovrnn.
' Now in gentle murmuring* let us breathe a heartfelt prayer,
Guardian angels spread your wingt o'er the Royal youthful pair :
Brightly hat their life begun, may it ttill unruffled flow,
litppinett, a tpotloea tun, o'er them shod in softest glow.
O'er them ehed its softest glow."
On Tuesday, the extra performances, at reduced prices, were
resumed, and hi Sonnambula was repented, with Mr. Howard
Glover's now Cantata, and the ballet-divertutetneiit, L'Hymente.
On this occasion Mr. Glover's Cant<t/a stood a fairer chance of
appreciation, the execution being infinitely better than on Satur-
day. The audience applauded liberally, and the cantata achieved
an undoubted success.
On Thursday II Trovatort was given. The state-box and
retiring-room being open for admission to the occupants of
boxes and stalls, on Tuesday and Thursday, attracted many to
view them between the acts. The taste and splendour displayed
in both were the theme of general admiration.
Last night, Her Majesty and her royal
theatre in state.
CONCERT AT BUCKINGHAM PALACE.
Her Majesty gave a grand concert at Buckingham Palace,
on Friday evening, the 2*nd instant. The following was the
SECOND YEBSK— Sr/ico by Muhvi
" Soon the parting hour will come,
Joy is mingled with rogrst ;
Royal bride, thy native home,
Girt by ocean, ne'er forget.
Qentle be the galea that bear
Britain's child to loreign binds ;
Angels guard the treasure fair
Trusted to your fost'ring hands."
CHORUS.
" Rite on high a joyous song.
Lot the world your rapture know ;
Id a torrent full and ttrong
Let the blended voice* flow."
FINALE.
" Hail to the Queen of the whilo-eliff'd 1st*]
Still may she bask beneath fortune's tmile ;
Blessed by the favour of Hear'n abive,
Messed in her cliildren's— her subjecti* love."
The mnsic of Mr. Howard Glover (who presided in the
orchestra) is both spirited and clever. The opening chorus, in
a jubilant strain, faithfully reflects tho sentiment which the j
poetry aims at conveying ; and the tenor solo, with its choral
burden, invests the liues apostrophizing tho "nohcnzolleru" und
"tho Guelph" with a totio of martial ardour peculiarly appro-
priate. The solos divided between "soprano" aud "mezzo
■oprano" contrast effectively with the foregoing, and by their
tranquil and expressive character afford thu necessary repose.
The chorus, "liaise on high a joyous song," which commences as
a four-part fugue, with regular responses in tho orthodox con-
trapuntal mnunor, connects these, by an easv and natural transi-
,with the final chorus-" Hail to the Queen"— where the
nt style of the opening is resumed and carried ou, with
J vigour, to the end.
We wish we could add that tho execution of the caiUat'% was
such as to give it anything like a chance of being appreciated.
Bat unfortunately this was not the case ; the whole performance
was nothing short of discreditable.
The ballet divtrtitsement calls for little remark. The dancing
of Madlle. Clavello — a dtbutantu — was spirited and neat. The
device at the end — "a somewhat doubtful combination of green
fire with real water," encompassing a rampaut effigy of St.
George and the dragon— can only bo praised from a Draconic
point of view.
Overture, (Die luttigen Weibcr roll Windsor)— Otto Nicolai i Part-
song, " O, who will o'er the downs so free f" — Pearsall ; Harvest tong
— W. C. Macfarreti; Pa* de Selial, (La Bayadtn)— Auber ; Bridal
aong, " The bells ring out beneath tho tpirs" — Leslie ; Madrigal,
" Klora gave ire fairest flowers"— J. Wilbyr, 1588; Trio, (Le PrS amx
CUrct)— Ilerold ; Part-song, for male voices, " When evening's twi-
light"— J. L. Uattonj Madrigal, "When all alone"— O. Convei
1580 ; Turkitb March, (Ruint of Atinu) — Beethoven ; Madri^
"Flow, O my tears"— Bennett, 159H; Song to Hay Morning— Henry
Loslie. (The vocal music by the Member* of Mr. Henry Leslie'.
Choir).
The Queen, the Prince, and all their illustrious guests, ex-
pressed their warmest admirations for the performances of Mr.
Henry Leslie's Choir, and complimented Mr. Leslie in person,
especially thanking him for his new Bridal Song, composed in
honour of the Princes* Royal, the words of which, by Harry
Chorley, we subjoin :—
The bells ring round beneath th* spire,
With light tho windowt glow,
The women talk around tiie fire
Ere to the dance they go.
Old men, the fonmiiiij cup beside,
Young children on the knee,
Join in a blessing on the bride
Who goes across the sea.
She goes not forth amid the cold,
A gloomy lot to prove.
Put with a bridegroom rich in gold,
More rieh in youth und hive.
Of viney ard* gay ntid forests dim
The li igh-bom lord is he,
Old England's blessing go with him
And liit bride upon the tea!
We saw ber nuble mother's birth,
Have luved ber all life long,
We cannot see our flower go forth
Pot teart are ID tho long.
Yet smiles are belter fnr than toan,
So full of j<ny *;ng we,
"God's blessing on the wedded years.
Of the bride beyond the sea."
Amoug the part-songs that of Jack Hattou was biased.
Her Majesty gavo a State Concort on Monday evening in the
New Ball and Concert Room. A spacious orchestra was erected,
upwards of 00 feet wide, riaiug in successive stages to tho level
of the Organ Gnllery. The band, nearly SO in number, con-
sisted of licr Majesty's I'm ate Band, aided by instrumentalists
from the Philharmonic Society, Her Majesty's Theatre, and the
Royal Italian Opera. The chorus comprised nearly 100 voices,
selected from the Operas and tho Sacred Harmonic Society,
Exeter Hall. Mr. W. G. C using, of Her Majesty's Private
Chapel, presided at the organ. Mr. Anderson conducted every
oce except one. Tho entire orchestra, consisted of upward* ot
The following was the programme;—
Digitized by Google
76
THE MUSICAL WORLD.
[Jan. .30, 1858.
Past Fimt.— Coronation Anthem— Handel. Quartette— "Placido
• il mar" (Tdomeoeo). Madame Clara Novello, Mi*t Latcelles, Signor
Oiuglini, and Mr. Weiss — Moxtrt. Chorus—" The hearena are telling"
(Creation)— Haydn. Aria— "Dalla iua pace" (II Don Giovanni),
Pignor Oiuglini — Mozart. Choral Fantaaia — pianoforte, Mm. Anderson
— Beethoven.
Part Sxcond. — Selection from " Lohengrin" (the word* partly
altered and adapted for the preeent occaaion by Thoniet Oliphanl,
Eaq), Bridal Procession, Wedding March, and Epitbalamium— R.
Wagner. Aria—" Robert, toi que i'aimo" (Robert le Diable), Madame
Clare Novello— Meyerbeer. Finale— " Lorelcy," the nolo part by
Madame Clara Norello— Mendelssohn. Serenata— "The Drain'1
(composed expreaaly for the occasion of the marriage of Her Royal
Highneaa Victoria, Princeae Royal of England, and Frederick William,
Prince of Prueeie ; the word" by Mr. \V. Bartholomew) — M. Coata :
conducted by the compoaer.
The principal singers in the serenata were Madame Clara
Novello, Miss Laaoellea, Mr. Sims Reeves, and Mr. Weiss. The
concert terminated with " God save the Queen."
The following new verses, written for the occasion by Mr.
Alfred Tennyson, poet laureate, were sung by all the principal
performers and chorus : —
Ood biota oar Prince and Bride!
God bleat their lands allied,
Ood aare the Queen !
Clothe them with righteousness,
p. Crown them with happiness,
Them with all bleating! biota,
Ood tare the Queen !
Fair fall this liallow'd hoar,
ill onr England'* flower,
Ood tare the Queen !
"", fair rote of May!
Let both the people* aay,
Ood bless thy marriage-day,
, the Qeeen !
Of the
typed National Anthem, at which the poet It
deutly have gazed with "anxious polyacopity."
Miss Louisa Pyne being still indisposed, was
the concert, although she had been honoured 1
evi-
) concert, although
mand. The absence of our accomplished
a grievous disappointment.
unable to
Paris-. — There ia something rotten in the state of the adminis-
tration of trie Theatre-Italian. With such artists as Mario and
Alboni, if properly managed, no establishment should fall off in
its attraction. M. Calzado seems to have wearied his public
with his ventures on new prima donnas, not one of whom has
been a success ; and yet lie persists in adhering to his faith
in dibvtatUu. Flotow's Martha is in rehearsal, for Mademoiselle
Saint- Urbain, and will be shortly brought out. Madamo
Nantier-Didie6 has a part in it. Griai is expected
next month, and a new impetus will be given to the
performances. The theatre will remain open during the whole
of the month of April. La Oazza Ladra, Don Giovanni, and
II Oiuramenlo are in rehearsal. — Mr. Ambrose Thomas' lively
opera, L* Ca(a\ has been revived at the Opdra-Comiqne with
success. The principal parts are sustained oy Mdlle. H6riti«r,
Mad. Decroix, MM.IlMir*, Sainte-Foy, Ponchard, and Nathan.
Fra Diavolo is performing three times a-week without any
decrease of attraction. One of the great features of the per-
formance, on the occasion of Madame TJgalde's benefit, will
be tho appearance of that accomplished dameuie and great
fa v.. nte or the public, Mdlle. Fanny Cerito. — The mother of
M. Gounod, composer of the new opera, Le Mideein mala re
lui, lately brought out at tho ThcAtrc-Lyrique, died the day
fol lowing its production. — Herr Richard Wagner has arrived
in Paris, having been engaged, it is said, to bring out Tanhatuer
at the Orand-Opera. Should this work succeed, it will create a
revolution in the musical taste of the French people. — M. Belart,
the favourite tenorino, at the Th6atre-Italien, is on the point of
espousing Madlle. Sulxer, a dramatic artist.
CRYSTAL PALACE.
Press of matter has forced us to overlook the pleasant
Saturday Concerts at Sydenham. They have been progressing,
nevertheless, steadily and surely, under the direction of Herr
Manns. At the sixth concert, which took place on Saturday,
the l$th ult., the following was the programme : —
Overture—" Uriel A coata," Schindelmeiaaer. Song — " Wake, dearest,
wato" (Mr. Charles Brahnm), HowarVl GloTcr. Rondo for pianoforte
in E flat (Misa Emma Bnaby), Mendelssohn. Cavatina — "Ah! quel
Ei" — " Semiramide" (Madame Poma), Rimini. Symphony in D,
n. Song—" I'm but a simple peaaant maid" (Madame Poma),
Fantaaia for violin-" II Pirata" (Herr Pollitser), Ernat.
Song-" The Bay of Uiacay" (Mr. Charles Braham), Braham. Over-
ture-"Le Pre- aux Clcrcs," Herold.
The pianoforte playing of Miss £mma Busby, a young and
very promising performer, met with unanimous approval. The
sparkling and vigorous rondo of Mendelssohn, moreover, was a
welcome novelty. Herr Pollitzer was much appplauded in his
violin solo, and Mr. Charles Braham (who sang Mr. Howard
Glover's graceful serenade with much expression), was encored
in the "Bay of Biscay." Subjoined is theprogranimeof theseventh
concert (on the 19th ult) :
Overture—" Islet of Fingsl," Mendelssohn. Ca7atina— " Una voce
poeo fa" (Signora Finoli), Roatini. " Meditation" for piano and violin,
on the flrat Prelude of Bach (Mr. Gunther and Mr. Manna), Oouuod.
Song — "The Russian lover" (Mr. Charles Braham), Moore. Piano-
forte Concerto in C, Op. 11 (Mr. J. F. Ooodban, R.A.M >, Weber.
Duet — "Si la atancliexza"— " Trovatore," (Signora Finoli and Mr.
Braham), Verdi. Sinfonia Eroica (No. 3.), Beethoven. Rondo — " Al
piaccr" (Signora Finoli), Ricci. Ballad— " Sally in our alley" (Mr.
Cliarlea Brabam), Carey. Overture—" Olympie," Spout in i.
The novelty was Weber's pianoforte concerto in E flat, an
early and unequal composition, containing difficulties, never-
theless, which would tax even a less experienced performer
than Mr. Goodban. The overture to the ike* of Fingal and the
Eroica are always welcome, while Spontini's (Mympia (with far
less exalted merit) deserves to be heard oftener, being a fine
Signora Finoli confirmed the good impression
uer concert, and is already a favourite at the
'r. Charles Braham was again in high favour,
of tho eighth concert (on the 26th ult)
Song-1
Inncello
"The
old
(Mr.Daubert),S<
a la Valae,
ofiU
produced at a
Crystal Palace.
The
as follows :—
Pabt I.— Symphony in Q, Hit In.
raire " (Mr. Winn), Hobbs. Solo— Violnncrll
Song — " Auld Robin Oray" (Madamo Poma).
Weber. Overture — " Der Freiscbuts," Weber.
Pabt II.— Overture—" Robespierre," LitohT. Song— "The Pri-
soners'' (Madame Poma), Vianesi. Solo for Flute (Mr. Svenadon),
Arts. Scherxo from tho Ottetto, Mendcleaolin. Song— "The'
Blacksmith" (Mr. Winn), Wrist. Englith Melodies, A. Manns.
The first symphony (in C minor) of Mendelssohn, one of the
most in ten-sting productions of his early youth, should hare been
given entire, instead of the tcherzo from the string ottetto which
Mendlessohn shortened, instrumented for the orchestra, and
substituted for tho original minuet and trio, when the symphony
was first performed at the Philharmonic concerts. Moreover,
it was wrong to describe it in the programme as " Scherzo from
the Ottetto," since its form was entin-ly modified, when it
quitted the chamber for the orchestra. The overture to Robet-
pierre is more remarkable for noise than for any purely mutical
interest. This concert was, on the whole, inferior to its
predecessors.
The next fortnight was devoted to the " Christmas Revels."
At the concert on Saturday, January lCUi, the programme was
as subjoined: —
Overture— "Son snd Stranger,** Mendelssohn. Andante and Rondo—
" Non piu metta" (La f
(Herr Louis Eire) M
(Mr. Winn) Hatton. Symphony, No. 4— (B flat) Beethoven. Valte—
(La Signora Finoli) Kettenut. Introduction and Variations for
violin — (Herr Louis Riet) F. David. Serenade— "My
bounding near" (Mr. Winn), T '
Mozart.
Digitized by Google
Jan. 30, 1858.]
THE MUSICAL WORLD.
77
The moat interesting features in this performance were the
" Entrainant," fresh and exhilarating symphony of Beethoven,
and the, overture to Mendelssohn's comic opera, an unpretending
hat delicious work, redolent of the composer. Both were well
eyed. Herr Kies is a clever violinist, but he was more at
ne in the variations of David than in the concerto of Men-
delssohn. Signora Finoli again pleased very much ; Mr. Winn, one
of oar most rising basses, sang extremely well ; and the capital
overture to Mozart's last opera wound up the concert with great
On the Saturday following there was a fiuo selection, as the
annexed particulars will show : —
Overture fEuryantbc)— Weber; Duet, "Parigi, o cars,"— Verdi ;
Hondo brillsot— Hummel; Ballad (Rose of OuliUe)— H*lfe ; Symphony
in K flat— Mozart , Aris, " Ah, fone lui"— Verdi j Grand Fantasia for
pianoforte (on airs from Mmanicllo)— Thatbcrg ; Air, ".Sound aa
alarm," — Handel ; Overture, 11 Crown Diamond*" — Auber.
Of this excellent concert, which we were prevented from at-
tending, a contemporary wrote as follows : —
"The Saturday concert*, under the direction of Herr Manns, arc
evidently progressing in the estimation of visitors to the Crystal
Palace. The music-room is almost invariably full, and the perform-
ances are listened to with marked attention. This is the more satis-
factory since the programmes are constructed of such materials ss to
ronci-iatc genuine amtiteurs of music, and to reflect credit on the
Crystal Palace as an emporium where the art* are presumed to be
wort July represented.
" The concert on Saturday afternoon was excellent in every respect ;
aud the at once spirited and careful manner in which Mosnrt'* lino
orchestral symphony in K flut wa* executed, aflbrded gratifying proof
that the band attached to the I'alace is steadily imoroving under its
present conductor. The entire work wa* given — a fact alone calling for
praise. The overture* were Eur^antk* (Weber), and La Oatta Ladra
(Rossini), both model, of their class, the last terminating the concert
a* effectively a* the first had commenced it.
" Mias Arabella Goddard, a universal favourite with the patrons of
these concert* — a* *be mu»t be, indeed, wherever consummate talent
an l varied requirement, unaccompanied by pretence or affectation, are
held in esteem— gave two performance* on the pianoforte in a brilliant
and highly-finished manner. The first was Hummer* Jtondo on a
Kuasisn theme, with orchestral accompaniments, which — although one
of its composer'* moat elegant and master I v work*— has been long
unaccountably neglected; the secoud wa* M. Thai berg'* fantaria upon
subjects from the opera of Matanullo, where difficulties are heaped on
difficulties without mere; to the player. 1Mb were executed to per-
fection, and lb* aodience were enchanted both with Hummel and
Tbalberg, — connoisseurs, however, entertaining a *ly preference for the
Rondo, which, it is hoped, may be allowed to officiate now and then
during the approaching acason, instead of certain admired pieces that
of recent years (to their own partial detriment) have excluded almost
everything else, ancient or modern, from the concert repertory. True,
something like the talent of Mis Goddard is required for its correct
and effective performance, and such gifts a* her* are not to be met with
indiscriminately. Such golden fruit grows not in every orchard.
"There were also several attractive vocal pieces intrusted to Signora
Pnmsgalli (* sister of the late pianist and composer, Mr. Charles
Braham), with which the audience seemed especially gratified. The
most effeetive performance of the lady was the ' cavatina' of Violetta,
from the Tramata, song with so much expression, facility, and taste as
to elicit an encore. Signora Fumagalli, however, waa discreetly con-
tent to reappear and acknowledge the ooinpliment. Mr. Brahem'abest
effort was the splendid martial sir from Jmdat Maeeabatu — 'Sound
an alarm'— which b* declaimed with remarkable vigour and animation.
He too was loudly applauded. A duct from the Tramata, ' Parigi o
' (becoming terribly hackneyed), and a sentimental ballad from the
i of CattilU, sung with real feeling by Mr. Braham, oompleted the
vocal selection. The concert afforded unanimous satisfaction to the
audience, the majority of whom remained to the end." — Tim*; Jan. 25,
The praise accorded to Herr Manns is deserved, and we trust
it may persuade the directors of the Crystal Palace to enable him
to remodel his orchestra on a less economical (say " p..- any- wise
and pound-foolish" — for that is nearer the truth) system. At
the Crystal Palace all the arts should be worthily represented.
Da. Mark and his young pupils have lately been playing at
half
poor of the town
HARMONIC SOCIETY.
SACRED w
The second performance of the Creation, on Friday night, the
22nd inst., was marked by another disappointment, in the non-
appearance of Mr. Sims Reeves, whose continued indisposition
prevented him from attending. The visitors, however, could
not reasonably complain on this occasion, since timely notice
was given of Mr. Reeves' illness. Moreover, the ant ap-
pearance this year of Madame Clara Novello, in a great measure
made amends for the absence of the great English tenor. In
no sacred work, perhaps, is Madame No
advantage 1
suited to he
been heard than the airs " With verdure clad," and "On mighty
wings," by tin- accomplished soprano. Madame Clara Novello's
voice is as fresh and clear as ever. It is not surprising, there-
fore, that the audience should be enraptured with the singer.
Mr. George Perren, a careful and correct singer, supplied the
place of Mr. Sims Reeves, and Mr. Santley was again the baas.
The band and chorus went magnificently under Mr. Costa's
direction.
rd to greater
je than in Haydn's Creation. The musio is wonderfully
i her voice and style, and more perfect singing has rarely
ird than the airs " With verdure clad," and "C
suAnn isuu sis» ju
Preston, where he gave
the relief of the poor of
half the proceeds of his concert towards
Music at the Crtstal Palace. — Monday, the nuptial day
of the Princess Royal, was not likely to be passed over by the
directors of the Palace at Sydenham without m special demon-
stration, and accordingly a vocal People's Concert was given,
which embraced a number of popular pieces, and included
the services of Mdlle. Fumagalli, Mr. Charles Braham, and
Mr. Weiss, as solo singers, with the chorus of the Royal Italian
Opera. The band, under the direction of Mr. Augustus Manns,
performed the overtures to Oberon, the Barbiere, and the Crown
Diamond*, the " Wedding March " from A Midsummer Night*
Dream, and Meyerbeer's XfarcAe aux Flambeaux, besides a selec-
tion from the Bom of OutiU*. The chorus, with Mr. Smytlison at
their head, sang the madrigals " Who shall win," and " Who
shall o'er the downs so free "—both by Pcaraall j Morlcy's
■ Now is the month of Mayiug ;" Benedict's serenade, " Blessed
be the home ;" the Bridesmaids' Chorus from Dtr FrsiscAiUi;
the "Hallelujah" Chorus from the iltiriah; and a new Hymn,
written expressly for the wedding ceremony by T. Oliphant, Esq.
All were highly effective, nioro especially tho madrigals, which
were received with great applause. The solo pieces were all
more or less honoured by the approbation of the audience.
Mr. Charles Braham, who was in his best voice, obtained an
enthusiastic encore in the "Bay of Biscay,'* and the same compli-
ment, with Mr. Weiss, in the duet, " All's Well." Mr. Charles
Braham was also highly successful in the ballad, "Sally in our
alley." Signora Fumagalli created a marked sensation in the
air from La Traviata, " Ah ! fora' d lui." This lady, although
she has appeared but a few times at the Crystal Palace, has
already become a great favourite.
Mr. and Mrs. Oxrmaji Reed, after a long and successful
provincial tour, have returned to Liondon, and appeared in their
popular entertainments, on Monday evening, at their old locality,
the Gallery of Illustrations, Regent-street, and were welcomed
back by a large concoorse of friends. The Gallery has been im-
proved both in point of convenience and appearance. Special
attention has been paid to the ventilation. Both Mr. ana Mrs.
German Reed were loudly applauded in all the old parts and
old points.
Lkxds — (From a Corrt tyondtnt) . — The People's Concert, on
Saturday last, was very successful in many respects. Mi** Theresa
Jcfferys sang, with great taste and expression, " The meeting of the
waters," and a song by Mo sort, being warmly and deservedly encored
in the latter. The other performers were Mrs. Gill (contralto), Herr
Henric Jahns, Mr. Delavanti, and Mr. Richardson, clarionetUt. The
loyalty of the town was displayed with great spirit last Monday, in
honour of the Princes* Royal'* marriage. After the procession a dinner
wa* held al Herscbmaon's hotel, at which the mayor (P. Fairbairn,
K*q.) presided, and about three hundred gentlemen aat down. The
vocalist* engaged were, Misa Thirwell, Miss Freeman, Mr.Wallworth.and
Mr. Ferdinand Glover; Mr. Broughton presided st the piano. In tbe
evening a festivsl concert wsa given in tbe Music-hall, before a very
crowded assembly. Tbe atiittu were, Mis* P. Pyne, Mi** H. Walker,
Mr. S. Albyn, Mr. Hamilton Braham, and tbe band and ohoru* belong-
ing to the Pyne and Harrison opera company (assisted by local talent) ;
Digitized by Google
78
[Jan. 30, 1858.
Mr. Alfred Mellon snd Mr. Spark conducted. The programme w»»
I included (elections from Acit and Qalotea, Son and
i Wedding March, Beethoven's Prometheus, Ac.
-Attbe Monday Evening Concerts, Mias Theresa
lately I rfu the vocalist. Ilur singing was greatly
admired in an ana by Mozart. Mrs. Brooke, Messrs. Edmoud-
sou, Inkeraall, Slater, aud Smith, were the other vocalists. Mr.
Walter Montgomery also gave one of his " recitals," and Mr. Do
Jongs played some solos on the flute.
The Fimtiyaa or tub Tiiuh Choirs.— The next meeting of the
three choirs should be held at Hereford, but an untoward delay has
i in the necessary arrangements, which is becoming serious. The
" Journal of last Wednesday, referring to the delay in the
s of stewards, and obtaining the requisite pecuniary guarantee,
rrca : — " Although we cannot but hope that the difficulty will be a
merely temporary one, we are induced to allude to it from the circum-
stance that it is an important feature in the musical arrangements to
secure early the requisite professions! assistance; and that the mention
of the fact may, perhaps, be the means of inducing a prompt effort on
the part of those influential persons who would oome forward rather
than allow matters to go to extremities. As to the contingency of a
lapse in tho sequence of the performances, it is one, we hope, not to be
contemplated. It would, we are sure, be a source of deep regret to the
inhabitant* of the citr and county, that any impediment should cause
the first break in the timo-hououred festivals of ' The Three Choirs ' to
happen in the oaae of Hereford. In the last resort, we should expect
• rally of the whole potn eomitalut, and the proffer of a large sub-
scription in small amounts, to save, alike in the matter of benevolence,
and of musical taste, the reputation of the county.- If orwsfVr
Journal.
NEW ORGAN FOR THE NEW MEMORIAL
CHAPEL AT HARROW SCHOOL.
(r^Vtwjt tx Ootrttpoudtnt).
Tki new chapel st Harrow School, replacing the former sacred edi-
fice (a small, plain brick building, erected only eighteen years ago,) was
eonsecrated by Lord Bishop Tait, of London, on All Saints' Day hut.
The new structure is built of stone, is of Gothic architect ure, in the stylo
of the middle pointed period — and is one of the most beautiful works of its
architect, Mr. Gilbert Scott ; and additionally interesting from the
circumstance of its being designed to form an enduring sacred monu-
ment commemorative of tho officers educated at Harrow School
(twenty-two in number,) who fell in the late Russian war. The funds
for meeting the expense of the work, amounting, in the aggregate, to
""0, have been raised by subscription, of old snd present
" and their friends ; inclusive, however, of the sum of about
£8,1100, the separate cost of the construction of tho • 'ham-el, supplied
solely by Dr. Vaughan, the present head-master. The plan of the
interior of the chapel is nave and side aisles, separated by arcades
carried on slender columns, with richly-foliated capitals, and an apsedal
chancel of great elevation; — the roofs showing the open timbers, and
the floor being benched in light oak. Tho windows, when completed,
will form an elegant feature of adornment they are all intended to
bo of stained and painted glass, the work of which is proceeding
gradually. The five in the apse— double lancets, with foliated circle
heading — have already been filled in, one of them a gift by an old
" Harrovian," now at Oxford, the others contributed by little coteries
of the boys, the residents of different masters' houses. Of tho side
windows of the body of the chapel — triple lancets, with traoeried heads —
those on the south aide are to be exclusively obituary to some of the
individual officers in whoso collective honour the structure lias been
raised. The whole of this side of the chapel (the south aisle) is
intended to bear a memorial character, having reference to the "
The chapel now receives a new organ, purcliased by a separate sub-
scription of the boys at present in the school, and used in Divine ser-
vice for tho first time, on Sundsy, the 17th inst.
The instrument has been constructed by Messrs. Bishop, Starr, and
Richardson, successors to the business of the late Mr. James Bishop,
the former being the son, snd the others workmen long in the employ
of that artificer ; it is of two uniform rows of keys and pedals, the
scale and disposition of the parts being that of the old-established
German oaage, professionally distinguished in England by the term
" C." The great organ contains nine registers. Tho swell, six. The
, a^itigle^rank oOfi feet open wood pipes. Tho swell stopping
Of the "C organ" above referred to, it may be observed, that in
Germany — the father-land of organ-making— this particular construc-
tional arrangement of the instrument has been exclusively in use for
several centuries past ; that, introduced into England about twenty
years ago, it has gradually worked its way into general approval of
both builders and performers, and seems likely, from its superior
capabilities, cventuallv to entirely supersede the old "shortcoming"
English plan ; which latter owes its origin and long continuance in use
to the supposed necessity of preserving uniformity of manipulation in
the organ and harpsichord, (now the pianoforte,) in order that the
mere performer upon the latter could at once be organist.
The peculiarity of the "German plan " of organ, as distinguished
from that of the English, consists chiefly in the addition of a pedal key*
board, with a somrwbst shortened compass of the finger key-boards at
the bass-end. Upon this |»dalo— which embraces a scale of 8|
octaves of notes — the organist plays the bass part of the music with
his feet, whilst his left hsnd — released from having to play beat notes
— is set st liberty for employment in the production of additional har-
monica, or distinctive parts, on the tenor section of the finger key-
board, thus dispersing the harmonies equally through the entire range
of tho scale, instead of their being confined, as is necessarily the casein the
old English mode, to close chords in the treble at the top of tho i
and the bass at tbe extreme bottom. This method of performing i
the organ has, however, been attended with much inconvenience* to
very msny old organists, who, unable to accommodate their manipula-
ion to tbe greater complexity of the altered system, have suffered the
mortification ol seeing themselves eclipsed in executive skill by young
Ms,
The Harrow Organ, whilst standing in the erecting-room of the
builder's factory, had its musical properties tested in a series of per-
formances by various artists, in the presence of a numerous auditory
of professors and amateurs.
The organ is set up in a loft at the western end of the chapel (query
if the edifice stand in the orthodox positiou,) in a case of oak, designed
by Mr. Scott, tho architect — in itself displaying little ornament, but is
understood to be imitative of tbe sppesranoe organs are known to hare
generally presented in our cathedrals and oollegiate churches, anterior
to the time of tbe great rebellion. However, when the front pipes)
receive tbe illumination, (at present they remain in their nstive colour
—vis., tin, burnished,) and the western windows of the chapel »hs
stained glass, tbe view in this direction will be effective. F. C.
NEW YORK.— MODEL DON OIOVANNL
(From tht A'eee York Herald.)
1NG DESCRIPTION, ex-
ACADEMY OF MUSIC-DON GIOVANNI.
I). rector ]
FRIDAY BVENINU, Jen. 15, at 8,
MOST POSITIVELY LAST NIGHT
(but three) of the season, prior to the departure of the company.
GRAND MOZART CELEBRATION.
First night this season of Moxart's
IL DON GIOVANNI.
On a scale of colossal splendor and magnifioe
BBW SCENERY of the most DAZZLi:
pressly painted for this occasion.
NEW PROPERTIES.
SPLENDID BALL-ROOM SCENE,
iinlclobras, with
THREE HUNDRED LIGHTS.
ONE HUNDRED AND FIFTY IN TUB CUORUS.
TWO EXTRA ORCHESTRAS ON THE STAGE,
in addition to the regular orchestra— numbering altogether over
TWO HUNDRED AND FIFTY PERFORMERS.
ALL THE ARTISTS OF THE ACADEMY
in the cast— the greatest ever offered— combining the talents on one
and the same night of
LA GRANGE, CARADORI, D*ANGRI.
GASSIER, LABOCETTA, BIGNARD1,
ROCCO,
ARDAVANI.
and CARL FORMES,
who will appear for the first time in America as
LEPORELLO.
N
Digitized by Google
Jan. 30, 1858.]
THE MUSICAL WORLD.
79
"THE BLIND GIRL'S LAMENT," written and
^ X "^j"^*1 bkn* n"Ti''""''sl'°-*!J™' Vert°n' P"M 2* W* Bdtabur«k''
Dona* Elvira Mad. Cnr.dori.
(Her firit appearance in that character.)
rj i- „ *.e.,i ivin«;
(Bar firtt appearance in that character.)
A MAGNIFICAT and NUNC DIMITTIS, by Edwin
-TV H. Harper, in Vocal Score, with Accompaniment Prtoo 7a Od. Novello,
CO, Doan-atraei Mono.
(Hi* first appearance in that eharactar.)
^ItrriOK IhlUvAtuo IMH.W WUKK. on the O U Lr-
O TIVATION of tho VOICE and 8INOFNO is now published, price 8a.. and
may bo had at hia rcitcnce. l>*Tou«hir* Lodge, Portland raj. Pnrtlaad-plae*.
and at all the principal marie sellers. "Of all the treatise* on the cultivation
of the Tuios that hare appeared for many years it is the moat sensible, ooociae,
and useful."— Dolly New* "There la more aenae In this work than we find in
nine out of ten publication* of a aim liar kind."— Athenaeum. "Forma a kind
of grammar of the vocal art, and not a men) ooUeetlon of exercise*. "— Critic.
" Here I* a really sensible work."— Musical World.
who. hairing given up hia original role of Leporello to Mr. Forme*,
haa kindly oontwnted to undertake thi* part for the take of better
C XI id tlj t1 If .
THE MAJESTIC FINALE OF THE FIRST ACT,
which take* place in the ball-room, when
TIIE BALLET
will be introduced, will be executed by
THREE DISTINCT ORCHESTRAS,
numbering onwards of 1
ONE HUNDRED MUSICIANS.
The first on the right side of the atage, will play
LA GAVOTTE,
while the second, on the left aide, will play
THE LANDLER,
and the regular orchestra execute*
THE MINUET.
played by the three orchoetrae
AT THE SAME TIME.
THE FAR-FAMED LIBERTY CHORUS
Will be aang by
THE MEMBERS OF THE LIEDKRKRANZ SOCIETY.
Mm*. La ORANGE, Mme. CARADORI,
Mjuc. D'ANGRI,
LABOCKTTA, GASSIER, BIGNARDI, ROOCO,
CARL FORMES,
who, from respect to the great work, hare contented to land their
assistance to increase the effect,
[It is worth noticing that the chorus, " Viva la libertA," haa
nothing whatever to do with the aspirations for political Liberty,
of which it ie bo often made the affected vehicle. — Ed.}
ADVERTISEMENTS.
/eat r-MMf.l.
MADAME OURY'S MARTIAL FANTAISLE
on
PRUSSIAN NATIONAL AIRS.
Composed for the occasion of the Marriage of tbo Fsnrccsa Borau
Price 4*.
Lonilm : BOOSKT AND 80NH. Si and 58, Holleaatrset.
CURE OF A LONG-STANDING COUGH
DR. LOCOCK'S PULMONIC WAFERS.
"Glasgow, Nf>. x, Trongate. Sir, — Mi** Jemima Lirlngstocie, aged eighteen
years, rsahllng at the Calton Hill, Edinburgh, waaf or * long time afflicted with a
very eevere cougb snd irritation of the air passage* Both external and internal
medicine* were used, but with little cBecr, iinttL aa a last resource, Dr.
Looock'a Pulmonic Wafcra worn tried, an-l we are happy to any with b.at result*.
M. Allxk."
DR IXXOCKU PULMONIC WAFERS give instant r*l:ef and a ra|.ld cure
of asthma, consumption, coughs, and all dlsord.T* of the breath and lungs
TO SINGERS AND PtJBUO SPEAKKItH Uiey are invaluable for deanng and
■trengtheuing th* eoioa. They liar* a plaissaiit tsf. Prioe la. ljd., is. »A, and
lis. jier box. rk-lil by all clruntUtA.
PIANOFORTE DU ET8. — Trovmtore, 6a. Est Traviata
X S*- Ernani. S«. Kigoletto, 5*. Nino, 5a. Lee Hnguenntn. 7s. Cd. Lucia. As.
Lncreaia Hoivla, 'i^ Bofwey and pv^ti«' new and cheap edition. In greeu cloth
Tokli>.M fKl^leHer.1, each containing from ^w,Jj^J^w^,1,Jr "! Uie mmt P°rnl*r
TTOARSENESS, SORE THROAT, LOSS OF VOICE
-Tl IRRITATION °r lh*^^1NOT,^j TOBJ^c^j^Q^g,^^„^^
im^mF*"8' prep"td ftT"n * '•"•i* of ""* of th' BK*t Mn,oc,,t vhr*-*—' <*
They are especially useful to Vocalists. Members of Parliament. Clergymen,
DuriiUn, Public Bpeakers, *«., end. a* a general Cough Loser-ge, ■meouelled.
T>__^___j „_,_ .-J _, i.i i,. _» ia nnA «*__ a.* ■ in t|na. .* Am liA lost Arl
i-'TMiansa trai \ *n<i »».tia in L^nr" ru i « ami *m j. , .*,i*v-> m una, at «*.. t*u., i it*, wi.,
an J 20a each, bv Wilkinson, Bridi™. and Ux . Oieml.ta. at Br.dge-a cakbreted
HanaparllU, and Ginger and Camomile Depot, ITO, R-txnt-stract, London, W.
FREDERICK DENT,
fflakn of rht 0nai Flock far tfjt Jpouics of ^ailiamrnt,
And sole Suooessor to E J Dxirr in all hi* patent right* and business at
61, Strand, and 84 and 35, Eoyal Exchange, and the Clock and Oom-
pea* Factory at Somerset Wharf; Chronometer, Watch, and Clock Maker to the
tfueen and Prince Consort,
Ladies' Odd Watchea .... 8 Gains**.
Gentlemen's ...... 10 „
Strong SUrer Lever Watches 6 „
Ohurch Clocks, with Compensation Pendulum. £89.
\f ISS JULIA ST. GEORGES SONOS.— Snng by her
tb* da? — ride public ( lean. The whole of tie music by J. F. Duggau. Hartinaun
and Co , ss, Albany-street, N. W , and all Mustc-sollnm.
TTOLLO WAY'S PILLS a peerless remedy for indigestion,
J.J. flatulency and bilious complaint* Th* well-known properties of the**
pills are too highly appreciated In all part* of the world to require any
commendation — the teat of year* ha* proved their efficacy in curing bile.
Indication, flatulency, iilvk head-ache, nerrousnesa anil (icl.llttatoii constitution*.
Tl'iiy iu»igor»t« Uie 1-jdy, strengthen the laeulues ..r th* mind, and Incrraae the
appetite: old and younir, rich and par, re*>rt to them when aflicttd with any
ailment, and none are diaapiolntod with their effect upon the system. Sold by
all Medicine Vendors throughout the world: *t Profewor Holloway's Establish-
ments, 244. Strand, Ixiiidon awl 80, Maiden-lane, New Tork ; by A. atampa,
Con*tantln»pt*i A. Ouklley, Smyrna; and B. Mnir, Malta.
Just publlsheil, composed by T. Qruhsin.
"DEAUTEOUS MORN.— New song for voice and piaao-
J3 tortc. Bong by M il;*. Kudersanhn. and other eminent vocalist*.
THREE FAVOURITE I1YMN8, "Rock of Agea," • Jean*, lover of my nil."
and "Oh 1 that I had tbo win*, of adore." In score. Its.
GRAND FANTASIA for the ^Miofnrte, Including "The Blue Bells ofBooUand,"
with Tin*Ui** aa
To 1* Udofall niuaic-iwllers. and of th. Author. Wlgan.
PIANOFORTES.— DEWRANCE'S COMPENSATING
AT PIANO may now be seen at the depot S3, tSobo-equara. By the application
of thi* principle a heavier etrlng can bo uacd, the result of which la, that the full
■juwer of a grand la obtained from a cottage instrument, at the aatno lnoo the
wire* and tlie frame on which tiny are strung expand and contract with change
of temperature equally and together, so that the necessity for frequent tuning, sa
in the ordinary Instrument, is entirely obrlaUd. For fulness snd roundness of
TITR. HOWARD, Surgeon-Dontiirt, 52, Fleet-street, has
i'A Introdaced an entirely new description of ARTIFICIAL TEETH, fixed
without affiant wires, or Ugaturea. They so perfectly resemble the natural
teeth lis nut to be dintiiiguishc.1 from the nriutnala by the closest oheerrer. They will
never change colour or decay, and will be found srjperkir to any teeth ever before
used. This method doe* not require the extraction of route, or any painful opera*
lion, will support an t lmeerve teeth that are loose, and is guaranteed to restore
ar* l-mlatUju and ™ --*->— - ' . Decavod teotii s'otioed and rendere^l aoimd and
VaWfalinmarticatJen. U, Fleet At hem. fromlO till E
Digitized by Google
80
THE MUSICAL WORLD.
[Jan. 30, 1858.
MESSRS. DUNCAN DAVISON and CO.'S
CAREFULLY REVISED
or TM
SONATAS BY MOZART.
a. <L
*. <L
1. Sonat,
»iaC
.. 1 0
No. 10. IWt
• to A
.. 4 0
1 ..
M
.. « «
u. ..
F
..4 0
S. »
fi
.. 3 S
H
..OS
4. ..
»t
.. .. ■ 0
\l. ::
I*
& H
A mine
r .. « •
u. :.
Bflat
" * S
0.
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..It
is.
..SO
T. ..
.. S 0
I*.
»M
..4 0
*■ ..
«•
..4 0
17. ..
..IS
a, C minor 0 0
»■ ..
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.. 1 0
IS. FanU
PIANO
DUETS.
L Sonata to C
.. 10 t
No. J. Sou.tr
I lo A flat
SO
J. ..
D
.. « 0
S Fant*,
iU In V minor and
i
.. is a
aa with vara, in G T (
i "
*• n
Bflei
.. * «
PIANO AND VIOLIN.
No. 1. I
ilnC
i
0
«-
£
Se
ft
m
■ «
iS
s.
it
A
».
10.
No. 11. Sot-.ata In A
12.
IS
14.
10.
IS.
IT.
18.
1».
BS.t
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It tut
PIANO, VIOLIN, AND VIOLONCELLO.
s «|
No. 8.
4.
InE
Bflst
S 0
10 0
MEW PIANOFORTE MUSIC
do Concert, by Fumagnlll 'played by Miss Arabella
DAT." Romance, by Kugra* Mariot (one of too moat
lay)
4 0
drawing-room piece* of the day
nice, by E. A. Gomlon I au
MARCn," by M srtirto*
rej>dcU«aDtp<oro Tor teaching) t 0
.. • » ..10
NEW VOCAL MUSIC.
"QUICK ARIBB, MAIDEN MINK," Air Styrien. by J. Deeeauer (Dirndl,
steh' »nf v.ifn Kelt The F.iiL,ll»h veraicn by John Oieuford. %) ..10
"WHEN 1 WAS TOUNO.-by Ernest Bruce „ S •
•*• Tit abovr tiro Sony hart him sung by Mdlle. Jttlif de Trrffs
with di$ting*uh*d nrwu.
"WHEN FIRST YOU 8HONK BEFORE MB," by Knot
by Madame Borohardt)
"THE TWO SMII.ES" (for acontralto voice! by O. A. HKbmn
" THE cogrETTR " (*"r » rwtralto voImX by J. W Davtavin
"AT EARLY DAY'S DAWNINO."by 8. Omn»r
IN TE. DOM INK. SPBRA VI" (AoLhem f ti
IN TE. IWH1M. BPBBAVI- (Anthem f rvoirwa and. .rr
S 0
1 0
1 0
S 0
S 0
S 0
* 0
i o
VOICE, PIANO, AND VIOLIN OR FLUTE.
•MOURNFULLY, SINO MOURNrTLLT." by Q. Cruwell, Op. SI ..SO
VOICE, PIANO, AND VIOLONCELLO OR VIOLA.
' WHERE 18 THE SEA," by 0. Craweli. Op. S3 J 0
VOICE, PIANO, AND HORN OS VIOLONCELLO.
•WHEN O'ER THE MEADOWS 0R8KN " (use pbuoteX by B. Vlvier
(sung by Madam* VI«rdot) 30
LONDON :
DUNCAN DAVISON A CO.
(DfcriT OEkAbUL DM LA MAUOIf BkAXSCS, OB PABIs).
1 OF LITTLE ARGYLL STREET
"ROOSEVS ORCHESTRAL JOURNAL, price 3s. 6d.
for orchestra, and Is- Od. for arplett Tl>« latest number* are Giingl'*
"~ Wallace, D*Albort'« Linda Quadrille*. Lamotte's A.lelalde Walt***,
1 I^^raJ^Wl^Marr^t". irtf WiIta* Orilmick's Mad-
night Galop. Laurent* Maud V.lae. I*,,rcm's Marguerite Polka.
puUiehad Booacy and rV.na' Mueical Library. Hcllc* atr..*. W,
0'
PERAS for CORNET-A-PISTONS and PIANO.
La Trsvtata, RlgolcUo, II Trovatore, Favotita, Don Paaauel*, Fra Du> <4. ,.
Ac Selection* from thwo Oficraa for Cornel ami Piano will be found in ths
CORNET MISCELLANY. S4 nutnbara of wbicb are publUboA.Si. <
|M|
TH B PLOT of the OPERA is very fully described in each
voUimoof B0O8EY and SONS' SERIES of complete OPERAS, for piano
auto, enabling the planl.t to appreciate Um aenUrneut and character of every
tnororau in tbe work. Thirteen operea are now publlataed to etrctm cloth coren.
nrieea from 4a. to Ta. Od. each, Wa.:— U Troeatore. le ; La.TraTiata, Se. ; Lea
Veprea Sidlieunea, la. Od. ; Ri«oliitt<.. &a. ; Sonnambula, 4a. ; Norma, 4a. ; Lai
HutfuenoU, Ta, Od. ; Don Juan. 4«. ; Fra Dlaeoln. le. ; Purltaol. 0a ; Fille .lu
Ret-lment, 4a ; Lucia. Je. ; LucreaU R^la, 4a. Booaty and Bona, *4 and SS.
Uolleealrocl. W.
R.
S. rRATTENS PERFECTED
■ old sTjktem of fingering with largo or ami
Gfmmn Bllv«r Kcyi at 4 uuumm, and with ttterl
guinc.is. ossch, «MP|rkit* It* Oumm, the. Kf cry In»tnu
mkI svccoaipsuiitf"! with * ccrtiftcAtc frvnu tluit uurlv»
FLUTES on the
otaa, are now made with
BOOSEY an.l SONS". Maonfactuiora, V4, Hollca-atnxt, L<-wlon, W.
Mr. Gollmick, j>erformed
" rpiJK DRIPPING WELL," by Air. uoiimicic, ji
i- recvnUy by the author at the Reunion dea Art*, and
ThU it one of lli« moat elcfraot and popular of Mr.
encored
pceitione.
Price Sa. Booeey and Sooa. ». Hollee etreet.
D
R. MARK, with his JUVENILE ORCHESTRA,
XJ niunbertag upwarda of SO Instrumental Performere. and a Chorna of 40
Voicoa, e..mpoeed of lilUe Enellah. Scotch, and Inali Bora, from liio to f.fteen
year, of age, and known by tbo title of " DR. MAIIK AND HIS LITTLE MEN."
I. open lo eniiatiementa. Apnll^tio,, by letter, rvldrcaaed ; Dr. MARK, care of
M -Bar". H-H-aey and S>nte, SI, Ilo!lee-etrv*t. Oxfonlwtreet. Lond'in.
Dr. Mark baa perrorme-l with hla pupil* lu crowded bwwra. and .
hit heat approbation to Lancashire, Baet and Weet ludlug of Yorkald
htarlordahVe. DcTooahire, Olouceeterahlre, "
DcTooahire, Olouceeterahire, Com wall. Walee, SomcraeU
Warwlekahlre, Worccaterelilre, Lincolnshire, Derbyahlre, Nottinghaniahlre,
etc., and baa gteen Concerta with the great eat auoucaa at the Free Trade Hat I,
Maiichcateri St. Ueorge'i nail, Urcrpool: 8L Oeorge'e Hall, Brvulford ;
Hall, Edinliurgb ; City Hall. Olaarow ; aoti all the principal i
toiintlea, hi* enterprise being pronounced by the unanimous Tcece of the i
and by public ana private teatimonlala, a* the moat useful, pleasing, -ui-1 tn-
atructire entertainnieut ever liitroducetl to the publle.
To thoae who may, Loweror. be still lu^acquaiitu-d with the UHaviing of "Dit.
Manx axn ma Limr. to,'1 Dr. Mark bega ra»t rrajpectAn'ly to state that his
" Ultle Man" form a moat unique and complete JUVENILE ORCHESTRA, com-
posed of .Itile Engttab, Scotch, and Iiieh boya, fiom Aee to fifteen yeaia of aire,
numbering upwar>l« c f forty |>erfoTmera, who play Marches. y-i».lril|e«. Polkas,
Sotoa. Ducts, the cholceet aeloctlona of Operas, an l sing Choruaea In a moat
rltoctlTe manner, and to whom be gives both a general and musical eduoatson. arad
provldca them also with board an. I clothing for the term of three years each,
''gratuitously, lu order to ilhistrate Ins entii*-Jy new, .imple, and rffi^ttve systecn
of musical education In favour of conservatories) of muttc rr the people'' in every
town and city throughout the Uuitrd Kingdom, and eapsjcially intended far little
chlliiren and sj <preiiuoea, where they may meet and spend their eveuing hours far
more coisi"snl*l than the evila and temptations of the streets will otter them.
The performance of "Dr. Mark's Little Meu," la alio IntoDdrd to abow what
can be achieved with au Indiscriminate aelectiou of little English boys, by a
atmple plan of trniuing. simultancoualy encouraging and promoting native
mualeal Ulcnt to every posetble way amongst the rising generation of thle
country, and to excite an interest wherevrr I piay. (o cttaider music a moat
nccca-ary bram h rf oducaOon to the humblest of ach-nla, and by these moans to
bring the acu,u!sHloD and wholeaome influenoes of muaie within the reach of all
claMca of society, a* a mean* of education, aa an element of recreation and attrac-
tion lo their houses, and aa an agent to improve and elevate the teas of
1 On me* tic condition of the people at Urge,
society, and promote the social and domeaUe <
D
R. MARK'S hi,
THE MUSI
Now Published.
ghly approved Wo
MCI X N, price On* Guinea ;
> people at large.
rks on " Musical
THB PIANIST, 1
Published by Jonx Booatr, of CaiUelsv-hDI, in the pariah of Baling, in the,
County of Middlesex, at the oeftoe of Booser * Sons, DM, Hoi lea SO est. fto4d
also by litan, 1$, John -street, Great PurUau'l-atrret, Amis, Warwick-
lane: VlcHKfts Holywel street; Kami, PftowaK, Si Co. 4a, Cheapaide ;
G. bcHBtrasiaxsi, Si, Newgateretreet ; Joaw SncrttKatn, Newgateetreet ;
Haaav Mat, II. Holborn-bars. Agenta for Scotland, PATastaOK A Sua*,
1 for Ireland, H. BtmrLU Dablin ; and all Music -
St. Martin-*)
PriuUalby STOUAM 8j>gNCU> J-
Use. in the Pariah of St.
8s (unlay, January IS, 1S58.
m the- FWdi, to th. County of
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the
usiral WmW
"TUX WORTH OF ABT iPflill HOST KVIVF.SI fit MrBIC, IIKCI IT BiQUIBM KO MAT1WAI, HO f CMK I ■ VIXTTall, WHOM
XfrxOT MUST
for Postage, 20*. per annum— Payable in advance, by
to BOOSEY & SONS, 28, Holies Street, Cavendish 8quare.
VOL. 36.— No. 6.
SATURDAY, FEBRUARY 6, 1858.
, THICK 4d.
1 STAMPED M.
munlc»t!!!n* ^iL^ii^ci^ JS.nu'miy ST
to announce that she
SIGNORA FUMAGALLJ, SIGNOR DI OIORGI.
and MB. CHARLES II BAH AM (Cflodoetor. Slgnor Vlano
. fer tl.o province*, of the raetropoiia. to be addreated to Mr
A YOUNG LADY
A TEACHER. In » Family or
being the jrretttcel t-ui Jcr.i Uud.
W^. P«°Offlcr" '
an MUSIC
w
ANTED. — A GOOD CORNET PLAYER for a
MIIUU Refiownt Term,, 25*. to SO*, par weak. Apply to Boom* uJ
.JULIA ST. GEORGE'S SONGS. — Sung by her
In*""Honi* and Foreign Lyric*," The moat attractive entertainment of
day — vide public pro*,. Tho * hole of toe muxc by J. P. Duggan. fjarttuami
, Co , wt, Altiauy-atreet, K. W , and all Mituc-aeUer*.
» "INDIAN SONNETS. — No. 1, "Hark! that cry;" No. 2,
i " 8pre*d the g *A tidJngav * New Bcat^a, by ThofBM Moor**, armogM by
T. Browne. Trie*, til. each, tendon 1 Wltlmmt, 11, ftUnaoaitor-raw.
THE BLIND GIRL'S LAMENT," written and
X
composed by the HtmournMo Mr*,
MM
r»tcr» m and Son* Ixitxkm : *U nuaic-ielleri.
THE DRIPPING WELL" by Mr. Gollmick,
recently by the nuUior at the Reunion dra Art», an
' Tbla la one of Uw moat elegant and popular of Mr.
Price S». B- wecy and Njtia, 2*. Hollee-etreet.
■d
"KHAN FOR SALE.
rpHE ORGAN now standing in the Free Trade Hall,
1 Manchester — Mom. Klrtlaud asdjardin* beg to Intimate II at the above
Instrument will be aold a bargain, aa kta lisraediute removal to requbuto pre-
paratory to the erection of the Grand Organ built by ti em far tbe Art Trearure**
Exhibition. Apple to KirtLind and Jardine, Organ Bu'lder*. MuKLcater.
nOYAL GALLERY OF ILLUSTRATION, 14,
Rak-out«tfoet.-MR. aud «R< GERMAN REED (lata Mia* F Borton)
"cry evening (exo-pt Saturday) at a. t t a limited number of nighu. After-
noon pertm-maiic, on Saturday at Three. Adnuevtoo. 1*. and 7a. ; Stalla, So. ;
to b* had at the gallery, and at Cramer, lloale. and CoV, Ml. ~
MISS ARABELLA GODDARD'S SECOND PER-
FiiI'MANCE OF CLASSICAL PIANOFORTE MUSIC will take tr ace
February lflrJv. when Miae Ooddard villi hare tho honour of per.
8. Bennett'* Sonata, for piano and Violoncello, with Wg. Plant;
j1* Sonata in A flat, entitled "Tina Ultra ," Be-thoveii'* BotuVa in C minor.
On. Ill ; Toccata con Fuga, in D minor (flirt time in Englmd). by John Sebutian
Bach j aiMl a Trio of Mon.lelaauhn, with M. Sa uton and Big. Ptatti.
Tiek.U to bo had («ly or Mia* Ooddard, at her residence, 47, Wclbeck rtroet,
0*vcndi*h-M|Uare.
HER MAJESTY'S THEATRE.— EXTRA PER-
FOBMANCK8 — On Tueaday. February ». and Thuraday. February 11,
wiU be rei«xud LA ZIKGARA. being the Italian vcraum of Delhi's opera of THE
BOHEMIAN GIRL. Ariine, Madlio. Ftccolutninl ; the Queen of the Gipsies,
Madlh. Haunter; Count Arnhcim, Signor Bellottt; Devllabnof, Slgrtor Vlalcttl;
Fl-teatAii, Humor Mercuiiall; ami Tlsddeu-. Bignor GiuglinL In the eeenud
>ct will 1* Introduced a new Dlicr Iracment by M. Mnaaot (the untie entirety
t-ew, com|xi»d by M. Ilelfeji by Meedlle*. Clavelfe, MorUehi, >nd ~
P»icca— Fit ttal!*, 6d ; loee (to hold four pemco "
«2 2*. , grand tier. £S U. ; two i*lr, all S* ; three pair,
" Sa (hi. : pit, »», 6.1. . galxry. ^
t made at the box-offlee at tlie Tl
irhkchi, ..nd Pianaala.
l*i»i:nnX P't and one pair.
, pair. 15e. ; gallery hoxe*
MAPLESON AND CO.'S
mnsB & mam mm&b mm*
CL4BENCE CHAMBEK?, 12, HA'
Tun Agency ha* been ea'abllabed for the
• o long required both by
medium of ocKurauuicatioii,
uected <*ich Muarc.
Tula Age
Oncotic <a
r*qtii*ttaa;
repute, bot
removal of
edr«nc«tn*i
n a pneitloji to arrange, with tbe utmoet proenptnci
'Quart Cacnpanlea, and anpply all the Choral, Ore! oat rat.
ao to negotiate engagement* of every kind for Arll.tr* of <
vocal and Instrumental, Which cannot fail t '
bataclco aud diftVuit.ee which hare f
re* the l>rfea«t In Una oountty.
ReejiBtara are kept for tlie fl
of the nanie* of vocal and i
necraaary particular*, Ac.
M'ratcAt ntreaera. — M. W.
cheatar-aqoare.
MxniOAi. Himui- John nailing*, E*q. M D., 14, A! noma
ri-ilicimn — t. bailee Ma.tdock. Kaq., IS,
Banxawa.— Unl"n Bank or Ixindon.
. H. Mapleaoii, Keq.. 7.
OPFICE nOUKS FROM KLKVBM TO FOUR.
APLESON AND CO S BRITISH AND FOREIGN
Office*. Clareno* Cli^mbarm. IS, Iiu>TDnr-kot, l^riid^n,
r beilif, coooi>4U4, all rn>re**t' in\lt dvdnnu of having
I h© tmpplicd with fortiw ft»r tbu ewxtia, pot-frw, or
MUSICAL AOKNCY.— Offioe*. Clareno* Chamber*, IS, Hu}-m»rket, Uiud«n.
A* the Ragiitar Book* are now being compiUd, all Pro'eatiou*! 1 1
their name*, Ac , entered. <
on nppltcaUofi.
Uecimiber 31. 1W7.
EW SACRED SONG, "He has come!
1^ of God." Word* by the Rev. Horatlta* Doner
J. Durrner. Pat. nan and Boar, Edinburgh and Qloagow
N
tbe
Christ
br
CONCERTINA CLASSES. — The increasing
of tbe Concertina induce* Mr. Oaa* to project a aerie* or
j)opulanty
Lass meet-
1PCOS, for the purpooo of imparting instruction In tble initru merit to per
unaoqnauited with mnaic. and alio a* a mean* of eupplylnaT aapeoabte port-
practioe to thore alreody eeioewhat advanced. Mr Ct*e prortoee* to hold a elaae
for ladle* in the afternoon, and one for ceutler*en in tbe evening, the terrae to
each to bo flxod at *uch a rut* aa will admit of all paratma joining them Mr.
Cue trust* that a permanent courae of liiatruelion, at a moderate co.t, will be the
mean* of rendering the Coucertln* tUil more genera'ly popular f el og enured
that II* many |iecJUr ivlvantagr* over other Instrument* will altimateTy gain it
the preference with all amateur* anxtoria to excel ill luuaic with a* little trouble
aa pcaatblo 1'crao' * drairotu of joining these claaaea are reqiieated to com-
mnulcau with Mr. Caae, to the eare of Booaey and Sou*. 28, Holla
THE QUEEN '8 STATE BALL.
The following Dance* wet* performed ly WEIPPERT8 BAND i
occaaion
1. — LAMOTTE-S TRAVIATA OMJCiV
2. — D' ALBERT'S I 1M>A (QUADRILLE.
S -LAOHENTN MAUI) VALHB.
4 -OUNOL» PETBRUOF VALSE.
The above are pnbliahed for piano n
24 and M, Holl
the above
BOOSE T and RONS', Manufacturer., it, Hotlea-rtarei, London. W.
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MUSIC FOR THE CONCERTINA.
CONCERTINA SOLO.
An Introduction to U>o Baritone Concertina ; with remark* on iU ml vantage* and capnlrilities as an accompaniment to the Voice, and a* a I
Ibr too Viola or for the Violoncello Id Concerted Music ; followed by iKtix of Bacrod sod Secular fiuUuii, arranged in a pregrmsive (orm by UsoaosCisx, price *s.
Bocsvjrs TJniTcmal Instructions for the Concertins, commencing with the first Rudiments of Music, ana proceeding through • Progressive Couresj
of Btu ly tothe moat dtsVull and • tabulate eryle cf performance ; comprising Examples, Mxsrtisc*, end Bxplauatlons, cumnuwd, comtaled, aad arrannd b»
Osoaos Cm Third Edition, pnoa 7«. ad.
La Bonnamhula, complete for the Concertina, arranged by
• i for Daily Practice, by Gkouok Cam, price 2a.
m "KW- b, Obobob Casb, 3a. 6d.
ONE HUNDRED MELODIES FOR THE CONCI
Selected from the most popular Modern Operas, Dunce Music, Songs, etc., arranged by QlOBOB Cut In One Book, price 3s.
(TENTS :
Adeate fidelea
Twer* Tain to it 11 tb*o
WhO* this heart Ita Joy
The blue bell* of Scotland
La d damn 1* mano
Mire, e Norma
S* flno all' ore
The Toreey
Austrian fiimo
BU11 bo gently
Aurora Waltz
Oft la the *tilly nlgbt
Dl peacaturo Iguoolle
Boa .irirtn vexxcaa
II *egr*to
Cease your funning
Osntil Houssrd
Tyrolean in Fujlla
Ratal <lan
Com » irootil
Let yeuz bleu*
Aehtoo, el
Walt*, Lucres**
Coming through the rye
N<>n plct meat*
Auld Robin On;
Guaracbs
lal*«ei mot Palmer
Buona la tromba
at u.l. those bright eye*
The Meuting of the Wssan
Delia crodcto
Llbiaroo
Partant pour la Ryrte
Krnaiu lurolnrol
Quel guardo H cavalier*
Tlio Hwiaa Boy
Lucy NeoJ
Market Chorus
Pra p -co
La donna e mobile
Viet ttt
The Laat Rose of Bummer
Elizabethan
Boualv Dundee
V mf;. ^Ixina ^
Do not mingle
In queato *eoi
Chi nacpie al
A voin onat
Claaoun lo dice
Oh1 nobile ectopic
Yc Bouka and lime*
ITn I I e heart
Ob ! wblatle ami 111 come
Chortle. MaaaeMlo
Valaa. D<« Paetiuale
La Monde
ttniiruanmo
Robin Adair
Kan pie eridrai
U Dealr Valae
Within a mile of Edlnboro
Com' e hello
L'amo, ah ! 1'stao
Vln*k«. II Darblera
Yarrano a t« aul sure
Aria from Lucia
He tradirrai
Zlttl. zitu
When the awallowa
O Nanny, wilt thou
reatal
Bui campo della gloria
Oh I dirtna Agncao
Ah ! cc.n*oUrml
Oh I luee <ll ojuest'
On yuudor rock n
Auld lam; ayne
llark, tbe reaper
Dl celoao tunor
II holcn
Mlwrare
Ah I coe la morto
Hi la abmchcua
Kate Kearney
Tyrolean Air
Hoax May
Tyrolean, GuiUaumo 1
Turn, *kcomo
Oh ! rendetta
Parte! , o car*
Trouiba e corona
ONE HUNDRED SACRED MELOD
AllKANGED BY GBORGB
CONCERTINA
C
0J
Ho. L
X
3.
«.
ft.
t.
1.
B
ISM.
FanUinic, Masanieuo.
Helorttoo from Tbe Creation .
Selection from Lucia
Fanlaime on Irtah Air*
Selection of French Air* ,.
Fantaial* on OuilUume Tell
SelecUiii of Popular l>*oie Music .
Fautaiaie on It Trovatore ..
Selection of Ainericau Melodies
on Don OioTanul .,
Auher
Uaydo
DonUitU
National
National
Roardni
Various
Venil
National
CERTINA AND PIANO.
CONCERTINA PERIODICA!,- Puhli.hlng m tho Pirat of . very Month,
THE CONCERTINA MISCELLANY.
arranged fur the Concertina and Pianoforte. Arranged by (iiOBGB CAM. -SaAstn'pfioa for JW/m
liumbm. On* Gamed) • or, Prict Half -a CVosra eocvl.
Mo. 19. SeleeUon from tMatat Mater . . Rossini
1«. Selection from Don P»<*niale . . Uoui/elli
IT. Beleeti n from Kmani .. ..Verdi
11 BsssSS from RUmlstto .. Verli
13 ^j'ctt':m ,T,-'v
rurit.hi
Meii.lcU.*..Lti
Verdi
Verdi
id. oclertioo
out Words
it. (Selection from La
20. Lo* Ouatrv &al*ma
«1. Welding Man* Mpudelasoliu
SS. Selectiou from Kunpe . . . . Harold
S.1. ndscUonaf tftctch Airs.. .. National
M. Belectua freii Plgnro .. .. Mozart
No ST. Becond Selection from II Troratoni Vorrll
18. rk-loctloo from Lea Hiarueaots .. Meycrhaer
ill. Selection of National Kngliah
Maiodiea National
30. Selection from Norma .. .. Bclhtil
>l. 8cl«-tiou from Fra D1a»olo .. AuUt
•J1. Belcction of l'npular Riualan Melo-
illea, lntro-luouig the National
Hymn National
33. FantaaU on 1 Lombard!, intro-
ducing L* rain h tula . . . . Venii
Si. rrendi lTanel, Durt Bellini
Si. I« OsrtU, on-i I Mwiuari . .
tot qui j'aime— Robert lo
POPULAR
No. 1. Rsrotetto: " La donna « mobile - and " Qu.sU
1. infroTator*: "II balen," and "Ah! che la
badours HoogJ
8. Lucia di Laromeruoor: "Fra poco a mo," atid " Tu ch* s Dio
4. aaoTmdZ : " Ali ia lost now,' sad "BtuTso gTmlly"
& Norma: • Dab I con to"
• Islsstmn of the rn-tt popular Valaa*
7. Folia; "Ltntant"
RECREATIONS.
IbobobCabb. Arrmngedina
Prif On,
Verdi
Verdi
DotilietU
DelUni
Ifcillini
BA.bort
D'AJlwrt
No. 8. Vala* (sung by Madame Gassier)
9. French Air* ; " ParUat pour la Syrta,
" Mourir |iour la (mt rlo ■
10. Irish Airs: "Tbe Harp that once through
"St. Patrick"* Day," and "The Laat Rose of 8<i
11. Scotch Airs: ••Botuil* Dundee," "Blue Bell*
' "Com In' thro' the
"Old Folk*
Tars'* Halla,'
namer* pl
of SootUnd,'
he rye «. .. 1
atriome,"snd"NrilyBTy
e. KBOONDI.
BOOSaTB RXPRRTOIRX, CONBISTING OF T'
OPEKAB,
No. 1 . Ia Bonnambcus.
1. ditto
s. ditto
4. ditto
6. ditto
ft. ditto
T. Usda.
ft ditto
ft. ditto
10. kraani
11. ditto
It, dttso
U. L. OerdsjUal
14 ditto
THB MOST POPULAR MODERN
ARRANGED BT OIDUO REGONDI : a. d.
Oome (»r nw asreno ; Cant Osmiagne
dTudnaasl 1
VI raTTtso ; sai
Tutto a ecdolte ; sod Ah 1 pcrche non
Prendi 1' aacl U dooo .. .. ••
Ah ! fosco •Isle ■ and Ah I non glungs
to Bon gdoao; Slid Tutto * ginj* .. ..
Cars luaghi | and O luce ui queat'anims.. ..
E Is toco * and Ah I oonsolarmi . . . .
Ah 1 bet dostta ; and Di tu peue . . . . . .
Eroaul. F.nvanl. Inyolami .. ..
Bolingo errnnt* : luftllce; V|t» An
Oome rugiada al oespieB
Three Celebrated f
Beoond Selection of <
14. Rhreletto. Introduction ; Quests o quells ; Tutto; Hallata. *c.
14. ditto B U aol ; Cam nome ; Zii ti. sltti ; I>h ox
17. ditto Par rat redsr ; La donna » mobile ; Bells
is, ]aa Qqgusnoi*. , lntrodnctlon aad Cbe*ala ; Baas
IBM ( 1 ItiUa
ditto
', ^mmmm mm
i non parts ..
Ua figtu ..
• ee beau del ; F
Noliloa rVilirinirn
; Sombre Ohrler; Dea bainneuM-a
e; Rataplan; Vierge Marie; Bn n
MftswM
O l«i ;.tiyn ;
Bsautr dlrine
bon droit ..8
ntoiru au h-r..ii l Dieu; Le dsiiKit pre*** .. .. t
Vt rrer ; J > li« rsgnnit ; O Fortune ; Vs dit-ello .. (
Kn T*in j'c«|*re; Idol de m* vie;Quand juquttut
la NrrrmsneBfti Fatal numient ; Robert, tol que S
rt (i ho iri; Dlcu pubeant (Trio finale) .. S
il -.1. I .telle; A feu; Ah I per sere pre ;
A le, i. car* ,.4 1
yui la roes; Visa duetto; Oorre a valle;
X*cl uiir.it. : : odea si mesaxa 4 0
riECBS FAVORITKB ET FA^LraSl'OEf)- BT RJBGONDL CASK.
AND BXDUW1CK each 1 ft
"Come inunoeate giorsnr," and "Non vha tquardo" ("Anns
Boltn* ")
" My boyhood'* lore," and Wolta from "Lftollne"
*' Ixwie o* Buchan," and " Ob, whistle "
" Dob non rolcr," and " Ab I cost " (" Anns Boles* "I
" A lowly youth " I " Matilda ")
" Beauty'* pral*o'"— Wsvsa
"My b kitT ia on the ahore "
' ' Thou art gone from my gaae "
GEMS OF ITALIAN OPERA, ARRANGED BT GEORGE CASE., each 8 «
No 1. Tu vedrsi Is ereubilura, ftt*n "II Pirata"
? Del ragirlo luainghler. from "Bcmtramide"
9. Vir t tu. from " Anns Boleaa "
s. In questo acmpHcv, from " Betly *'
ft. Fra jkjod s me, from " Luda dl Lammaimeoi "
ft. Ah I non erodes, snd Ah non glunge, from " SonnsmhuU"
fllce from WiVr'i Preciosa. " Deatity'ii Praiao," by Uii'uo Reooiroi. . . . I
Krunl. Eruani, iarolaiui. ditto I ft
from "I Purltsni,"by Rt'-aaao Blaobots 4ft
Uscts Is Normnmlhj," from "Robert ie DI*Ue,"by
"Alii* lest, "from "Ls
Vonuion* on s fsTountc Air from
Pot-lKWirri on Air* from Verdi's " 1
" Adelaide." by L. nu BoethoTea— J. Bca
Pcka, by Charles D' Albert— J. Bsatbs
■OOOSEY & SONS, Hoiical Libraxv
^ftm *** W mrmmm mt *s* W mm BBBJJ BBjajBBBB/BBBBJ ftsMaTA V*>* J j
24 and 28 HolleMtxeet. Oxford-stre«t.
lO
Feb. 6, 1858.]
THE MUSICAL WORLD.
83
ItEVIKWS.
"Thi CM55rc.iL Punwr" (uaed at tlic Koysl AmdtMy of Mawio)
* selection of movements from the work* of the great mostrra —
edited by Brinlcy Richards (Honorary Member, Ajioeiulc, uud
• of the ltoyal Academy of Musk-.)
(Continual /rum fiaye 3G.)
the remaining seven pieces included in Vol. II. of
Mr. Richanb' "selection of movement*," we find the trhole of
Beethoven'* sonata in A flat, Op. 20, commencing with varia-
tion on ouo of the loveliest thonica that ever Beethoven
siuft'tntt'
expn
Any of our readers can supply the rest. Familiar a* la thi*
sonata (so familiar that Mr. Richards might with more general
advantage liave substituted something else), it never seems to
lose a particle of its freshness.
rtA thing of beaut/ in ■ jOJ for ever."
a great truth in one of the happic»t lines ever con-
I by a poet; and probably in no work of Beethoven is
the element of alwtract beauty more unceasingly conspicuous
than in the sonata, Op. 2fl. The melodies, like thick dusters of
grapes, hang luxuriantly from the artistic frame-work,
leaving tho ear no repose fmni delight. And then what
variety ! Although the four movements are so admirably fitted
to each other as not to be separated without detriment, they
arc at the sumo time so well constructed that every one
produces a distinct impression on the mind — nn impression
only subordinate to the feeling of entire satisfaction with
which the complete work is regarded. Wo have always
thought, however, that the last, most finished, moat original and
BeetKovenM movement of the four was lens commonly appre-
ciated than it* companions. How often, in alluding to tlii*
sonata, do we hear praised, in enthusiastic terms, tho melodious
andante, with its variations — tho spirited seherzo (minuet in
reality), with its graceful trio— and the solemn adtigio, in A flat
minor, the Marcia Funtbre tulla morte tTun Eros, which M. Ouli-
bicheff.in hisdandy-cynical and half Frenchified manner.aflecU to
hold In greater esteem than tho magnificent slow movement of
tho Eraica Bymphony !• But how seldom, except from the lips
of " at>solute musicians," as the eccentric M. Wagner designates
them, is one word of praise awarded to the delicious allegretto
which terminates the sonata, and which, notwithstanding the
verdict of M. Oulibicheflyf who judges works of art and genius
in as despotic a tone as though he were a literary Czar, is one
continuous stream of limpid gushing merWy from cud to end —
melody as soft as the down on the cheeks of a peach, as bright
and alluring^ yet as modest, as tho tints on those of a virgin
Two bars will recall, to intelligent and ~
the whole of this exquisite piece:-—
A lUgretiv,
™^ — a?
The fantasia and sonata in C minor, of Mozart (entire, as
usual), arc also included In tho volume. Why these two works
should be invariably published together, as Op. 11, it la difficult
to determine, siuco the sonata, which is always printed last, was
composed in 1785, and the fantatia, which is always given first,
in 1784.J Moreover, they have no connection whatever, each
it n'tf
* BrcUumen, in Oritiqutt, et tee Qloteatrnrt. Fage 126.
t " Le finale est un ruorneau brillant pour le ptoniste, qaoiqi
nit pretque jmm de uv'lodie." I'sge 127, ditto,
t In these two years, besides quintets, quartets, sonatas, sud a great
■ j other important composition*, Moxsrt wrote sine of hi*
> concertos, including the great D minor.
being c
by the
complete in itself. The fattlcuia will be at <
The sonata — tho very finest example of its class that came
from the pen of Mozart, and the one which exercised the
strongest influence upon the plastic mind of Beethoven, before
that |M'ri'*l when, having shown himself independent of his pre-
decessors, even of him who was tho greatest of them all, Beet-
lios*en exposed himself to the criticism of Nijui Novgorod* —
begins, as our well-iufonued reader* will remember, thus;—
ilvlla .til egTU.
P
t
i
3 -1
Tlio pianist who is thoroughly conversant with tho works of
Mozart, can hardly fail to liavu remarked the striking resem-
blance between thu o|>eni»g uf this vigorous and splendid allegro
and that of another composition of the illustrious musiciau— the
quintet {notturno) in the same key : —
Allteto. s*
LT'^-rH'-rfc
It is unnecessary to say more, however, about a work with
which our musicians are, no doubt, for the iuo«t part {at least
they ought to be), well acquainted. The C minor sonata is imme-
diately followed by another composition of Beethoven's, to
which the same amount of notoriety has not yet been accorded —
owing, sve suppose, principally, to its being written in the unfa-
miliar key of F sharp. At any rate the sonata. Op. 78, does not
belong to the so-called "third period ;" nor is it one of those
compositions which most severely tax the mechanical skill of
the pcHbrmer. The pianoforte sonata in F sharp major is
strikingly original, from the first bar to the last, and as unlike
any other sonata of Beethoven as it is unlike any other produc-
tion of any other composer. The melodious and expressive
theme with which, after a few bars of adagio cantabile, the
allegro commences : —
Alltijto ma nan trappa.
at once shows the pianist, initiated in the phases of Beethoven's
many-sided genius, that an inspiration of one of the most tran-
quil and happy moods of the master is before him ; and how this
is verified by the whole movement we need hardly remind
those who are happy enough to be acquainted with it. At tho
end of tho first period, the key of the second theme is approached
by one of those bold transitions for which Beethoven is eminently
celebrated:—
• The Ruaaisn town from which M. Oulibicheft
Moicow, iaaue* hi* decrees concerning art.
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THE MUSICAL WORLD.
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The sonata is very short, and only consists of two movements —
which justifies the repetition of the second, no less than of the
first, part of the alltgro. In the last movement, allegro a»*a\,
also in F sharp major, Beethoven appears in as playful a humour
a* in the first he was calm and gracious. The very opening
i what the author of Jfutic and Manner* in Germany
the " frcAkishness" of bw purpose
Ah*
i
i
This pretty theme is treated with exquisite caprice and inde-
finable grace— always coming in unexpectedly, and always
interrupted by some modification of the following wilful
A strange kind of subject, half in the major and half in the
miuor, which first appears in the key of the third below, and
then in tho tonic—
OBV "
aa if in search of the themes, one of which it is sure to catch,
complete the materials of which this deliciously fantastic
movement is composed. The peculiar structure of the
principal subject, in twelve-bar rhythm, with its sudden
termination at tho end of tho third section, tantalises the
ear until the ear has become accustomed to it, and is admi-
rably in keeping with the rest. No doubt the feeling of its
originality pleased Beethoven, and encouraged him in carrying
out the whole piece in the playful style that characterises its
beginning. The sonata in F sharp major shonld be oftener re-
sorted to by pianists, since, if executed with neatness and point,
accompanied by a certain indispensable humour, it is sure to
please the public.
(VtUunHimi.)
Dobux. — Notwithstanding the inclement character of the
weather, Hen Oberthur's Harp Recital was numerously at-
tended. Two o'clock was the hour named for its commencement,
but before that time the spacious new salon of the Ancient
Concerts was thronged. The performances opened with a fan-
tasia on Swedish airs, for violin, violoncello, and harp, executed
by Mr. R. M. Levey, Herr Ellsner, and ITerr Oberthur. The
harp solos of Herr Oberthur displayed great ability and com-
mand over the instrument. A duet for harp and pianoforte, by
Miss Flynn and Herr Oberthur, was much admired. The vocal
music consisted of two quartets, sung by Messrs. Kichard Smith,
0'Rurke, Yoaklcy, and Dunne. The instrumental attraction
was a trio for violin, violoncello, and harp, performed by
Mr. Levey, Herr Oberthur, and Herr Ellsner, and warmly
applauded. A pianoforte solo by Miss Flynn was cleverly played.
The entertainment closed with a duo Tor pianoforte and harp by
Herr Oberthur and Miss Flynn. ™
gratified with the concert.
Holhtibtii.— The fifth quarterly concert of the <
helil hut Wednesday evening, in 'the Town Hall, when*the Messiah
wns performed, the band end chorus numbering some seventy
performers.
Oldham — On Sundny two sermons were preached in this church,
snd collection* made (amounting to £41), iu aid of defraying the ex-
penses incurred iu the erection of n new organ, by Mr. Wood, of Mid-
d'.eton. This is the second new orgsn which Air. Wood has erected in
Oldham within the lait two years.
Tsuoic Accideht. — A letter from Nantes states, that M. Puprat,
in plnying there the character of the Moor, in Rossini's opera of
Olrllo, was .«<» carried awsy by the {tart, that he forgot that the dagger
with which ho threatened l>c*demoua was a real weapon, and the blow
which he rive Msdsme 8trauski passed through her dress, her stays,
and rtitcroi her side. Tlte wound bled profusely, bnt it it not ex-
pected^ that it will be attended with serious consequences.— Mornim,
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Feb. 6, 1858.]
SKETCH OF THE LIFE OF LABLACHE
Lamshtation for the loss of a great artist is too frequently
accompanied with regret that his place may never be supplied.
Within our own recollection hbw many acton and singers hare
quitted the scene without the remotest chance of leaving a suc-
cessor behind them ! lime warn, when on the lyric and dra-
matic stage the disappearance of one star wan followed invariably
by the advent of another. The chronicles of the Italian Opera
and our own theatre* will show this. The lino of eminent tra-
gedians was kept up in one unbroken series from Betterton to
Macready. The list of renowned singers at the Italian Opera,
from Paechierotti and Banti,<:own to Mario and Orisi, indicates
no interruption. But here it would seem to come to a full stop.
What tenor or soprano at present on the lyric stage is likely to fill
the scat occupied by Mario or Grisi 1 Have we any barytone left
worthy to supply Taniburini's place 1 Is not Alboni the last of
the great race of contraltos who figured so conspicuously
in Rossini's operas 1 Above all, does it lie within the bounds
of probability that a bass singer like Lablache will in our
time adorn the boards of the Italian stage T Everybody will
answer these interrogatories without hesitation in the negative,
and will deplore with us the lamentable and unaccountable
deterioration of the modern' stage.
Louis Lablache was born at Naples on the Gth of December,
1794. He was, as his name indicates, of French extraction.
His father, Nicolas Lablache, had been a merchant at Mar-
seilles, but removed to Naples in 1791. He was one of the
victims of the persecutions exercised against the French by the
Italians in 1799. Afterwards, when the Neapolitan kingdom
•wua subjected to French domination, Napoleon, whose policy in-
clined him to conciliate all parties, to make atonement for the
ill-treatment offered to his family, had the young Lablache
placed as a pupil in the Conservatoire of La Pxeta de Turehini,
at Naples. He was twelve years old when he was admitted.
He commenced studying at the same time singing and playing on
several instruments, but appeared to have little taste or incli-
nation for music. He was negligent in his practice, and was not
cited among his companions for the regularity of his conduct
An unforeseen occurrence took place a few years after he entered
the Academy, which revealed the natural bent of his mind,
.concealed up to that time. One of his comrades, on a certain
occasion, was engaged to play the contra-baaso at a concert.
He fell ill three days before the performance, and a substitute
had to be sought Lablache had never played the contra-
baaso; he nevertheless offered to supply the place of his sick com-
panion, anil three days' practice sufficed to enable him to under-
take his part. His success did not increase his inclination to
become an instrumental performer. He felt that his vocation
was tha stage. Five times he fled from the Conservatoire to
seek an engagement at the minor theatres of the capital. It
was during these escapades of the young Lablache, if not in con-
sequence of them, that a royal ordinance was issued, interdict-
ing managers of theatres from engaging a pupil of the Conser-
vatuiro without special authority, under penalty of a fine of
two thousand ducats, and the closing of the theatre for fifteen
days.
Having at length terminated his studies at the Conservatoire,
and being free to follow the bent of his own mind without fear
of superiors or royal denouncements, Lablache accepted an
engagement, in 1812, at the San Carlino, one of the minor
theatres of Naples, as buffo Napolitano—% specimen of which
character was presented fur the first time, a few weeks
since, at the St. James's Theatre( in the person of Signor
Carrione. Lablache was only in his eighteenth year, when he
entered upon his first engagement at a theatre. Soon after-
wards, however, he married a daughter of Sig. Pinotti, an
Italian actor of great reputation in .his own country. The
following year he went to Messina, and appeared again as buffo
tfapolitano. But this line of characters he was not long
destined to fill. While at Messina he received an offer to sing
at Palermo as primo bauo cantunle, with which he at once
closed, and made his dibut in au opera by Pavesi, Ser Mare
Antonio, His success was so decided as to induce him to remain
at Palermo for five yearn. Although removed far from the
centre of Italy, Lablache was not unknown. Insensibly his
reputation extended, and the administration of the theatre of
La Seals, at Milan, engaged him in 1817. He made his ap-
pearance as Dandini in Rossini's Crtnereidula, written a short
time previously for He Begins, and was received with the
utmost transports. Soon afterwards Mercadante wrote Eli#i *
Claudio for him. The renown of the young artist now iu reality
spread throughout all Italy. From Milan he proceeded to
Turin, where he performed Alberto in Paar's Agnite with great
success. He also appeared iu his favorite parts in other cities of
less note, and in lHii returned to Milan. Thence ho pro-
ceeded to Venice, where be remained some time, and iu 1824
accepted an engagement at Vienna. Here he eclipsed all UU
compatriots, and the public journals were never tired eulogising
the grandeur and quality of his voice, his profound intelligence,
and the truthfulness of his acting. The Viennese carried their
admiration so far as to have a medal struck iu hi* honour, which
bore the following inscription :—
Actione HoKio,
Jope Canta Uamparandut
Ltraque Lavru Comerta
Ambobui Major.
After the Congress of Laybach, Lablache obtained at Vienna
an audience of Ferdinand the First, King of Naples, who re-
ceived him with infinite kindness, appointed him singer to his
chapel, and gave him an engagement lor the grand theatre Sau
Carlo. After an absence of twelve years Lablache returned to
Naples, a different person altogether in regard to accomplish-
ments and acquirements from the youth who hurried away from
his native city to Messina to accept an engagement as buffo
Jfapolitano. He was now the accomplished singer, the finished
actor ; and all first-rate parts, whether baas or barytone,
were his by right He made his first appearance at the Sau
Carlo as Assur in Rossini's Semiramide, in which, although the
music was composed for Filippo Gatli, a singer rumarksble for
the flexibility of his voice, he produced a deep impression. He
stayed two years at the great opera-house uf Naples, and was
not only increasing his fame, but making rapid strides in his
art llo next appeared at Parma, in an early opera called
Zaira by Bellini, whose star was just beginning to glimmer on
the musical horizon.
In the year 1830 Lablache first appeared at Paris, and created
a powerful impression. His talent at ouce conciliated all grades
and all tastes of the musical cognoscenti — more especially as it
had not passed the ordeal of a London examiuatiou. Certainly
an artist like Lablache had not hitherto adorned the brilliant
stage of the I ta lie us. The critics were divided as to the supe-
riority of his comic and tragic powers, but there was no second
opinion about the beauty, grandeur And majesty of his voice, his
admirable singing, his musical instinct, ana his noble and
striking appearance. The first comic parts in which he per-
formed at Paris were Geronirao in Cimarosa's M'llrimonio
Segrtto, the PodcstA in Rossini's O'azza Ladra, Dandini and the
Baron in CenerentoUt, and the old manager in La I'rova d'un
Opera Seria. His serious characters were neury the Eighth in
Anna Jiolena, and Oroveso iu Norma. His success could not
fail to cross the Channel, and a London engagement being offered
to him, we find him making his entree at Her Majesty's
Theatre, cn the 13th of May, in Uie same year (1H30), as Gero-
nimo in the Matrimonio Segreto — the first of the "glorious
rartet" who appealed in this country, Rubiui coming to
ndon in 1831, Tamburini iu 1832, and Grisi in 1833. He
returned to Loudon the two following seasons, adding each
year new characters to his ripertoire, but for some cause
unknown, or unexplained, most probably prevented by his
engagements in Italy, he did not appear at the King's Theatre
in 1833. In the season of 1834, lablache, Grisi, Rubiui, and
Tamburini, united their talents lor the first time, if we mistake
not, in La Uazi't Ladra, which was the favourite opera of that
and the two subsequent years. In 1833, he returned to
Naples, and in the autumu, appeared for the first time as Dul-
camara, in Donizetti's L'ELmr <T Amort, written especially for
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THE MUSICAL WORLD.
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him, with prodigious success. He returned to Paris in 1834,
and thence to London in the mme year, from which time upto the
disastrous closing of Iler Majesty's Theatre in 1862 he woe one of
thegreateatornamentaandstanncheBtsnpportersoftheoperaintlH!
Hajroarket. For many years Lablache's time was fully occupied
between the London and Parisian operas and his engagements
at the Festival Concerts in the provinces. In the season 1800,
he succeeded Tamburini in the direction of the Imperial Theatre
at St. Petersburg, and remained at the head of the administra-
tion for five years. It would have been well, however, for the
art if neither Tamburini nor Lablacho had ever been tempted l"
the city of snows. It is nearly certain that the former (oat liia
voice there, and the death of the latter was iu nil probability
accelerated by the rigour of the climate.
In 1804, Her Majesty's Theatre still continuing closed,
Lablache made his first appearance at the Royal Italian Opera, on
the 9th of May, in his famous part of Doctor Bartolo in JIBarliert,
Mario being the Count, Ron con i the Barber, and Mad, Bosio
making her first appearance as Rosina.
For two seasons, lablache did eminent service to the cause of
the Royal Italian Opera, during which time he played the round
of nearly all his great parts, and appeared in one new character,
the Tartar Corporal, Uritzenzo, in Meyerbeer's L'Etoile du Xord,
the music of which was altered, and the recitatives written for
him. Perhaps the most interesting event in the history of his
career at tho Royal Italian Opera was resuming the character
of Dou Pasquale, in Honizcth's popular opera of that name, with
Orisi, Mario, and Tamburini, the original cast, as it was first
represented in Paris, in 1843. This was performed on Thurs-
day, Juno the 28th. Although announced in the prospectus,
he was unable the following year, from ill-health, to join the
Royal Italian Opera troupe, when the disastrous burning of
Covent Garden Theatre drove them to the smaller house in the
Strand. I. .-J laches final appearance on the Italian stage took
place on Thursday, August ftth, in VHtoiU du Nord, tho lost
night of the season of the Royal Italian Opera.
lablache was one of the greatest ornaments of the Italian
Opera in this or any other age. His voice was pcrliaps tho
grandest and most powerful over heard. In depth and extent
it certainly has been surpassed ; but for volume and quality
combined has never been approached. Such an organ, indeed,
was as effective and capable as twenty singers in a chorus.
Who does not remember how it pealod in the finales and con-
certed pieces like thnnder in the tempest t No strength of hand
and choir was able to drown the echoes of those tremendous
tones. The quality was no less admirable than the power was
stupendous. Open, clear, and prodnced directly from the chest,
without, we may say, one head note, Lablache's voice differed
tially from all the basses wc ever heard. His was, iu Tact,
a purely natural voice, and did not seem to include one made
note. Hence it retained nearly all its force aud fulness to the
last ; and at sixty years of age Lablache. in many respects, sang
as powerfully as in his best days. Flexibility and facility iu thu
voice have never yet been united with volumo and weight, and
Lablache constituted no exception to this rule. How he sang
the music of Assur (Semiramxdt), Dandini (Onerentolii), or even
Figaro (Barbiere), we cannot sav, never having heard him in
any one of the parts. We can only suppose his amazing rapidity
and distinctness in enunciating the words made amends for his
deficiency in execution. Rapid articulation was one of the
special merits of his comic singing. The celerity, ease, and dis-
tinctness with which he uttered a quantity of syllables in a
breath was truly amazing. For this reason, if for no other, his
" Largo al factotum," which wo once heard him sing at a con-
cert, was incomparable. On the other hand, to slow and grave
passages, the grandeur, breadth, and majesty of his voice gavo
immense effect. As an instauce, we may cite the exqusite
phrase, " Nulla bionda," in Leporello's song, " Madamina," in
Don Giovanni; the grand air, * La Vendetta," from the
A'oue di Figaro ; the Grand Prayer in Mori in Eyitto; the song
previous to shooting the arrow in Ottdlaume Tw; and sundry
passages in Puritam, all familiar to the modern frequenter of
the opera. In pure abstract singing, both from his voice and a
judgment that never led him into oxtravagance, Lablache had
no equal aa a bass singer. His style and method were founded
on the best models, and his own admirable instincts supplied all
else that was required. Lablache possessed one advantage which
few singers can boast of. He was a good musician, It is
strange how many of tho moat renowned Italian vocalists were,
and are, utterly deficient in musical education. When we hear
and see such artists as Catalani, Pasta, Grisi, Rubini, Donzelli,
Tamburini, Mario, and others, almost incapable of distinguishing
one chord front nnother, we are compelled to believe that musi-
cal instruction beyoud the art of vocalisation is not necessary
to become a great singer. Lablache, however, was an honorable
exception. He was in reality a good musician, which was en-
tirely owing to his having undergone his earliest coarse of
uducation as an instrumental performer.
To be concluded im our next.
SINGING BKOOMINO AN IMPOSSIBILITY..
(Tranxlatixl hvm the fruillr/on of the Journal (let Dr'hatt.)
Where is there a composer sufficiently skilful and sufficiently
iKiwcrful to enter tho lists against the mournful melodramas
with which wo are saturated daily, to put an end to screams
and howling* on the stage, and bring back singiug to its natural
simplicity aud purity I *
The dcclino of taste has, doubtleRR, contributed to produoc
the excesses against which we raise our voice, but, combined
with it, there are, wc believe, several material causes. How
about the diapasons which servu to regulate voices and instru-
ments in our theatres ) Have we preserved tho measure of
that which, in Cluck's time, allowed counter-tenors to sing
without effort the part of Orpheus, which tenors no longer dare
approach ? May it not be possible, as I have heard stated, that,
in consequence of wind-instruments having for a long time post
been employed more frequently in the (■pen air, either at tho
head of regiments or at public fetes, their diapason has been
gradually raised at least thrcc-fuurths of a tone, to render tho
sound more brilliant and sonorous ? Is it true, too, that tho
musicians who in the morning took a pleasure in the extraordi-
nary resonance of their brass instruments, would not give it
up, when they went in the evening to the orchestra of the
theatro, and that their colleagues, the violins, altos and
basses, were soon obliged to screw up their strings so as
to keep in tunc with them 1 In a word, is the elevation
of the diapason in lyric theatres as certain as tho augment-
ation of noise in the orchestras f If such is the case,
what will become — indeed, what has become — of the poor
human voice, to which tho Creator has assigned insuperable
limits, with regard both to extent and intensity? Alas!
what we hear every day? tulls us its fate ; it is compelled to
have recourse to screaming in order to bo hoard, which is not
always the case, dospitu the efforts it makes to obey the tyrauny
of the instruments which oppress it.
In a word, the art of singing is, now-a-days, inclosed in a
vicious circle. With the new Bystem of musical composition,
tho voice is smothered beneath the tempest of the orchestra;
while, on the other hand, if an attempt wore made to moderate the
accompaniments and lower the diapason, the audience, suddenly
deprived of that to which their ears are accustomed, would cry
out with as much vivacity as if they were, all at once,
deprived of tho brilliant light of gas, in conseqnenco of the
gentler and more modest light of simple wax candles being
substituted for it. The only probable chance of any return to
simplicity and good taste, lies, I think, in the impatience and
subsequently the lassitude which will be produced by the ex-
cesses resulting from a false system, which is tending to
nothing less than the annihilation of the art of singing.
E. J. DELfccLUZK.
Bradford — At the annual meeting of the Bradford Infirmary
subscribers, on Tuesday last, Samuel Smith, Esq., in alluding to
the circumstance that that charitable institution had ever been
a struggling oue, intimated that the Triennial Festival, to bo
held in Bt George's Hall in 1880, would be for the benefit of the
Infirmary Fund, and added that he had no doubt it woaldbe
exceedingly successful.
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THE MUSICAL WORLD.
87
THE FESTIVAL PERFORMANCES.
To tie Editor of tie WrrkUf Diepatch,
DITOB, — In your paper of January 17th, in an article respect-
ing the State performances it liar Majesty'* Theatre, it was stated,
among other report*, that The Love Chatt was wanted, bat that the
Court declined to accept Mis* Sedgwick for the chief part, and required
Mils Faucit ; that The Sivale was thought of, but that untrat
Mr. Hudson could be prevailed upon to revisit the glimpse* of the
lamps, the comedy would be rejected. Now, sir, my chief object in
writing to yon, respecting the above report, is to set yon right a* re-
gards Miss Sedgwiok, a young lady who recently made the most
successful dfhut in London known for many year*. I suggested to
Mr. Mitchell The Imv* Chare, which was not, s* you state, wanted;
also Ae You Lite It, and other comedies. Miss Sedgwick was not
objected to in any way i and, aa Mis* Faucit ha* never performed the
character of Constance, and is not likely at any timo to do so, her being
required for that part ia equally untrue, more especially as a comedy
was requested to bo performed by the Haymarket company, of which
Mis* Fauoit i* not a member. A* to The Rivah and Mr. Hudson, you
must know by this time that the comedy named is selected, and that
Mr. Hudson ia under an engagement at this theatre. Although at the
head of the " Town Talk and Country Gossip," in which the above
report* appeared, yon profes* not to indorve such gossip and opinions,
yet I must beg of yon to intcrt thi* contradiction of *uoh reports, in
justice to the feeling* of a talented young lady whose professional and
private reputation must suffer if each n ttatement i* thought to be
authentic. I am rare the writer would not hate wantonly inflicted
the pain ho has done, nor could he have contemplated the mischief hi*
" gossip " might cause to the professional prospects of Mis* Sedgwick,
when he penned it for publication. I ahould have called your attention
to these report* earlier, but wished first to be certain they were un-
founded, and trust that those paper* that copied the "Gossip" will do
but common justice to the lady in question by also giving thi*
contradiction. J. B. BrcKaTOVB.
[We have great pleasure in inserting Mr. Buckstono's letter. The
expression objected to was inadvertently used by the writer in record-
ing the gossip of the day. It was not intended to reflect in any way
on the young lady'* character, but to imply a Court preference for the
talent* of another actress We deeply regret tliat Mis* Sedgwick, one
of the mo»t promising performer* of the day, should have been pained
by the remarks of our contributor.— En. »'. />.]
ELECTION OF A SHOKEDITCH OROANI8T.
(From the " Shoreditcn Oletrver,")
TirR time for sending in application* for thi* vacant place
firmed by the Vestry, or what was the value of appointing an t
While the other parties will insist upon a vote of toe Vest
taken for each, and perhaps even a poll of the pariah.
There ia on* party who, in all parochial election* and all other
parish concerns, by some "Jortuitoue comeomri* of atom*," ere always
leagued together, and we sec signs or the •
wul denounce with great i '
deoiiiou if it should be in I
they may ; but if it i* against them, they will mailt upon a .
election, and stigmatise the umpire'* decision a* a single opinion, and
•foriuttout contour* oj aiomu," are always
favour of their candidate, be he or she who
have a poll of the parish, on the ground that ever* ratepayer has a
right to an opinion — and from their lone experience in pariah election*,
from a aystem of plurality of votes which will be edopted, and their
influence with the pluralities, and a knowledge of the whereabout* to
And them, there it little doubt but that they will be successful, let the
qualification* of the candidate he ever eo low.
We make thete observation* to put both the ratepayer* and candi-
dates on their guard, with a hope that if the matter doe* go to * poll
of tho pariah, tho inhabitant* will eupport merit by confirming the
umpire'* decision, if there i* no reason to believe that it i* partially
given. Bueh ie the coarse we shall adopt if there is an opportunity
offered between the decision being known and tit* day of election; bnt
we *hall not endeavour to improve or damage the chance* of any can-
didate by in the (lightest way alluding to their name* or their con-
nections, until after the umpire'* decision, when, should we And tign*
of unfair practice*, we shall not heiitat* to expose them.
l'.S. Since writing the above, wo have learned that a meeting of the
committee look place on Thursday evening last. There were thirty-iix
candidate* who** application* were readj the committee resolved to
appoint an umpire, and to offer, as the remuneration for hie serf Ices,
ten guinea*. The vicar* and churchwarden* are to wait on Dr. Storn-
dsle Bennett, Profesior of Music at Cambridge University, Mr. Ooss,
Mr. Cooper, and other eminent muiieians ; and the duty of the umpire
la to select, not one of the six, but the »lx tbemselve* ; and the perish
is to choose the one by a poll. This arrangement will secure tbe de-
tired object of the parish party ; and none who cannot bring great
sUnce will eUctd the shadow of a ehaece, let their
are a goodly number of a*pirant* for the
position, and the pariah will, in all probability, be thrown into the
excitement of a popular election, in which far more interest will be
taken by tbe inhebitanU, and more »t rvnuou* exertion* made by tbe
friend* of the candidate*, to secure their return to a plsoe of emolu-
ment of £-10 or £50 per annum, than is the ease in the election of
person* to a place of trust who are intrusted with tho railing and ex-
penditure of i'20,000 or £50,000 a-year. That auch a thing should be
spunks little for the fitness of the people for the exorcise of, or the
benefit* of, tbe right of self-government. To ue tho election of an
iat i* a matter of the utmoat indifference, and for personal pur-
we »h*ll »upport no one j but wo think it right to aay a few
, to those who will take some interest in the matter, and to expose
a tries that will, in all probability, be attempted by some party or
other.
It will be recollected that at tho preliminary meeting it was resolved
that an umpire should be appointed ; but no resolution was passed aa
to what should bo hi* duty, or what should be the effect of hi* deei-
■ion i (lie umpire is to be appointed by tbe committee then constituted.
We will suppose that they appoint a man perfectly competent sod in*
dependent, and that the six candidate* they return for trial are all in
point of respectability, Ac, fitting— that the question of skill i* the
only ono to be determined by the umpire. The trial take* place ; the
arrangement* *hould be auch thnt the umpire should be a stranger to
tho candidate*, that lie ahould be placed behind a screen where he could
neither see nor be seen, so that no signalling or telegraphic communi-
cation can take place between him or any other person ; that he ahould
not know the name of the party performing , and that he should givo
his decision by announcing tbe beet candidate as first, second, or any
other, aa they performed on the organ. Suppose nil this is done, and
that aix candidates are referred to the Vestry ; one ia selected by the
umpire; the friends of that candidate will insist that tbe person so
interest to their assistance
qualification* be ever so high.
To the Editor of The Shoreditcn Ohtener.
Sib,— Tt i* only by the medium of local paper* like your* tbat we
ratepayers glean information of the fantastio trick* played with mock
eolemnity by thoae who take the lead in parochial affair*. In your
last week'* number, under the head of " Election of Organist," in a
P.B. to the article, you make public a resolution on tbe part of the
ird, so opposite to the usual method,
and so contrary to experience end precedent, that 1 can receive the
ntelligence only aa a fact, in the absence of a contradictory statement.
What! it it possible that a deputation, conducted, we may suppose, by
Mnmus, is to wsit upon Sterndale Bennett, or Turle, or Go**, or
Cooper, or some other eminent musician, with teu pounds in one hand.
and a hue
idle
f applications in the other, for the purpose of
having tit candidate* — not one, but sir — selected out of six-and-thirty,
for the parish to choose one of Uie lit by a poll ?
There will be, of course, patronage and party feeling, canvassing
snd cab*, interest and intimidation ; and, after much trouble
tpense on the part of the candidates, it by no means
follows that the one best adapted for the situation will be chosen.
Oh, no ! merit and talent are not to be the desired objects, so much a*
recommendation and interest. Junto*, private committees, printed
circulars and cards, headed "Tour vote and interest on behalf of Miss
Pipes, or Mr. Pedal*, are respectfully solicited," Ac., Ac., will be the
order of the day ; and the perish is to have the treat of an election for
an organist. It is rather to be regretted that thi* affair did not come
off at the period of the commencement of the Cliriatmae pantomimes,
because l lie dsily press might have had a ehanoe of noticing this in-
oonsUtent performance under tbe same head. In those annual extra-
the olowns and pantaloon* are made to do everything which
people do not do, and which we do not expect to tee
imitated by an august and solemnly deliberative committee. Tbe idea
of asking Dr. Sterndale Bennett to examine the testimonials, and test
the mutical abilities of thirty-six candidates, for the purpose of return-
ing six, is a novel idee, so preposterously ridiculous, that should that
eminent musician, just for the humour of the thing, condescend to carry
out tlie request of the deputation, it i* to be hoped that Pumh, or
some of tho publication* devoted to harmony, may at least make known
tbe feet to the musical world. At the aamc time it is to be desired
perish requiring a capable and clever organist will copy
Digitized by Google
88
THE MUSICAL WORLD.
[Feb. 6, 1858.
THEATRE ROYAL, HAYMARKET.— Under
th* management of Mr. Buckstoue. On Monday, Fcbruarr 6tl>. mid during
the wet*, to commence at T o'clock, with Hh«riuW* comedy of THK RIVALS, aa
performed on Friday night, January 3»th. by command of Urr Mtor»ty. in honour
of the nuptials of H R.ll the Prince** Roy*! with H.R.H. the Prince Frederick
William of Prussia. The character* will hi r«|ire*eiit<d, a* no that occasion, by
tb* Haymarkct Comiany. Sir Anthony Absolute, Mr. Chlt>|>end*W : Captain
' Mr. Howe ; Acre., Mr. Buckstone ; Sir
r. Clark; Dark!, Mr. KarUy ; Ooaelimxn,
I.ydU I . , Mi*s Reynold*: Julia,
_Ji«m After which, a new grand comic
THK BLEEPING BEAUTY IN THE WOOD ;
OB, HARLEQUIN AND THE SPITEFUL FAIRY. Th* .ornery by Mr Wdluiro
Calloott Harlequin, Mr. Arthur Lecle.cq ; Columbine, Mia Funny Wright ;
Pantaloon. Mr Mackay ; down. Mr. Charie* Leclercq ; The Prtoccta ou her
irarels. Miss Louise Leclercq
HEW ARRANGEMENT OF PRICES. -Orchestra Stalin (wldch may be re-
tained the wLote of too eYsuiog. and forwhlch Uiere will bo no charge lor booking),
•s. each. Pint Paicn.- Dress Boxes. 5*. ; Upper &• !«*. Ss.l Tit, 2«. ; Gallery. 1».
8ixx>"D Faicc— Dr«M Bozoa, 3a ; Upper Boies it. ; Pit, la -, Gallery. Cd.
Two Guinea* and One Guinea and a-half each. Stagc-M.iuiuiei-,
Absolute, Mr. W. Famn; Psulkh.n-
Luciu* O'Triggcr. Mr. Hudaon; Fag, Mr
Mr. One; Mr*. Mslapmp Mn Poynt.r
Mis, Chain), ra; Lucy. Mra. E. FtUwllIn
ROYAL PRINCESS'S THEATRE.
UNDER THE MANAGEMENT OF MR CHARIX8 KKAN.
ON MONDAY and Friday, HAMLET; Wednesday,
THE C0RSICAN BROTHERS . Tutsdsy. Thurtday, ai.d Saturday. A jiu-
feUMMKH NIGHT'S DREAM. And the Pantomime enry L'TtuIng.
THEATRE ROYAL, ADELPHI. — This evening,
Februar Mb. the new drama of THE POOR STROLLERS, In which
Messrs. B. Webater. Wright. P*"l Bedford, and Madame Ceia-te will an«r,
After which THE SPITAl.FIELDS WEAVER, aa performed by- command ft Her
I by Mesarv Wright, C. Seiby. BelUngton. d J. Smith. n*nry,
ROYAL OLYMPIC THEATRE— This evening, the
l«rbrm««. wUI coromcne* with YOU CANT MARRY YOUR GRAND-
MOTHER. After .blchTHE DOGE OF DURALTO. To conclude with DOuTS
AT THE SWAN. Comnwno. at half-peat T.
ST. JAMES'S THEATRE — PROFESSOR WILJALBA
FRIKELJ. — Wednesday and Saturday afternoon* at 3, and every craning
at t. B'alla, a* ; Halcouy Mall., ts. ; Uoaea, 3a. ; Pit, 2s.. Gallery, la Private
Boxes. Two Onlt.e»*. (Hvs Oulnea snd-a-lialf, aad One Out oca. Place* to be aocutad
at Mr. Mitobeua Royal Library. 33, Old Bond -street
GREAT NATIONAL STANDARD THEATRE
8HORKDITCH —Proprietor, Mr Joujt Doiglaw.
Ma Joux DoruLasa has great pleasure in stinom cit g he lias made arrange-
iLMCAL "■
nv-i.tafm *MON>TKU Ml
ENTEHTAINMENT lior.-r
itttempc d
at the East End of London, on Ash Wedue>duy, consl-tli g of Haydn's Oraiorio
or THK CREATION, and ■ Miscellaneous Cono.lt, in which the first Tocali.t* of
the day will *|>|**r, aided by a laud and chorus of upwards of Two Hundred Per-
furmirs. select. d from too Italian 0|»r»» and Exeter Hill; Conductor. Mr.
l»n*car.u The itartieulara and piogruuime t f this extraordinary entertainment
will be published In a few days.
TO CORRESPONDENTS,
Bully. — Yes, certainly, Brighton.
THE MUSICAL WORLD.
LrOSDON, SATURDAY, Fxbhtxary 6th, 1858.
It will be readily conceived that in music, as in every
other art, there are two paths to success — the one, showy
and superficial, open to ordinary labourers ; the other, less
immediately attractive, because more arduous to follow, and
only accessible to those who unite perseverance and self-
denial to uncommon natural capacity. In the former, repu-
tation, so to say, may be achieved at a galop, and endure
just as long aa the caprice of the hour, through ministering
to which it has been obtained — and no longer; in the latter,
nothiug but a stout heart and steadfast faith can avail ; but
when the goal is once reached, the fame acquired is solid,
and therefore lasting. For one who prefers the second and
nobler path, oue hundred are impelled to choose the
The " hundred" and the « one" may, "
of reason, plead, that " life is short, and art is long ;" but
each interprets the text alter his own fashion. Each plays
bis part with more or leas distinction, and each is enabled to
reap a certain harvest of notoriety by the exercise of the gifts
he has received and the uses to which he has been able to nut
them. But the space that divides the two is as wide as that
which separates the poetical from the ordinary nature, the
enthusiast from the realist, the artist who forgets himself in
the pursuit of a worthy object from the one who, believing
only in himself, can conceive no worthier pursuit than the
gratification of his particular egotism.
It should be remembered that in music, as in the drama,
there are those who invent and those who interpret ; and
that, however richly an executant may be endowed, he can-
uot be accorded the same credit as a composer. One thou-
sand Liszta would not make one Beethoven. A composer
writes for posterity — a player enchants for the hour ; porte-
rity decides whether what the composer has bequeathed
us is worth preserving, while the tribunal before which the
player appears can only adjudge him an ephemeral celebrity
— since, when his fingers are cold, he plays no more, and all
that he leaves behind him is his name. This has led per-
formers of exceptional talent to lose sight of the great
objects of art, in a desire for personal aggrandisement, and
to make music a means of surprising and " tickling " the ear
— as if that were the alpha and omega of its mission. A
showy though hollow exhibition has been promulgated, while
real art is too frequently overlooked in the selfish passion for
display.
What is called, by general consent, throughout Europe,
the "virtuoto" — in plain language, the thoroughly skilled
performer on any instrument — has done incalculable injury to
music. The " virtuoso" has either impudently trafficked with
the works of the great masters, or concocted music (to-called)
for himself — by either process coaxing and flattering his own
idiosyncratic mechanism, as if the gift of execution were
anything else than a means to an end. Through such influ-
ences music has been neglected in favour of what can scarcely
be called the semblance of music ; and if there were not some
healthy antagonistic influence, art might speedily come to a
stand-still. It would bo a lamentable catastrophe were
music to become the exclusive property of a tribe of quaai-
acrobats. Yet to such a point alone can tend the
present rage for " virtuosity." One Liszt is amusing
enough ; and one Rubinstein may be tolerated ; but a
swarm of Liszts and Rubinsteins, mushroom and full-
grown, is no more to be desired than a renewal of the plague
of locusts. Surely the pianoforte waa intended for better
uses than to be thraahed and belaboured, until the wooden
frame-work cracks. Surely all good music was not written
only to be consigned to oblivion I Let there be " virtuosity"
if you please; but let there also be music. " Virtuosity" is
not essentially musical ; for the most part, indeed, it leans
exactly in the op|iosite direction, and can scarcely lay claim
to a higher place than is accorded to mere arts of agility.
It is the misfortune of the age that, no sooner does a
young pianoforte player acquire a certain amount of manual
proficiency than he begins to write music to suit his peculiar
talents — and that without having learned even the element
tary rules of composition. Thus he comes before the world,
eager for fame, accomplishing a seriesof mechanical feats which
have no closer connection with music than is involved in the
fact of their being made evident through the medium of
musical sounds. The works of the great masters, ancient
taU ' 1 1 I i . ^ u i L * lj s A^f*)\ *Xj£^ IfOOXA le^lcl tt*SXd^ ^*L#j l-Xa J l^OC* y twAl^J llii>\ C I
. Digitized byGoogle
Feb. 6, 1858.]
THE MUSICAL WORLD.
89
been taken up) with contempt, the rhapsodies of Liszt and
tail, the smooth and polished sophistries of Thulherg,
having been studied for a while, but not long enough to
be thoroughly mastered, are abandoned in their turn ; and
then, with the scales, chorda, and arpeggios imposingly distri-
buted (in such a manner as to lie easily under the hand) into
the vague proportions of fantasia (distinguished by this or
that fantastic title — from Elephant, or Trembletaenl de Terre
to Papillon aud Aubade), the newly-trained " Hou" steps upon
the platform, shakes his mane at the public, grasps the whole
key-board in a couple of poignees (fists-full), just as a panto-
mime-sprite will cross the stage in as many bounds, and
satisfied with bis proficiency, sets himself down at once as
a virtuoso of the first water, lout frais and fait d la main.
Mind, reader, we arc speaking of the foreign virtuoso.
Happily no such thing exists in England. We pay for it
and we are amused with it — just as we pay for and are amused
with other exotic trumpery, which the British soil itself is
far too healthy to generate. The " virtuosi," though artisti-
cally incontinent, are exclusively continental But the time
comes when these light-fingered gentry, having won a sort of
reputation for " virtuosity" in their own country and its
adjacencies, begin to thirst for English gold. The " heavy
Saxon" can dispense bank note*, if not musical. The voyage
is resolved upon. The Manche shall 1m> crossed, and the
" diggings" explored in the fog. But suddenly, some kind
(perhaps envious) friend — a long-haired acrobat of the musical
genus, who has himself made a fiasco in London— accosts
•Hac*
• Cost f
E.tcevrair Tu vaa k Londrcs ? Hein?"
▼mi. Pourquoi nonT J'ui um do gloire, il
ible. Mauilenant il mo faut do . or— dea baunknol. V Anglais,
la vrai gout lui rat interdit, aimo eatex ao fairs punier poor
or. Jo vain lui fuurrer raon Papillon dam Voreille. </.» le
chatouiUera. Tu conuaia mon ' Papillon I' "
" Je croii bien. Qui nu le eonnait paa — ton 1 Papillon f Sacre !
3uo e'est beau. Maia — entenda tu 't — Id lourd Saxon a lit manic
'aimer (preleudre aimer — tu comprends) la rnusique emW-tante — enfin
ee qu'ou appelle U ' muaique claisique ' — br«r, la tnusique dc Handel, de
Motart, et du pire Mendelssohn, 1'oucle de feu Moisc, celui qui a mis
•• Aprea?"
" II faut Uur en jouer. Sana eels tu ferae four. Tu aersa clouo u
Lidftb-e, aana quoi t'acheter dee gauta. Croia moi— -je no plaiaante
paa. Ten at eu I 'experience. Cea inauWos aont droles ; je lour ai
rlanque mon ' Anbaae ' (tu connaie mon ' Aubade '), mon ' Papillon '
(qui resemble au tion comme deux gouttes d'esu), et mon ' P6t
dr crime' (tu counais mon " l'ui") ; maia, Qclitrc! — jo n's eu quo
cinq rappeli. II leur faut du 'clasaique' — du roa-bif — du boudin —
du bif-tck — que dirai-je ?— du porter-boor — baf-naf. 'C'cit leur gout
en muaique,' comme dit leur bieu-aimo Taken, dana ion faineux roman
<T Albert SmU ' Wizomt ero.' "
" Cela me aourit a rarir. J'ai fait one aonate. I)u roito, je lour
i le Septoor de Hummel. Hah ! ila no connaieeent paa eel* au
I'm., le celcbre Holaa (de L'Union) m'a prie do rcnir— car il
parait que l'AUemand, 1 1 -•!(., no plait plus, ot que la petite tioddart
(qui, d'apro* re que Ion m'a rapporte, no jouo paa mul pour nnc
Angleiec, eurtout la muaique lourtlr) so moquc do lui. MiJlo bombes do
bombca ! — lu m'a rust uro. Je filerai domain. Adieu ! Victor."
Victob. "Adieu! Autoino— bien du au (Aiidt). Qu'il eat
bete, eclui 1*. Moi-mSmc-aoit dit, entro nous-jo n'ai run I it Et/ai
doncf*
And the " virtuoso " sails for England, bringing with him
a souata (so-called) of his own, Hummel's (unknown) sep-
tuor, one prelude and fugue of Bach, Weber's overture
to Oberon ("arranged" by Liszt), and a torrent of
" Fluies," " Transpirations,'' etc. The result
• For translating the ebo
may consult the dictionary,
the abore, tbe readrr unakillcd in (doubtful) French
need baldly be dwelt upon. He makes a " fiasco," and re-
crosses the Mam-fa, with a lurking contempt for something,
of the identity of which he is mentally uncertain ; it may
be for the " heavy Saxon ;" it may be for himself. Which-
ever of the two is, to the " insulaire," a matter of profound
indifference.
With a eonsistoncy of badness tho "festival performances"
have waddled on from their wrctehed licgiuniug to their
wretched close, disappointing all who went to witness them,
splitting into adverse factious all who take an interest in
theatrical matters beyond thatwluch is implied in a payment
for admission, — disgracing Loudon in the eyes of civilised
Ettrojie. The dull liivals was the climax to the insipid
Macbeth , and to the very end of the quadripartite entertain-
ment, one might rightly conjecture that " worse remained
behind," notwithstanding the vast amount of bad that had
already been exhibited.
The misfortunes of this luckless " festival" began, like those
of Tristram Shandy, before its birth. The very programme,
advertised in the tiopcrs, foreshadowed a failure. Who, in the
name of wonder, would dream of producing Macbeth, oven with
every advantageous accessory, as it fitting piece for a nuptial
festivity, — of regaling royal guests with the ghastly tale of a
royal guest murdered from motives of ambition i Who
would tlunk of putting the llivaUan the stage as a represen-
tative of the English comic drama, unless some special con-
centration of talent, far beyond the resources of the present
day, were obtained to restore the comedy to its ancient
effectiveness I Who would consider the tragic branch of
histrionic art represented at all in the absence of Mr. Charles
Kean, or the vocal talent of Britain represented in the
absence of Mr. Sims Reeves I Who would i All this host
of sins, both of omission aud commission, actually took place
before the rising of the curtain for the first unltappy failure —
nay, before the first victim paid his guinea for a right to
participate in the general dulness.
So much for the faults of plan, — the hereditary diseases
into which the ha plea* performances were born. As for the
faults of execution, they march before the memory like the
sjicctral kings in Macbet/t, the last with a mirror in Ids hand
to make the number appear infinite. Indeed, the only excuse
for producing that tragedy was the aptness with which the
scries of dull failures was symbolised by tho file of dreary
ghosts.
Yes ; there was Macbeth itself drawled forth without the
slightest attempt to diminish its tedionsncss on the part of
the actors, or the slightest effort to decorate it appropriately,
the witches or conjurors under whose guidance the whole was
brought out, " showing our eyes" nothing, and " grieving our
hearts" very much indeed. Then was Mr. Howard Glover's
really clever cantata so far spoiled by rile execution as
to occasion the unseemly hiss to intend, its suoky peculiarity
ution the august ears of royalty itself. There was " God save
the Queen," sung immediately after the cantata, in a style that
caused the ill-usage of that hapless composition to be for a
while forgotten, such was the reckless butchery of the National
Anthem. Then, as a crowning.yfttaco, there was the comedy
of the Rivals played, with the exception of the broadly
comic parts, in the most milk-and-water fashion, all" the
scenes out of doors being backed by the picture of an
Italian city. At the present day, there is not a theatre in
Loudon at which such an absurdity would be tolerated.
Could tho projector have been of opinion that anything was
uigiiizea
by Google
90
THE MUSICAL WORLD.
[Feb. 6, 1858.
good enough for royalty, and those who shovelled out their
guineas to stare at it f
We rejoice greatly — happy under such dismal circum-
stances, that we can rejoice at anything — we rejoice greatly,
we say, that some of our contemporaries have taken care to
inform the foreign visitors who have lately honoured onr
soil, that what they have seen is no fair sample of English
dramatic entertainment*. Had any one of those illustrious
personages whose countenance it was so delightful to behold,
and whose name it was so hard to pronounce, taken five
in his august pocket and paid for admission to nny
to which chance might have directed his footsteps,
he would have found bettor entertainment than he derived
from performances ostensibly provided for his express gra-
tification.
The record of the " festival performances'' occupies a sad
i in the history of sesthetical England. What is done
be undone ; and the righteous disrespect with which
" foreigners are now describing to their friends and
at home our ridiculous attempts to amuse them
> be borne with all patience. But let not the managers
of London preserve the memory of the inglorious fortnight,
by proclaiming in their bills that this or that piece was
acted on one of the unhappy occasions to which wo are
now referring. The bustle consequent on the session
of Parliament will perhajie make us speedily forget that
there ever was a " festival performance" at all. Why, then,
thwart the merciful intentions of Providence in using our
legislative institutions as the means for producing so desirable
an end t
MISS ARABELLA OODDARD.
7b the Editor of the ifutieal World.
Sir, — You doubtless were present, either in person or by
a fitting represontivc, at Miss Goddard's first concert, given
atherowti residence, on Tuesday evening; and in either
case an abler pen than mine will chronicle what took place.
Yet I cannot refrain from calling your attention to tlie very
remarkable progress which this young artist is still making,
even after having attained a degree of excellence at which ao
many (and those not unambitious) performers are content to
place their standard of perfection. Miss Goddard, how-
ever, is not merely a performer ; she is, in the truest
sense of the word, an artitf, taking for her motto
*• Excelsior 1" itn]>eliod onwards by a pure and disinterested
lovo of art Her very attitudo when seated at the piano
would seem to prove how free she is from all affectation and
pretence. Her gentle and graceful bearing wins sympathy
before she begiue to play ; and although the hearer is pre-
pared to admire her extreme delicacy ami elegance of touch,
he is probably astonished at the masterly breadth and
energy which equally characterise her delivery. And it may
be remarked, that while her faultless and wonderfully bril-
liant execution enables her to overcome with apparent ease
even the greatest difficulties, it is ever made subservient to
true musical sentiment and cultivated taste. Being in pos-
session of such splendid means, Miss Goddard is enabled to
give almost unparalleled variety to her repertoire ; and the
composition of her programmes, on inorc than one occasion,
has shown that she has carried her researches to the most
recondite corners of the musical library. Nor indeed are her
programmes disfigured by the introduction of self-laudatory
remarks, vainly endeavouring to hide, under the veil of eriti-
Miss Uoddarddoea not
set herself up as guide and instructor to her audionce.
practice so well that she has
her audi*
She
no need to preach— and it is
audience, not herself, that proclaims her artistic refine-
ment. I am much mistaken if her influence in advancing
sound musical taste will not eventually become very consi-
derable, for she already commands a constantly increasing
attendance of intelligent listeners.
I was astonished as well as delighted by the variety of
colouring and delicacy of phrasing which distinguished Miss
Goddard's performance of the Didone Abandonnata. Such
effects could only be produced by a pianist who has under
perfect control all the most subtle gradations of tone.
Assuredly dementi's fino work was nover heard to greater
advantage. Nor was the performance of Bach's fugue
a la TaranleUe (a composition of almost unparalleled diffi-
culty), less remarkable for breadth and vigour, combined
with the most perfect case and fluency. Some passages
seemed to hold the listener spell bound — so extraordinary
were the intelligence and skill which seemed to play
with the most formidable difficulties, binding and moulding
them at will, with ever-varying but ever-graceful expression.
Possibly, sir, my praise may seem exaggerated to those
who have not had an opportunity of hearing Miss Goddard
phty music such as that to which I have alluded. I am con-
vinced, however, that I do not stand alone in ray opinion of
her merits, and that all true lovers of the art will join me in
wishing hor tho success which her remarkable talent so well
I am, Sir, very obediently yours,
Dilet
liok. who, some time ago, sent a copy of his
Te Deum for throe choirs to the Emperor of Austria, baa just
received from that sovereign a magnificent diamond nug,
accompanied by a most flattering letter.
Mad axe J knhy Li* u-Goldsciimidt will, it is reported, shortly
set out for Russia. The rumour of her losses through a Ham-
burgh failure is, it is said, unfounded.
M. LiTTour, tho pianist and composer, has arrived in the
French capital, and will shortly execute some of his own
compositions in public.
Mad avb Jenny Lind.— The OaxtU iluricak of Vienns con-
tradicts the statement which lately went the round of the
German papers, that the celebrated songstress has lost a part of
her fortune by the disasters at Hamburgh.
Brrmn. — Herr Richard Wagner's Lohengrin has been defi-
nitely selected for the gala performance, at which the newly-
married royal couple will appear. — Madame Viardot-Oarcia
intends givmg a few concerts. The first was announced for the
23th utt.
Birmingham Musical Festival.— The committee of the
Birmingham Musical Festival have decided on presenting Mr.
Henry Leslie's new oratorio, Judith, at the next meeting (in
September). It will be given on the fourth morning.
WlJfUeoa — (From a Correepondmt). — Mr. Charles Braham
and his tour-party, including Signers Fumagalli, Signer Di Giorgi,
and Signor Vlanesi (accompanist), have given concerts recently,
with great success, at Windsor, Slough, and Eghnm. At Windsor
ths performance took place in the theatre, which was crowded.
ThsentertainmentwentofTwlth thentmost possible (dot. Signor*,
Fumagalli was compelled to sing W. V. Wallace's "Gipsy song,"
and " Ah non giunge," twice. Signor Di Giorgi was similarly
taxed in two airs, one from / MatnaJieri (Verdi), the other from
Maria di Rohan, and Mr. Charles Braham, after the * Bay oX
Biscay being unanimously recalled, substituted the charming
old song of ■ Sally in our Alley." Ho was equally successful
in Mr. nullah's ' There's a charm in spring, and his own
father s " Death of Nelson." The duets, * I muletieri," " La ci
darem," and "Soil* tombs," were also immensely applauded.
Another concert is already on foot, ao warm has been the
reception accorded to the i
Digitized by Googl
Feb. 6, 1858.]
THE MUSICAL WORLD.
91
MISS ARABELLA OODDARD'S SOIREES.
Miss ARA.ujet.LA Goddard has returned her performances of
classical music for the piano, in a manner both to maintain her
own credit and that of the art sho professes. It ia pluaaaut to
recognise, in one ao youug, an entire devotion to what ia genuine,
healthy, and true, at the expenae of applause that might be
more easily, though less honourably, elicited through a wholly
different course.
Her first programme, on Tuesday evening, was marked by the
nunc adherence to the great and imperishable models which last
season made the loirlet in Wclbcck-strect a topic in every
The subjoined is an outline : —
Part L
, in V major, Pianoforte and Violin
in G minor, " Didone A
(Scena Tragica), Op. 60
Prelude aud Fugue, in A minor (A la Tarantella,) from
Book 1) of F. C. Grieponkerl't " Complete Col-
lection of the Pianoforte Works of Bach." ...
Part II.
Grand Souata in K major, Op. 'ZA ... ... ...
Grand Trio in C fat, Pianoforte. Violin, and Violoncello
musical circle.
Haydn.
element!.
J. 8. Bach.
Weber.
Haydn's sonata was played to perfection by Mia* Goddard
and M. 8ainton, one of the most consummate masters of the
classical style now living. The freshness ami vigour of this
io, ia on an
style now living. '
work— which, though it has no Minuet and trio,
tended plan— arc remarkable, and the wonder is that it should
hftve been so long neglected. The »onata of Clemouti is the
grandest and moat largely developed of all the pianoforte com-
positions of that very eminent master. Each of the three
movements la in the minor key; and yet the sonata, as a wholo,
exhibits an extraordinary variety. It is aptly entitled arena
tragica, sitco the style is alternately sombre and vehemently
or brilliant passage
passionate, scarcely a single bright phra*
presenting itself. To interpret such a work in the proper spirit
requires an unlimited command of expression, to say nothing of
mechanical facility. Miss Goddard played it as nobly and as
poetically as it was conceived, and as tho Mornimj l'v*t justly
remarks — "with such sentiment, truth, and intensity of feeling,
that she might have been taken for the bereaved Dido herself,
bewailing in musical tones her unhappy fato and tho desertion
of her hero." The immensely difficult PrduJe and Fugue of
Bach were, if possible, executed with more wonderful fluency
than at the concert of Mr. Leslie > choir in St Martin's Hall,
when Miss Goddard had tho courage ami tho faith to introduce it
before a mixed audience of 1800 people. To surpass such a per-
formance as this we believe to be simply iiu|>ossible. Then thu
Bonata of Weber— a t/cxo >U bravura in the strictest sens* —
involved another display in which mind aud fingers were equally
taxed, and feeling and mechanism equally displayed. Tho ex-
quisite reading of the adarjio, anil tho prodigious execution of
the presto at the end, represented two opposito stylos of piano-
forte playing nt the ripest stage of perfection, while the moat
refined taste predominated in both. Thus to interpret dementi,
Bach, and Weber, hi immediate succession (each master, too, at
his highest point of excellence), was surely nothing less than au
effort of genius. The gorgeous trio of Btethoven (in which
M. Sainton took the violin and Ilrrr Lidel the violoncello)
brought this admirable concert to a climax with appropriate effect.
Tho audience filled the rooths to inconvenience, and were
enthusiastic beyond measure. Every movement in every piece
was applauded with warmth ; but the J'rcJu /e of Bach, and the
FreMo of Weber created nothiug short of a "furore,"
At the second soiree Dussek is to take the place of dementi.
And Beethoven that of Weber— " John Sebastian," the genial
and profound, retaining the post of honour. So that, virtually,
this aeries will 1* a Bach-aeries, as that of last year was a
j. jven-serics— tho loaet-kuowii works of each
Sacrjk) Hahmokic Socirtt. — Last night Mendelssohn's Elijah
was to be given for tho first time, accompanied by the loog-
MR HENRY LESLIE'S CHOIR
Mr. IdBUI does not allow us breathing time. On Thursday
night he gave his fourth concert (his third in St. Martin's Hall)
to a crowded audience. The programme iucluded, among other
interesting matters, the selection lately performed before her
Majesty at Buckingham Palace, which haa already appeared in
the IfWcol World. Mr. Leslie's " Bridal Song" (with Mr.Chorley's
words) was encored, and the same compliment was paid to
Mr. Hatton's " When evening's twilight" (for male voices), and
Pearsall's choral, " 0, who will o'er the downs." The finest
pieces in this part of the selection were tho madrigals ofWilbye,
Converse, and J. Benet (" Flora gavo me," "When all alone,"
and " Flow, O my tears"), which do honour to the taste and
learning of tho sixteenth century, and which were admirably
executed. Mr. W. C. MAcfarren's jovial " Harvest Song," and
Mr. Leslie's "May Morning," completed the selection. This
formed the second part of the concert. The first comprised tho
following pieces:—
Madrigal. " Hard by a fountain"-!!. Wsehwat, A.D. 1MO. Madrigal,
"I saw lovely Fh.liis"-K L. Psarsall. Prelude and Fane in F
minor (pianoforte, Mr. Walter Macfarren)— Mendelssohn. Two-part
Song, "I would that my love/' Mus Klkra Lyon and Miss Leffler—
Mendelsohn,
to my dear,'
Reginald Spoffortb
Waelrent'a madrigal is
of the more popular
Part-song, "Ave MW- Henry
Messrs. Fielding, Luv.tt, Bus
and that of Pearsall ia worth
was set before the '
a doeen of the more popular one that was set before the queen
(and is known to Paddy Green). The gem of the whole part was
Mr. Henry Smart's delightful " Ave Maria," which was sung to
perfection, nnd encored " tumultously." BpofTorth'a glee is
poor, and produced little effect. The two-part song of Men-
delssohn (accompanied by one of the Misses Leffler on the piano)
would have been more effective bad the " tempo" of the com-
poser been consulted by the singers. Mr. W. C. Macfarren
played Mendelssohn's prelude with true expression. With the
fugue we were less pleased.
There was still a third part (as subjoined) : —
Glee, "There is beaut,- on the mountain," Mist Lucia Foebroke.Mr-
Fielding, Mr. Kegaldi, and Mr. Hcnd— John Got*. _ Part-tang,
Hfl tM
ihcsili.
nry Smart. Itorasnce, "Tenereiia i"
M iir fur ran ; Pianoforte, Mr. Walter
w.
"Tin
Value, "The skylark."— Walter
Mnrfurran. Madrigal, " Lady, when I behold the roses sprouting"
Wilbye, a.d. 1598. Part song, for Male Voloet (by desire), " Integer
vita; — P. Fleming ; " War Song" -
(arranged by Henry Leslie) — Dr. Arne.
Kllcken's " War Song" (rather vapid) was enoorcd ; ami Mr
Macfarren's Sii/lari (which we should liko mnch better with a
less romantic title) were much applauded.
The couoert gave infinite satisfaction. Mr. Leslie, however
(who conducted with his accustomed talent), must look out for
something new — we mean in tho madrigal and part-song, not
the i
DOCTOR FOWLK in re HIS "HIDDEN FIFTHS
AND OCTAVE8."
To tht Editor of tin Mmtieal World.
Kir, — I have teen the criliqit of my Anthem in your hat number,
and am quite aware of the error, in the passage you have represented
to the public— tuch errors being cunttcutit* ftflkt sod kiddnflftkt aud
or/.ir- 1. I was very awkwardly rituat. il at the time the proof arrived
from the publithcrs, and contequently it wat corrected by an inex-
perienced hand. I nm very much annoyed at the laid errort you have
represented to the public, and also tomt others, regarding which you
hare been silent ; but I will venture to tend yon a corrcet copy of the
Anthem in a few day a, and retiuett that you will be good enough to
insert this letter in the neit immber of your paper.
1 am. Sir, your faithful servant,
Kfltr. ilk FM., ISnM. Thomas Llotb Fowls. Mot. Boe.
[We have inserted Doctor Fowle'a letter, and trust he will
return the obligation by not sending another copy of tho .
*T. ?r.]
Digitized by Google
92
THE MUSICAL WORLD.
[Feb. 6, 1858.
ST. MARTIN'S HALL.
Mr. Hullau's second "Orchestral Concert" was well-attended,
in spite of the serious opposition of the weather. The pro-
gramme, as the following will demonstrate, was again full of
interest : —
Part I. — Overture, " Leonora," — Beethoven s Recitative and air,
'Hidome from day's garish eye," Mis« Raoka — Handel; Aria, " O del
mio dolce ardor," Miat Dolby — Stradella ; Symphony, in C minor
(No. 1)— Mendelaaohn.
Part II.— Septet. Pianoforte, Flute, Oboe, Horn, Viola, Violoncello,
and Duublivbaaa, Mia* Howell, Me»»r». Ro«kitro, NiclioUoii, Manu,
Webb, Chipp, and Howell — Hnmmel j Air, " Return, return, revolting
rebela," Mr. Thotnaa— Purcell ; Finale, (2nd Act) « Azor and Zemira,"
Miaa Banks, Mi.a Fenny Rowland, Mia> Dolby, Mr. Thorpe Feed, and
Mr.Thomas-Spol.r; Ballad, " Bonnie (leor-e Campbell." Miaa Dolby
-HuUah; Overture. " Oberon»-\Veber. Conductor, Mr. Holla..
The " giant-overture" of Beethoven was executed with spirit
by the band. Miss Banks sang Handel's air creditably, Miss
Dolby that of Stradella, to perfection. There was a strong
attempt to encore it, but Miss Dolby would not yield this time.
It was her first appearance for some period, and the audience
accorded her a reception of the warmest kind.
Mendelssohn's early symphony was a genuino treat. We can
remember when it was first played by the Philharmonic Society,
under the direction of the composer. The tchtrto in Q minor
(abridged from the Oltetto, Op. 20, and scored for the orchestra)
had already usurped the place of the original movement, to
which it is vastly superior. On the present occasion it was
rapturously encored, and deserved the honour, since it was
executed with infinite point and delicacy. Still, we confess we
should like to have heard its predecessor, which should not
wholly be forgotten. Mr. Hullah might have presented it in
parenthesis, and thus afforded his patrons an opportunity of com-
paring the two. Although not altogether a perfect work, there
being occasional "lotu/uert" in the finals, we are of opinion that,
considering tho tender age at whi^h it was produced, this sym-
phony in C minor is the most wonderful jirtt tymphonu ever
composed. What energy and fire "in the allegro, (and how
lovely the second theme, which seems to have been born of the
Coriolan overture) — what tender grace in the andante, what
animation and vigour in the finale (with a second subject, by
the way, as original as it is beautiful — we mean, of course, the
cantabue with pizzicato accompauimeut) — what freshness and
vigour in tho whole ! And then, when the new scherzo becomes
incorporated in the work, if we could only cut out a few mea-
sure* of the final* {not a note of the twice-occurring fugue, be it
clearly understood), we should have a symphony as perfect as
the No. 1 of Mozart, or the No. 1 of Beethoven (both in C), and
far more romantic than either.
M iss Howell, the now pianist, was favourably received. She
has evident ability ; but why did she select so difficult a work
aa the formidable Sept nor of Hummel ? Luckily she was accom-
panied by practised musicians (her respected father among the
rest), who kept her well in hand, and could skip a half, or a
whole, bar at an emergency. We hope to hear more of Miss
Howell.
Mr. Thomas gave Purcell's rather pompous air with his usual
vigour. The final* of tho second act in that lovely opera of
Spohr (which, when produced at Covent Garden Theatre, with
Miss Inverarity and the Misses Cawse, some twenty-five years
since, turned the heads of all the most enthusiastic of our young
musicians), would have been as great a treat as the early
symphony of Mendelssohn, but unluckily it was even more
imperfectly executed than the finale from Coti fan Tuttt at the
present coucert. Mr. Hullah's new ballad is pretty enough in
its way, but was altogether out of place in such a selection.
Nevertheless Miss Dolby had to sing it twice, and a great " de-
monstration " was made for Mr. Hullah. We have heard the
overture to Oberon go better.
At the third concert Mr. Hullah should give us Meudelssohn's
so-called Trumpet Overture (in C minor), or the Calm Sea and
Protperoue Voyage. For symphony, wo rvoonuuend Mol.ul in
O minor, as a novelty.
CRYSTAL PALACE
This programme of last Saturday's concert was not quite so
good as that of many of its predecessors. The vocalists were
fcignora Finoli and Herr Deck ; the instrumentalists, M. Ret ten us
(violin), and Mr. Svendsen (flute). Conductor, Mr. Manns.
Tho selection was as follows: —
Overture (Efmont) — Beethoven ; Aria, "In dietrn heil'gen Hallen"
— Mozart j Capriccio fanta.ua, violin — Ketlenus; Aria, " Di Tauti
Palpiti" — Rosaini; Symphony, No. 3 (Scotch)— Mendelssohn ; Duet,
" Dunque io aon " — Roafini; Fantaaia for flute — Boelim ; Aria, "Le
Moine"— Mey.rbocr! Scheno, violin— Kettenua ( Brindiai, "H Se-
groto "—Donizetti ; Overture (La Siege do Rochelle)— Bslfo.
The overture of Beethoven and the symphony of Mendelssohn
were the great orchestral features of the performance; and a
violin concerto would have been in better keeping with such
masterpieces than the " fantasias" of his own composition intro-
duced by Herr Kcttcnus. The most successful vocal pieces were
Rossini's " Dauque io son," in which Signers Finoli and Herr
Deck were much applauded ; and the brindiri from Lucrezia
Borgia, which obtained for Signora Finoli the honour of a recall.
DEAR KITTY.
[The following exquisite lines, from Mr. W. Chappell's Old
EnglUh Dittiet, are duo to the accomplished pen or Mr. John
Oxenford.— En. M. If.]
My song 's of a maid that charms our vale,
For well she deserves a ditty ;
Search all the world through, you'll surely fail
To find out a match for Kitty.
Though bards of wondrous beauties sing,
The stars above, tho flowers of spring,
The spotless snow, and the swan a downy wing,
Yet nothing are these to Kitty —
Dear Kitty-
Yet nothing are these to Kitty.
At night the full rose that bloom'd at noon
Will close— is it not a pity t
But see Kitty dance beneath the moon,
And beautiful still is Kitty.
The snows of winter sadly are spread
About the earth, when summer La dead ;
But snow that blushes with warm glowing red
You'll find on tho cheek of Kitty-
Dear Kitty —
You'll find on the cheek of Kitty. .
The stars over head are gems of night,
They sparkle o'er plain and city,
But cold is their gleam, while love's soft light
Is seen in tho eyes of Kitty.
The flowers of spring may wither and pine,
The stars fade out, and never more shine ;
I'll be content if one treasure be mine,
That treasure, you know, is Kitty-
Dear Kitty !—
That treasure, you know, is Kitty.
_ Dr. Mark and his young pupils have been giving concerts in
Hull and Sheffield with the greatest success.
Lbkd*. — At the seventeenth People's Concert, on Saturday
last, the performers were Miss Armstrong, Miss Newbound, Mr.
Wilson, and Mr. Henry Phillips— Mr. Spark being the sfceom-
panist The programme waa miscellaneous, including ampugst
the novelties, Mr. Henry Smart's trio, ■ Queen of rugby! jind
" A marriage song," composed for the occasion by Mr. Spark,
which was sung by Miss Newbound and encored. The interest
in these cheap concerts has not in the least abated. The
directors have taken care that good music and good per-
formances should form the main elements of attraction.
Digitized' by Google
Feb. 6, 1868.]
THE MUSICAL WORLD.
93
"GOD BLESS THEM BOTH."
To the Editor of the Uueical World.
Sir, — Journeying soma time since on the top of an omnibus,
iloni Piccadilly, my eyo was arrested by two pictures, one of
the Rhine, the other of Mont^Blanc, on the facade of Egyptian-
kail, with an inscription in the centre-" God bless them
both!"
Can you, or any of your readers, interpret the hieroglyph t
Bromitohiak.
March estier, 3(WA January. — There was a large audience
on Wednesday evening in the Free Trade Hall, to hear the
closing concert of Jullien's winter series, and the celebrated
conductor was received with a hearty welcome. The program ine
presented more than the usual variety, including a fine selection
from II Don Giovanni and the grand Jupiter Symphony, which
M. Jullien developed with a delicate appreciation of its noble
character. Equal in talent was the conducting of the lighter
pieces of the evening ; for who is there that can give like him
the sparkle and dash to the quadrille or polka f It is, indeed,
under his magic touch, " dance music," for there is a difficulty
under its influence to keep the feet steady. Take again his
Britith Army Quadrille, one of those pictures of sound which
carry to the ear what canvas presents to the eve. Though we
are not permitted by the classic school to call it first-class music,
it is first of its kind, and has the happy knack of setting the blood
running quicker through the veins even of the lymphatic. In
this piece, as in others of the evening — The Wedding March, for
instance, of Mendelssohn — the orchestra was augmented, and
most efficiently, by the band of the 4th Dragoou Guards. We are
among those who listen to Mad. Grisi with the highest gratifi-
cation, not only in the associations which cannot fail to recall
the greatest days of opera in this country during the present
century, but becanse she remains, in certain classes of music,
unapproachable by any modern soprano with whom wo are
acquainted. Mad. Grisi is, in every sense of the term, an artist ;
•he exhibits art in the management of the voice, as she does in
the much greater quality — that of expressing the meaning
of the poet and composer. What energy as well as feeling,
ahe threw into the touching old Irish ballad, " The Minstrel
Boy !" She might have caught it up by inspiration on the green
hills of Connaught. An encore brought, the charming " Home,
sweet home." Madame Grisi met with another encore in the
"Convent Cell;" and, throughout the evening, the audieuco
seemed anxious to evince their loyalty to one who had brought
musical enjoyment to so many thousands through a long series
of years. Miss Witham sang the scena from Der Freitchitz,
"Softly sighs," and deserved the compliment paid her at its clow,
If being called to repeat the last movement. The concert was
a decided success ; and M. Jullien may leave us with the
conviction that he retains the unanimous estimation of the
Maachcsterpublic.
Paris. — The question of building the new opera-house upon
the ground occupied by the Hotel d'Osmont, rue Basse-du-
Remparte, is seriously entertained. If this project be carried
out, the operas, French and Italian, will, in all probability, be
united in one locality, and under ono administration, which will
involve an immense saving in the expenditure of both theatres.
Ob a former occasion, when tho junction of the two operas in
the Roe Lepelletier was first taken into consideration, tho main
objection was that neither the present theatre itself, nor the
ground belonging to it, was sufficiently capacious to admit of two
rehearsals taking place at the same time. The Hotel d'Osmont
covers a vast space of ground, and offers plenty of room to build
two large halls for rehearsals apart from each other. Thus tho
two great theatres might be conducted under a single manage-
ment, possess a band and a chorus in common, and be allotted
alternate nights for their performances. The Italiens, at all
events, would gain by the change, and the public certainly be no
loser.
A foil rehearsal of the Magicietme of M. Haluvy, chorus and
principals, has at last taken place. The whole five acts were
gone through. Some of the pieces iu the last act were loudly
applauded by all present. The band, too, have commenced
their rehearsals, so that the performance may be expected about
the last week of the month.
Auber is once more stealing into the ascendant at the Opera-
Comiquc. The revival of Fra Diavolo h- s been one of the
greatest ■accesses of the last dozen yenrr. Another charming
opera by the same prolific composer — La Fiancie — is in a for-
ward state of preparation, and will be produced in a few days.
A new Figaro, M. Winter, has appeared at the Italiens, in the
Barbiere, with Mario. Alboni, Zucchini and Angelina. He has
not, however, succeeded in effacing tho recollection of Roncoui.
Madame Vandenheuvel-Duprcz took her farewell benefit at
the Thoiitre-Lyrique on Saturday last. The greatest curiosity
was excited to seo M. Duprez in Ronconi's great scene of the
second act of Higoletto, when the Jester finds nis daughter in the
Duke's palace. Madllc. Ll-man, M. Duprez* favorite pupil,
appeared as Gilda.
In alluding to the Festival Performances at Her Majesty's
Theatre, the France Mueicale declares that the new ballet-
divertissement L' llymtnle was "put on the stage with great
magnificence, and completely succeeded." That " Mdlle. Hor-
tensia Clavelle, charged with the principal rtile, had obtained an
immense success as dancer and mime ;" that " all her steps
were covered with applause, and the variations of her final step
encored at the demand of the august assembly." We can assure
the readers of the Mueical World that the writer has drawn
entirely on hit imagination for these pretty little anecdotes.
CHERUBINrS COAT.
Singular destiny of Academicians, and of their coats with
the green palm-leaveB ! A little time since a passionate
dilettante, intimately acquainted with all our musical celebrities,
made a journey to St. Quentin. He was going to one of his
estates, two leagues from the town. One Sunday he went to
hear mass at the village church. What was his astonishment,
on beholding the beadle gravely dressed up in the verdant
uniform of tho members of the Institute I
After mass he sent for tho beadle. Ho questioned him, and
examined his coat. Tho following was its history.
The church had no beadVa. A beadle was appointed for the
first time. The new functionary had, consequently, no traditions
regarding his costume. He wrote to Paris, to a friend, from the
same part of the country as himself, telling the latter to buy
him a second-hand beadle's costume and send it down. This
friend, who liked a joko, happened to see the coat with the
green foliage in an old clotheH-ehop. Having purchased the
garment, he forwarded it to the beadle, who decked himself out
in it, without suspecting, any more than his cure, that he was
dressed in the spoils of an immmrtel.
The coat, which had passed from tho Institute to the back of
a village beadle, had belonged to Cherubiui. The 'dilettante
brought it once more to Paris, undertaking to scud down a real
beadle's costume in exchange.
Ax Earth kx Vessel Laukchkd— {From Punch). — " Bat
the cream and flower and glory of the Earthen \ eetel is an
advertisement in which wo can find nothing censurable, except
a little pardonable Borough Grammar, and which contains some
most sound and valuable hints to all singers. If our eccentric
friend, the Musical World, had not become slightly distracted of
late, and taken to calling wrong names, we should ask him to
reproduce this bit for the benefit of the British and Foreign
vocalists. The italics are iu the original :—
SURREY TABERNACLE.
A CLERK WANTKT), 10 conduct the Hinging at the Surrey Taber-
nnc'.e. Borough Komi. lie niuat be, one who knows ritally, the
truth for himself and bo able to gite a Scriptural reason of the hope
that is in him. One who /ire* a* wel! a* professes the goapel. lie
moil also be a decided, a etrict Baptist.
Also he must hare a competent knowledge of music, and a voice for
giiing tho hymns out as well »» tinging, «uitcd to the Urgeneaa of tho
place, and congregation. Also he must bo ono who eun both giro the
bymna out in their significance aa ods who knowt in his own toil what
ho i* saying , alto, ho mutt be tufflciently acquainted with the Enghth
Digitized by Google
94
THE MUSICAL WORLD.
[Feb. 6, 1858.
hii word* with proprittgi one who knows
whereabouts accent and empiatit ought to rait. It is not dotirad that
tho hymn, in giving out, ihouid be growled out, nor iqucakod out, nor
bawled out, nor whispered out, nor hurried out, nor dandled out, but
given out a* dictated Lr common taut uud a /tiling heart, iu a roioo
distinct, earnest, and impressive.
Also it is desirable that be should he ono who In singing jyrouovacti
his wordi, not glide with lo, la, la, through the hjimi. and nobody
know what he ia tinging; nor i* it dofirable that he ahould bawl ready
to split hia throat, but ring entity and nulodioutly. Of count, perjee-
turn cannot be expected, but the aboro will lerrc for a hint aa to the
kind of article that ia wanted. Direct to the Deacons of Surrey
Tabernacle, care of J. Cox, 100, Borough Road, B,»
This is to sensible an Announcement, that Mr. Punch gives it
all possible publicity, and will be happy should the Deacons in-
form him that they have found tho article that is wanted." If
they succeed, they will certainly not have taken the article out
of any clerk's desk In tho Church of England as by law
established."
HOARSENESS, SORE THROAT, LOSS OF VOICE
IRRITATION or tlx IIRO.NCHI AI. TUIIBri. cured, and a perfectly Clear
Voice produced by Urn use of Wilkinson. Url Iso „,d Co.1* BRONCUJO-THURACIC
LOZENUES, prepared from a receipt of onu of the inoet eminent l'h)»ld ui« of
tho day.
Thoy sre espeoialty uicful to VoctUista, Members of Parliament, Clcrirymon,
Burriatens Public Speakers, ire,, and, a* ageucr-4 Cougli lavxng*-, tuieqitallod.
Prepared only and sold in Uutaal la. and :'». ol ; alao lu Una, at 4a. id., inn, (id.,
and 20a, coon, by Wilkiuaao, Bridge, and Co-jClicinlsU, at Dr.dgc's celvbrated
cVirsaparilla, and Dinger and Camomile Depot, STO. Regent-street, Loudon. W.
PERSONAL GRACES.
Tim Countenance ia rendered additionally pleasing by tlia walt-smuged carl tho
.. In Jri.*ing tb* hair, nothing an -.-iua( the
ROWLANDS' MACASSAR OIL.
rieaoVhng It so admirably soft tliat it will lie tu any direction . i -n discing beautifully
flowing carls, and by the transcendant bistre it imparts, rendering the bead-drees
ROWLANDS' KALYDOR
lis preparation of unparalleled eukkscy In tmprovtn - and bean tif} Ins the skin
and cosanloxian, preserving them from every viciaattude of tlw weather, and
completely eradicating ail Cutaneous Rruptioua, Freckles, ,u>d Discoloration*, and
ROWLANDS' OOOMTO,
OB, rBARL DENTIFRICE.
Is alike in valuable for its beautifying and preservative effect* on the teeth and gums.
CAUTION.— Tbe wrapper or label of each bean the name of " ROWLANDS ■
" at of the article.
Hold by A. ROWLAND a. SON*) BO, Ration -gardao, London )
CURE OF CONSUMPTIVE COUGH
sv
DR. LOCOCK'S PULMONIC WAFERS.
From tbo Author of tho narrative of U» Second Sikh War.-" 1 had long suffered
from a deeiMwated oough, when Providence placed in my way a \xa of your Pul-
monic Waters. I experienced Instantaneous relief, and bars such a high esUmate
of their emoacy that 1 f.rmly believe they would oftV-t the cure of tbe moat con-
sumptive person. You may make any iuw you please uf this latter.— Bowaku
Josxi-h TriACT" rxi, Lieut. Sri light Dragoon*, Union Club. I/indoti "
DR. LOCOCK'S PULMONIC WAFERS gin blatant relief and a rapid cure
asthma, consumption, coughs, and all disorders of th» breath, and lunga. Thar
ive a pleasant taste. Price la. Igd-. S*. IM.. and Us. per boa. Sold by all
of
bare
ilri'-rvr-*1-'1.
DR. LOCOCK'S COSMETIC.
A delightfully fragrant preparation for Improving nnd beautifying the complexion,
rendering tho akin clear, soft, anil transparent, removing all eruptions, frixklr*,
sunburn, tan, pimples, and rv ugliness. Hold in bottles at 1*. l)d„ ga. 1*4., and
ts.oa.aach. Beware cf counterfeits. Observe, tbe words "Dr. Loeoek'e ICoe-
' on the government stamp outside the wrapper' Sol 1 by all chemists.
[L TROVATORE AND LA
for uiauofortc solo, with long a
Price 6s, each in strong cloth
1 doth and gold.
TRAVIATA oomoVett
o( the plot and
splendidly bound In
In Cloth Cover, Price 5a
HENRY SMARTS CHORAL BOOK,
rwoX1-
in a
F It 0 at "TUB A T II E N .K U M."
"Wo Ilk* the larger jmrtlon of these half bundrod rune*. We like, too,
«i>le In which tbry have been hnrmonlacd i the motion and play of the
{arte bring sufficient to give variety without disturbance.''
FROM "TUB
"The vocal uarui-iulMtlou
of a birKc tt'Ugrvgollaa."
LIVERPOOL MAIL-
ROOSET AND
MUSICAL LIBRARY. ;i and IS.
MADAME OURY'S MARTIAL FANTAISIE
PRUSSIAN NATIONAL AIRS.
of the
of llM 1
Iyinduii: BOO*EY AMD 80NS, II and 28. IIolliSHilrucl.
Just publbiticX oomjKJSed by T. Graham.
WEAUTEOUS MORN. — Now song for voice and piituo-
XJ fort*. Sanir by Mdbe. Bnderas dm, and otker oininent vocaliats.
TTIREE PAVOUKITK HYMNS. - Rock of Ago.,"
and "Oh! tlkat I had the wluas of adovo,1* lu arora, '
ORAN1) FANTASIA for tbo tiiauolortc iududuiL* " Tl
with variations, is.
To be hail of all .
"Ji-sua, lover of my soul,"
PIANOFORTES.— DEWRANCE'S COM PENSATING
PIANO may now bo ».*n »l the de|»l, M. Soho nqiurs. Ry the apulicaUou
of this p.ln«,4o a h.^vler slrimr can be used, tho result of whleh i». that the full
power «f a grand ia obtaiwd from a eottac* Inslniment, at tlie same time tl a
"ire* and tbe frame on which Hay iitc »lruiiK ex|«ind and c^mrict with chimgw
ol temperature equally and to^ctlior, no tliat tbo ncot-»»ltj for ricpraot tuning, aa
in the ordinary Instrument, U entirely obviated, lor Mlnaas uid rmindueea of
tone, with extnvof diiuury powers of luodulatiou, the** luatruments an ujuitc un-
ocjikallcd, at the siime tltue the jirice ia no higher than that of an <a*dinary |Mano,
rpiTE RUDIMENTS and THEORY of MUSIC. —
JL These lutirrhtiiig subjects bavo never been more lucidly and ably explained.
than bv Dr. MARX, the emiix
hia "Universal Scliool vf Mus
t I'mfiiwor of Music at the iketln University, in
■o," "Sdiool of Oxmpoattion." and his last new
work "The Music of the l-'tu century and its Cullure." all of which works are
published by Messrs. Rot««rt Corlca snd Co., their editions having haeii |
under tlie peri u ten den cv of Dr. Mars, and aiiirmenUd by i
notes, prefaaa, and nipiilsittuuU from hia abie pan. *
Co., New Builiutfton-arrcct, W.
'a.idTL"^
HAYDN'S THIRD SERVICE, with English and Latin
Word*, f, rmln.T No. IS of John Bishop's Original Two BhlOiog Hand-
books for tb* Oratorio*. Tbe Mawrs. Robert Cocks and Co, were the first to
issu* a complete oratorio for la. -ill aud Is.
EVERY STUDENT of MUSIC should provide Liiiisolf
with a litUu pamplilst ON THE THEORY of MUSIC, recently printed Ax-
il gratuitous circulation by nor Majesty 'a publisher!), Messrs. Roliert Cocks and
On. In Ita payee will ba found much vabiaiile information.
HAMILTON'S MODERN INSTRUCTIONS for the
PIANOFORTE. ITInd eilltlon, 61 large folio paces, la
but ons objection to this work, vis , H at there ia too
Robert Cooks and Co . New Burlington-street, W.
FREDERICK DENT,
fOsfctr of !lu 0n«t Clork for Hit Jltoasts of ^arlismmt,
And sole 8uceoav>r to F. J Dm in all his pateat rights and buslncaa at
61, Strand, ssd 84 and S3, Royal Zxchanra, and Iha Clock and Ooav
pass Facb'ry nt HuUMitnet Wl
tguoao and Prince Onacrt.
Ladlca' Gold Watcba*
Oentlemeii's ■ •
s
10
6
•»
with Compensation Pendulum,
S3 Cockrvur-tirtet,
Digitized by Google
Feb. 6, 1868.]
THE MUSICAL WORLD.
95
IPIANOFORTE MUSIC
ADOLPH GOLLMICK.
TWiELVB OEEIAN VOLKSLIEDER
(PEOPLE'S BONOS)
Transcribed in a popular form for the pianoforU.
1. TRBUE LIEBE (TRUE LOVE)
- WJ
3. LIED OND Q LUCK (LOVB AND 1
4. RUZlNwBINLIBD (RHINE SONG)
8. AENNCHEN VON TUARAU (SERENADE)
«. DEB OUTS KAMBRADB (TUB FAITHFUL FRIEND
T. FIDBLIN (FIDEL! Ni
a d.
3
1
t
•
S
9
I
8. MEIN SCHATZRRL 1ST HUIISCH (NT MIBTRB8S IB FAIR) 1
D. ABSCHIED (FAREWELL) S
10. MBIN 8CD ATB 1ST BIN RE1TEB (MT LOVER IS A BOLD1BR) 2
11. DAS ZBRBROCHENE RINGi.EIN (THE BROKEN BINO) 2
12. SOLDATENLIBD (TUB SOLDIER'S BONO) 2
From "THE ILLUSTRATED LONDON HEWS."
" B«rr Gollmkk. who in one or the mint a<x-nrnp]lshed plsnlsts ud successful
coaipoeere <jf ths day. has produced a *et of pianoforte
highly attractive^ MX only from tho beauty of th« in
Usu and i
1 wilt, which ho ha* treated
ty c.r tJ
theoi."
"THE DRIPPING WELL."
always <
by the
POPULAR PIECES.
.S0| Fairy I Ml
. t 6 I Ln c i darctu . .
AND
.. I 0 Midnight Galop
,. • 1 1
MUSICAL LIBRARY, 34 & 33, ]
..SO
..SO
.. i e
In one volume, handsomely bound in crimson and gold, price 7a «VL
MENDELSSOHN'S
SONGS WITHOUT WORDS.
J. W. DAVISON,
From "THE DAILY NEWS.
" Thia chaap, compact, and mr»t elegant edition of the thirty*
.ioder ohno wort^' will be welcomed aa a boon by every lover of If
■Lieder
not excepting such aa already p" sees tho** exquisite piece* aa they have I
already published : for independently of the beauty of the volum*. and
rleameaa and accuracy of the text. It haa the further advantage of a preface
a<rompllshod editor, which every one who cfaeriah™ the memory or the Ian
musician, will read with Instruction
six famous
endelsaona.
" They arc edited with groat care
and critic, who has enriched the eol
Prom " THE SPECTATOR "
and correetneaa, by an accompliahtd mu
aeabfeandinwreatmgi
MESSRS. DUNCAN DAVISON and CO.
HiVB PUBLISHED
FOLLOWING NEW VOCAL COMPOSITIONS
or
MEYERBEER:
"Every lover of music will, wo aro sure, feel curious to know this Interesting
work, it Is written for (bur ordinary vetoes (soprani, altL Urnort, and beum). to be
sautf without accompaniment. An organ part haa, however, bwn added, ' to be
tiao 1 when tho voices have a tendency to lower.' The melody, as is proper in com.
position* of this nature. Is simple— yet It Is so elegantly haroionlaod thai the
tub/rest never flags for a moment, and the monotony and coldness so often com-
plained of in religious swrreoux, withrut accompaniment, are entirely avoided.
" We do not remember any work of a similar kind, In which the modulation*
are more beautiful than In this composition of M. Moyerl*ccr. The entre* of the
part* in imitation, wliich occurs towards Uie middle of the IWer, could not have
I*... effected in a more masterly manner ; indeod. throughout the piece, the hand
of j> o'lisiimmnte harmonist, and a composer who has studied every reeouroe ol
"siTBHJIl**!* setting of the " Lord* Prayer" has already been sung by the
choir of tho Bwncher*sClwpel. Lanewln'a Inn, London, under Uio able direction of
Nr. J. Flttman ; and it will, no doubt, be adopted, a* it deserve* to bo, by all the
principal metropolitan and provincial choir*."— Liverpool Hail.
THIS HOUSE TO LOVE IB HOLT (adieu aux jenne. mariesl Serenade
An- eight voice*. (J sopranos, t contraltos, 1 tenors, and t basses)
without KO-on,|.Milincnt 9 |
NEAR TO TITEB (Pre* de lol), (br voice, l iano and violoncello .. ..4 0
~ ON TUB MOUNTAIN RBt'Ll NINO (Lc chant du Berger),
ano, and clarinet, or harmonium .. .,4 0
N.B.— The above two song*, with French and German word*, each
4a.. a* well aa the collection, ln Svo. form, of Meyerbeer'*
"Quarente McUodies Uuttk piuaieors rots," with piano
•ceovnnnlment, 12a., maybe obtained of Messrs. D. Davisox
akc On.
NEW VOCAL MUSIC.
" I LOVB THE OAK," ballad by Adolfo Ferrari
"Sweet days of youth, farewell," ditto
" Vier.l, virni. " eereunde ditto
" Come, fairies, come," chamber trio, for soprano, mease, and contralto, ditto
" Onme, sisters, let us done* and olnx." for ditto
"Tlie formation and cultivation of the vole* fur
" Quiok arise, maiden mine," Atr ftiyricn. by J, ,
" When I wa* young," by Ernest Bruce .. ..
" When first you shone lieforo mo," ditto ., ..
" TUB TWO BMUJP8," lor a contralto rote*, by O.
"THB COQUETTE.- for a contralto voice, by J. W. D A vnoM . .
"AT EARLY DAY'S DAWNING." by 8. Oaoavwion
"IN TB, DOMINE, bl'KKA VI," anthem for voice* and organ, by ditto
In the Prett.
'," ballad far voice and piano, by Charles I.
VOICE, PIANO, AND VIOLIN OR FLUTE.
'MOURNFULLY, BINO MOURNFULLY." by O. Cruwefl, Op. SI . . J «
VOICE, PIANO, ANO VIOLONCELLO OR VIOLA.
1A." byO. Oruw.ll. Op. 33 SO
.. S ,
PIANO, AND
THE MEADOWS ORERN," by EL Vlvtar
NEW PIANOFORTE MUSIC
'CLARICE," Moresau da Concert, (played by Mia* Arabella Goddard) 4 0
*• ■■ e e s . a* 1 0
In the Pre*.
rib. piano, by C.J. Hargltt.
PIANO BY THE
"GRAND MARCH," Dedicated to II. BH. the Duke of Cambridge..
"LA COfJTANXA," Notrurno. dedicated to the Right Hon. Lady do Boa
" L AMlCHUA^NoUurno. dedicated to the Hoc Mr*. Edmund 1'hlppe
S 0
4 0
5 0
S 0
3 0
LONDON:
DUNCAN DAVISON A CO.
(dAfAt OiSKBAI. Dl LA MAMOIf BBATOUS, EI PARIS).
Digitized by Google
96 THE MUSICAL WORLD. [Feb. 6, 1858.
NEW PIANOFORTE WORKS.
BRINLEY RICHARDS.
BRINLEY RICHARDS' PIANOFORTE TUTOR.
PRICK U.
The best, the ne»-r»t, nri«l cheapest of all instruction bookis, containing CO pages of fiill-siied music, all necessary elementary instructions,
exercises, and a cn-.il. variety of the moot |«ipnlar theme* as progressive lessons. The attention of Professors is expressly retreated to this
orful work ; 1 1 - 'j to
BRINLEY RICHARDS' NEW SET OF SHORT PRELUDES.
PRICE 3».
InUndcd an introduction!! to any pieces ; expressly written fur amateurs ; and to the
NEW OCTAVE STUDIES.
PK1CE la. Gd.
By the mine popular Composer.
RICHARDS' Edition of Czernv's Etude* de la V.-lo« it.'.. pttCtdtd by new exercises, ami a new study on the octaves, composed expressly a. d
for this edit ion hy Urinley Richards ... ... ... ... ... ... ... 10 6
Or In (wo Parts, each 6«.
Edition of Cterny'o 101 preparatory Studies, with additional finger exercises and other studies written expressly for thia
edition by Brinley Richards ... ... ... ... ... ... ... ... B 0
Or in two Parts, each l».
".luanita," popular song by the Hon. Mr». Norton, arranged for the pianoforba ... ... ... ... 2 6
" Annie," Marker's popular ballad, arranged for the pianoforte ... ... ... ... ... 2
Grand Fantasia on airs from " Lea Huguenots." (Jit«i published) ... ... ... ... ... 3
G. A. OSBORNE.
OSBORNE'S " Ireland," fantasia on favourite Irish aim ... 3 li
„ " So dlond," luntnsui uti fnvouriti' Snitch aim ... 3 0
„ " II I'irata," fantasia solo or duet 3 0
h. d. ■■ d.
OSBORNK'S "8ulc.«mpodelU(tloria,"from Beliaario ... 3 0
„ Schubert's Serenade ... ... o v
N.U.— In the press, " Fnuice ami BngkBd/* f*fiU*ia» Ml EiiglUh and French i
ALBERT LINDAHL.
s. d. ■- d.
LINDAHL. India, a lament for the pianoforte a (i I LINDAHL. Switzerland 8 6
... ... ... 2 6 | ,t GiTtnany *-* mi • 3 0
Lc ctiunt du cwptil",
T. A. NAUMANN.
a. d. s. d.
NAUMANN'S La Dame des Sirenes 3 0 1 NAUMAJJN'S The Mill 8 6
We're a' noddin' 3 0 „ La Bergero 3 6
1 thro' the rye 2 6 |
AW Jtetul,
K
D* ALBERT'S ALBUM FOR 1858, 21s.
ALSO
D'ALBERT'S TROVATORE WALTZES (just published), 4s.
D'ALBERT'S ESPAGNOLE WALTZES, 4s.
D'ALBERT'S SIBYL WALTZES, 4s.
D'ALBERT'S MARINO FALIERO QUADRILLE, 3s.
D'ALBERT'S LE BONHEUR POLKA MAZURKA, 3s.
CHAPPELL AND CO., 50, NEW BOND STREET.
INibli»».~l l-y J'.im Uooi-sv, .,i Ctotlchar hill, iti thti Vm <jf Kilinir. in tli« County ol Mllldltl. nt the oflics ol Boosiv & Sons, SH, HoJIc. .' i»»t. Bold also by
IUr.i>. I J, John. >,!,,., i, nn at I'.rtHnd «tn>ct ; AttK>. Wiirwick-lami ; Tu-aca. Iloly*-«D-*lm t ; Klilil, Faowsc. in I Co.. 19, CUsauaMktj O. Bcukushabk,
Xewgate-sUwt; Jon* Suktnckd, .N'cwgstt-Miwt; lunar Vat. 11, Holborn-bai.. AgouU fc.r Scotland, Patkiuo* £ Sons, Edinburgh :uid Utssgow ;
f..r InUod, H. BvartUa, DubUu : a>el all MaaWllsra.
PrioMd by William Hraacu Joaxson. "Nsaaiu Stnun Press." to, St. Jl.irtm's-laot, in tt>. Partsh of 8U Hartln-io-ths-Pl«ld.. to th.
iarturday, Fshruary *.
Digitized by Google
HO MATSsUAL, XO
AND SXXOBI.BS VTUlTim It
Postage, 20s. per i
ft
to B00SEY & SONS, 28, Holies Street,
Payable in advance, by Cash
Cavendish Square,
VOL. 36 — No. 7.
SATURDAY, FEBRUARY 13, 1858.
( PRICE 4d.
1 STAMPED Ad.
VfTSS LOUISA VINNING begs to announce that she j
1*1 bM REMOVED to 1ST. Albany-street, Ha.-. nl's p«fk. where all com-
nunlcitlona rrqicctuig engagement* may be addressed.
CORNET PLAYER for a
M lilt i.i Regimtnt. Teem", S6«. to 30*. per »wk. Apply to Noose y Bil l
Sous. 24, Hotles-street, Oxford-street.
•yy ANTED. — A GOOI
SIGNORA FUMAGALLI, SIGNOR DI GIORG1,
tuid MR. nuni K- 1IRA1I AM (Conductor, Signer VUnwl, AH spplua-
fo' tho province*, or tli« metropolis, to be addressed to Mr. CI arles Id > nm
M IM|M,
R. AND MRS. GERMAN REED (late Miss
Hortou) will repeat Ui* lr entertainment every evening (oxc.pt Salu
*l 6 Saturday tltini-ii at 3. Admlasb*, 1» and -J*. ; Stall*, 3a.,
without extra charge at tl.e Royal Gallery of Illustration, 14, ~
at (!r.™, Deal., and Co'... Sol. -
an I
C. M. VON WEBER AND HIS COMPOSITIONS.
R, CUARLES SALAMAN will deliver, for the first
lima, bin new CONCERT-LECTURE on the nhove subject at tho RUSSEI.I,
M
INSTITUTION. Great OotatB **TO*l
Mr "
CTL'RE on the above suited
, Russell-square, un lu< >lay
l. Ml,a Rothschild tint Mi.
evening next at 8.
ORGAN FOR SALE.
standing in the Free Trade Hall,
rtloud 0,0,1 Jsrdine bey to intimate t at tho above
Ii.atniniont will be sold a bargain, an i
p„rat..ry to the erection of the Gian.j Org
KahiUtion Ai ply to Klrtland .nod JarJi
'J1 HE ORGAN
an it* immediate removal la requisite p tr-
ail bu It byt'.em lor the An Tr>» urrV
luc, Organ Budder*, Mane*. ester.
Vnil^taij
on T>
BI0N0RA FUMAGALLI,
SI uiOKGI and MR. CHARLES
(Condoctor-SIONOR VIANE8L),
day, the loth instant, at Uie II aja over-square Room*; Monday,
Tuesday, tho 25rl, at Orilhnin ; Wednesday, tho 51th at
a, n* .i .vcr; incsaav, me ism, u ,ninnn ; w«inrro,uy,
a ; Saturday, the ?7lh. at Liveri-ol : Moodav. March Ht, at
•. the 2nd. at Staley Bridge, and Thursday, the 4 th, at Bredf
ST. MARTIN'S HALL— ORCHESTRAL CONCERTS,
under the Direction of Mr JOHN HULLAH.— Soa~.n, 1818 —THIRD CON-
CKRT (of tho Series of WxX TUK8DAT. KVENING, Feb. 1", to commence at
Eight oc'ock proctocly.
PROGRAMME.— FiiaT L— Overture— ■■ Melnaina." Mendelsroiin. Aria— •' In
dices™ hrll'g'-n Hail n' {Pi.- z*i|S rrl, ,t.- ) Heir t>. ... M t
Violio, Mr. H. l n.n>, Katttwoda. Aria— "Ombia
Palmer. Zingnrt-tli. Hyn. phony— - In C (Jupiter). Mozart.
I'atiT II — Trio Bapagtiole— Fit Pianoforte, Ob e, and Bassoon. Mr. G. Rm»«ll,
Mr. Nic ••laou, and Mr. H*us*er. Brod. Duet— "On. Undo un rli." Mi** Banks
»nd Ml** Fanny Rowland, Clari. Air— "Stdle nnch do* Wuthvcrlagen'' (Pau*t)
Berr D, ck. Hpobr. Trio—" Le Spognote." Mis* Bank*. Mix Fanny Rowland, and
Mi*a Palm. r. Finsuti. Overture—" Choral de Bronze." Auber.
Ticket* and
<_ ti .-. it Ti< > • N i"' 4 i
ata" (Romeo). Mia.
iranimeemay bo had lit St. Marin's Hall, aud of the princ'pal
alio. 5a ( OeJleries. is. 01 ; Area, la 6ub«cri..tion Ticket, (or
one guinea; Oalltrie. hnlf-a (pilnea,
CONCERTINA CLASSES.— The incrcawng rwpularity
of the Concertina inducea Mr. Caao lo project -i aerie* of CI.A»8 MEET-
INGS for the purpriec of lmpa>tl,ig itiatrurtkm In ti la Inatrtiinant to prnoiK
unacquainted with music, and alan aa a nieana of aupptytn^ aarreeabfc |*rt-
prai lice In those aire ,dy ae,ne»h..t advancod. Mr C.iac pr^i^oftea to hold a ela-a
for lailira in tbe afternoon, and one for Kenil<-,«en in the eveuing, the terms t"
each to be fixed at »uch a rale aa will admit of all persona Joiiuno; them. Mr.
Casx- trusts thnt a pcrmaneut course i-f instinct ion. at * moderate co-t, a ill be the
mean* of rendering the ConcoTtina *ti,l niore jrenora ly popular, f- et vi; aaanreii
that ita many |iccuTi*r a/.lvanbsg a over otbor instrument* will ultimately train it
th* profcrancc with all amateurs anxlou* to axe 1 In mualc with aa little trouble
aa poaeible Persons deairo-ja of Joining thise clasaea are ieqnrate>t l > com-
municate with Mr. Csw*, lo tl>« care of Bosey snd Sons, 28, Uollts street.
MAPLESON AND CO.'S
OIFICES:
CLARENCE CUA.HEER8, 18, HAYHARKET, LONDON.
Tiire As<iipy hsa boon cs'Abtished for ih«
*o long- leqnired both "
mcliuni crcommuiiKi
coniiectvl with Mus e.
purpoie of supplyii what baa been
Mnai'td Pinfea»toii geliernlly. via.: — a
lltics for the transaction of .ill bual lies*
requisite*; iilso to
repute, Ijoth vocal
removal . f obstacles i
swlT:iiio»nient "f the lyrle srt in th s co jufry.
Registers are kspt for Wio gratuiu.ua In pcction of Min.»j<rs, contiinln*; sntrle*
of the uames of vocal and inatiumcntO urtl'ts wanting tiigtiprment", with all
nrosaary parttt-nUis, Ate.
MrjBtcaL llRTKaKis. — M. W. Half--, Esq, Cork-tree". Burlington, gardens ;
Signer Schira. IT, Princee-street, Usjtw*er>s-|uaie ; Juki Benedict, E-q , 2, Man-
cbcatsv-equarr.
Medicsl RarrnrK— Jolin Hading*. Esq . M.D , 14, Airmail, -street
BoWe-mm —Charles Maldock. Eeq . li. berjeant s inn, Titmple.
BAMMM, -Union Bonk of London
»ni»n.- J. H. NapKaon. Esq . T. t
OFFICE HULKfi F110M F.LEVEN To Kol'R
VIEW SACRED SONG,
1> of 0<«1." Worda by tie lk«
J. Dttrrrer. Tat non and Sonj, "'
" He has come !
Hot atitis Donar. D D.
the Christ
Oompoee.1 by
" rPHE BLIND GIRL'S LAMENT,"
X cooilioerd by th-! Hosiournble Mis- Nrtton, price la. *J
Pali-ram. and bona U.ndon : all muslc-anl trs.
"rpHE DRIPPING WELL,
X iccenUy by the author at I be BeV
en cored. " Tbla I,, one of He most elegant and |»pular
positions." Price .'Is. B- oaey and Sons, 28. Hol'sn Itreet
by Mr. Ciolluiick, ]serformed
leVmlim d-s A>f. and rsptnr. ualy
and |s*puUir of Mr. Gollralck's com-
PROGRAMME OF MISS ARABELLA GODDARD'8
L SECOND SOIREE OP CLASSICAL CR AMBER PIANOFORTE MUSIC.
'|uare, on Tuesday, Frbnuiy
n t her reside
Welbcck-Mrect. C.iv.-i dtsli-
SAINTON mid M. P*AQUB. To
F major (pianoforte and
Patt I Botssla In F major (p
aid M. Sai. t'.iiV. Mot.rt; Oraud Soiuita In A
commence at half-post right o'cl-
violin. Mb* Arabel'a G, ddard
flat, ••Pliss Ultra" (I« Retour k Par. si (pianofoi te. Miss Arabella God IsrdX
Ihiswek ; Tca.rata con Fnga In D minor, FaniMsia con Fngbetta In D major {from
Book 4 of F. C Griipenkrri'a Complet.i Collccliini of the PUt.or.tTte Work* of
J 8 Barb) (Mis* AraheUa Goddard) Bach. Part II. 8. iiata In C minor. Op. Ill
(tbe last sonata of BeetlioV.nl (piainfort--, 11 u Ar*t«lla Qol.laril); Or ana Trio
in D minor (No. 1) (ninnofoitr, violin, and vio'oiiccUo. MUn Arabella Godtlard.
M Halnton. and SW. Platti ) Tbe third mid Ust performance of the aerie* wl'l
take plucv on Tnetday. M.ircli fnd
^8ingleTioket, half a-guinc.v to bo had only of MISS ARABELLA GODDARD.
VelbCik.ttmt, t*i
HER MAJESTY'S THEATRE — BOHEMIAN GIRL
—On Tuesday. February 18 Tliur»diy. February i«, and Salu-day, 1
ary ». will be re. cared I .A X1X0ARA. tn-lng the l-allan Mitu of Brdfe'i
of THE BOHEMIAN
Modll . Sannler; O.unt
Fl, rc*leln, Sigiior Morcuibili; C-ipiain of the Gu
Rignor GiuglinL In tb-i aec.nil net will le lutr-tinccd a new Diver laaerni ni
GIRL. Arline M dllc Piccolorimd ; Qiwen of the Olpaie-,
lit Arnbelni. Sitrner Be'lettt ; Dcvildinftf. Minor Vl*',t«i;
', Signor CaslfM. ; T) addeua.
iced a new Diver Isaemi ni
byM Miu,.(ot lil.eintisicnt.rcly notv. ei m]» * d by M. Italt-X by Mesdlles, ClaTolle.
Morls'xlil, nnd IVsniui"
To e. in linl* with
itTl:l--clll, tuid . ^
,d Dlretti^n.cl.-. by
L'HYMENEE.
l'Bicn— Fit Mails, lr* r.l ; boxes (l - hoi.
f.l 5a ; grand tier, JU 3s. ; two |alr, *M f>*.
10*. ; gallery s|a>Is, 8a. I'd ; gallery Ss ; pit. 3>
The doors wl'l be opened at half past »e
eight o'clock.
Application* if be made at the lox-ofiVce ef the Tin aire.
four
Uire
M,
a, jnd tl.e OptTa
uigiiizea
by Google
98
THE MUSICAL WORLD.
[Feb. 13, 1858.
MUSIC FOR FLUTE AND PIANO.
BOOSEY'S REPERTOIRE FOR FLUTE AND
PIANO:
L £r«tM^que on the New Opera Rlgol.Ho .. Vardl
S. Second ditto oo do. do.
■ |jiu1|llu C»oto popular. Totamo. . aor-ligitni
5. H.otobello .. do. " do!
6 L' Inamorata do. da
7. Oil oceht Deri do. . dl
8 I., eouo .t-.to do. .. ,)o
•. d.
. U SwnamliuU.. Bellini
9 Oone par oe
10. VI ravTiaO do.
11 Tutto e eciolto do.
IS. Premi I' anal jo.
1*. Ah too*. cwln-Ah doo fiting. do.
U. Songtleo— Tuttotgl.-Ja do
15. Caro luoghi— O luce di quart' talma . . Linda
18. E la Toec— Ah e.neoLannl do
ir. Ah : b.lde»:la— 1)1 t«i |cne do.
18 Emai.i. Krnanl, iDTolamt Krnanl ,
It 8- Jingo .mote— IdIoIIco — Vita Auguato, tie. do.
10 Onmu ruulad < al ce-ptte do.
SI. Romeo and Juliet , Oapulett'
SJ. Kl ctric G»lo — Koiiiitabern Tolka
S3. Qui la vuce Mia a *to— Vieo dUaVo a In cial , , \ Purttani a
S4 11 rival aal ver tu Dei — Suoal u trnmba do.
S3 A te, O eara <ini>>r. Tolnra — Son Vrrgln Veaao-a . |
Boua.v's Rinaroiai — ''Thcac arr-OKenituLare excallen'iy dona'
aparkllou and brilliant >o that any fluta pluy. r . f mod rat.' ability
do
d i.
do.
■ lo.
do.
[>. tti
do.
Verli
do,
d...
Blini
(lollinick
Bellini
do.
do.
yat
R. S.
PBATTEN'S
THE
RECREATIONS
FLUTE:
of POPULAR OPERATIC MELODIES far FIXTE and rtANO,
ABRANOBD lit R. o. PR ATT EN.
Priee One Shilling each.
No. l.
s.
3
4.
6.
a.
r.
8.
».
:.'
11.
IS.
IS.
14.
18
16.
17.
11
19.
So.
21
SS
S3
S4.
Robert, toi qua j'ai
Ouand Jo qolitasa
Nobil eignor
No i»eo mriuil
V.tixnaiaro
Emaui lurolaml
Tutto a .pnaao
La n.la latiiia
La donna « inoMla
Bil aoldell'aiiima
Qiiaat-\ o quelU
Bella Agile .
Introduction vid Oa]r>p Rlgi.lotto
I' mbardi
Rlgooito
ditto
ditto
uitlo
ditto
Miecr.-te — All ! <Jiu la morte Tr v -iti.ro
U balc-i dU euo ditto
81 la ttMi !i<-iga ditto
Mini. jant.ea aniioa Lea V'C| .reel
Ann la craur d'llclcna
Jour dlareeaa
UUaoo, Uriniliai..
P ri„'i o earn
Dl r"'V«ii»a
Ah. for. a lui
Trariata
di^
NEW FLUTE SOLOS.
In lh« Prut, priee Onk
ONE HUNDRED OPERATIC AIRS FOR THE FLUTE,
m> twrnty-one Oprraa,
By R. S. PRATTEN,
(Jha? o°F.Tv%!ir?,«S,"',.M pUi.^ "IV,™"'1', or J" aToupa of Aw «tt„ picroa. Tha Opera, are aa follow :-U Trari^ta.
. ? ' . yirr-* tni-ea. Lutea Mil or, Macieih. Katnn-o. Lmnbardl. Simcn ft^.tjegra, Fra Dmvula Don atovann1 IV ,m«7
aunbula. LucreaU Borgia, L» Huguenota. Puritan!, Luca, La Tl ,lia del Regprueot,., rUbeVtl. DUble, a,0,EDDl' "«»»».
KUFFNER'S POTPOURRIS
FLUTE AND PIANO.
IMPORTED BY BOOSEY AND SONS.
1. Webert rVriachlltr
4. WeUra Pnclona
8. WaWa I
6 Ori.ii ...
6 BoialdivuS 1
II. l>ttto
IS Dlfo
)S Rtml i'i Maria
10 L. Omnia Ory
17. Am <1l Bal at Muatta
SO. 0 itiU ..ma Tell ..
*1 Ditto
II. »tn.e. « Plai caa ..
SJ OarafV.Violatto
a d.
4 0
Ln Be' adara
Aubar-a Pi Kre
Httoelde Ban |Mt
Roi> rt le D ..bio
\/t "krmrnt
La M>dicl'<e "«ta
U ri< «"i Clarca ..
«. d.
i (I
D.tto..
Prla.ui d'Kdirabourg. Ctiafa
U« Htu;ti«i...ta
Aubcr'a Lc^tocq ..
L.- tl.er .1 da Bronsa
Auber's ActA>n
Aduffl'a PoatilleQ ..
« 0
4 9
« 0
« 0
41 Loa Cliananxia Blanoa
43-3 Urn fl treV.de RoaMni
44 l.'Ambaamlrica..
16-7, Le Tenuqular .1^ la
62. l-« liri.H. ur d- "
A3 1.1 Ita ii.e .|'A..__
M. I a Rama d'uu jour
fto I ion J i mn , ,
5© Dp"utiui'a Trala'.
01. Brcti . nan'. Kidoilo
03 Aulvr'a ZanctLt
t«. I ■ tii.ir ml ,ini r j
le Dui dOl m.a
a d.
. ( 9
.. 4 0
.. i «
.. » «
.. « •
.. • •
.. • •
■ 7 *
.. 7 »
..5 9
..5 9
.. » •
.. S «
.. « •
MLSICA_
WOULD
THE VIOLONCELLO.
IN ONE LARGE VOLUME, BOARDS. PORTRAIT AND PLATES, PRICE THIRTY SHILLINGS,
VS'Y
ROMBERG'S
VIOLONCELLO SCHOOL:
I Bcl^w^nletF. Tbwrcti.j,], and Practical School for that Inrtrament j in Two Pajt»i illoatraW bv fictirea rcnrMcntinc th« i
the ViolcaweUo should b« held and played. Second Edition.
^^WaTeMIA**
r In which
Digitized by Google
Fbb. 13, 1858.]
THE MUSICAL WORLD.
09
REVIEWS.
' (Morccau do Salon)— " :
psr Henri Wolfgsng Amadee
In the rmle Fugitive occur* the followiug;-
NocnTiixii"-conipo.oc»
Now, if" Wolfgang Amadee" (not Mozart) will contrive to mend
this point, we will r •. Irani from reminding him that Mendelsohn
wrote a certain song in F sharp minor. Moreover, it " Wolfgang
"«" will be more tender of the health of Ida "
we may be iuclined to pass over the unceremonious vigour with
which he present* hie discords
J
m m
:,:t . f S=
(Very like "consecutive fifths," by tho the way, struggling des-
perately to gain admission into orthodox society.)
A few more strokes of similar impetuosity may entitle our
composer to the coidon of tho Zukunft. But then he tuuat
change his prunume*, aud for '"Wolfgang Amadce" substitute
Richard Frauz. Once admitted a " Kuight of the Future," the
would serve famously as a device, with which, emblazoned on his
shield. Sir Diehard Franz Beale might scare nway the most
formidable giant from Mount Parnaseus.
The " Nocturne" (in O sharp minor) — although the opening
is more like a funeral march than a nocturne — has not the same
peculiarities to distinguish it, and would consequently be sc
by the Xukunjt, if presented as an exercise for a diploma.
«*Wh*»k does PtiAorrtE nwstt'1— lUUad, composed by
Stephen Olover.
A piece of sentimental insipidity. If pleasure dwells in state-
ness, we ean recommend this ballad to the author of the versus,
who, though he has done all sorts of (seemingly) pleasant thing* —
and among the rest hns
" KisaM the bloom off bevity'a cheek"—
cant fiud any pleasure at all (in tho first verso),
LABLACHE'S last appearance at the
ROYAL ITALIAN OPERA.
IV Ik, KJilor of Ik* J/swiea/ World.
Flit, — I bog leave to inform yon that Sig. I.iblache's last ap-
pearance- at the Hnynl Italian Opera, was on Monday, 30th
July, 19V>, in L'EtoUe Uu .Vorv/(.r)th time) In the fullowiug lour
pet formnnces of that opera, the part of Uritzeuko, was entrusted
to Sig. Tagliafico.
I am, sir, yours very truly,
\0tA July, iai8. O. C.
" OXON.," « CANTAB.," OR ■ LAMBETH."
To the JCJiior of th* Musical World,
Sir, — Has the gentleman who signed himself in your Inst
" Mus. Doc," the honour of holding one of those world -reuowued
degrees generally called by the mimical profession *T
but;. Dub r
"I have lof
,ve looked over the names of those to whom the Univer-
sities of Oxford and Cambridge have granted musical degrees,
but really cannot tiud tho name of this " Mus Djc."
Another point which has weighed considerably with me, is
tho fuel of those who have graduated at either of the above
Universities being particularly careful in their publications not
to leave the world in doubt as to the legality of their title, or
the locality in which it was acquired. Consequently the usual
ending to their " Mus. Doc." would be either " Oxon." or
" Cantab.," as the case may be.
Believe me ever to be, Mr. Editor, yours very truly, Oboe.
To the Editor of the Jlutical World.
X. V. Z. wiahea to know what Uuivcraity claims tlie honour of con-
frrriiijf the degree of " Mm. Doe\" on Mr. L. Fowle, and who was the
ProfrMor tluit pssard his exercise ?
[" X. Y. Z." must apply to the proper authorities.— Ed. if. IK.]
Music Prwtijjq. — A patent haa lately been obtained by Mr.
Scbeurmann, the eminent music-publisher in Newgate-street, for a new
melhod of printing music, invented by him. It ia well known tbat
the present comparative chrapneaa ot musical publications bss been
canard by tlie adoption of tjpe-pnnting aa the aubsiitute for engraving.
But Mr. Seheurmanu'a invention will carry thia advantago much
farther, and wiil be much more generally applicable. Even in the beat
of the preaent cheap public itions (audi a« tboao of tho oratorioa used
at Kxeter Hall), Ihe immenn) number of aoparatc piecca of tjpe— in
•ORte instances between three and four I bona and beinij employed in
setting up a aiiiglc page— cauaes a waate of time and labour, and also
gives the printing n disjointed and broken appearance. Tbcae things
are obviated by Mr. Heiicurmann'a mode of setting up the lines and
the note* on two aeparnie plates, the whole of one -t >vc forming a
single pteee of metal, and the notes also being solid. The result,
independently of the great diminution of labour, is a cleurne.<s and
aiiarpnc-s of appearance quite unattainable by tho old process— a fact
ahowu by tho apecinieua which we have examii ed. 1 in? Iu.es and notes
being thus separately set up, in order to avoid the necessity of double
printing a cast is taken of the note*, nnd into the mouid thus ob-
lai' ed the fniinc i
ing the linta ia pro»cd. A matrix combining
the two plates is thiia formed, which is then placed in a galvanic
trough, where it receive* u thin shell of copper of a few ounce* weight,
obtained by the electrotype process ; and the. plate, being backed with
lead, is ready for printing— Daily Htm*.
Digitized by VjOOQIc
100
THE MUSICAL WORLD.
[Feb. 13, 1858.
SKETCH OF THE LTFE OF LABLACHE.
(Concluded from page ftfi.)
Labi^achb proved himself a consummate vocalist in every
school of music, from Mozart down to Bellini. Whether in
T/eporello in Don Oiopanni, Doctor Bartolo iu II Barbiere, the
old wife-seeker in Don PanquaJe, Gerouimo in // Matrimonio
Segrelo, Giorgio in Purituni, or the Corporal in L'EtoiU du
Surd — embracing all the principal modern operatic school*
excepting one — he was equally admirable. Verdi alone he
avoided, or perhaps was not called upon to attempt ; and indeed
it is questionable if Lablache could have sung Verdi's music at
any time, and in all probability would not if he could. It is
curious that neither he nor Tamburini ever played a part in
any of t he operas of the modem maestro, whose works are now
laid hold of by all Bingers, sopranos, contraltos, tenors, bary-
i and basses, as if there existed only one kind of dramatic
: worthy to be designated good, and adapted to display the
powers of the singers to advantage. Lablache's rtpertoire
belonged legitimate! v to the pre-Verdiite composers, and stopped
with Donizetti and Bellini.
Perhaps in no branch of the vocal art did Lablache so tri-
umphantly declare his genius as in recitative, whether accom-
panied or parlante. In the former he was always forcible and
impressive — in the latter, he had the peculiar sk ill of half in-
tonating the notes, which was neither speaking nor singing, but
seemed wonderfully to coalesce with the spare chords of the
violoncello, always, as it seemed to us, out of keeping with the
perfect enunciation of the tones of the voice. But, withal, he
gave you no idea of being out of tune, and his time was as
correct n» that of a metronome. In fact, il Lablache only made
u motion with a limb, or a grimace with one of his features, he
never broke his time. He sang in time — he acted iu time — he
thought in time. What a splendid example such a singer might
have afforded the modern race of vocalisers, if they could
only have followed him.
All the renowned Italian singers have been remarkable for
their power of sustaining notes, which can ouly be attributed to
enpaciousuetu and expansibility of the luugs, in which a large
supply of air can be obtained at a breath. Lablache was per-
haps more extraordinary than other Italians iu this respect.
While singing the loudest, or articulatiug the most rapid pas-
sages, uuless you paid the most earnest atteution, you could not
ascertain when he took breath.
As an actor Lablache has hardly enjoyed less reputation than
as a singer. The name of "great comediau" and "great tra-
gedian" have been almost universally coupled with that of
"great vocalist." Lablache, beyond all dispute, was one of the
must original, powerful, an 1 varied comic actors that ever trod
the boards of the opera. High comedy, middle comedy, low
comedy, were equally native to his genius. None who ever saw
him will deny this. The universality and force of his humour
were seen and felt in one performance. Other artists you were
compelled to see frequently, to consider thoughtfully, to compare
with Others, to sift iu your judgment, to hesitate" before pro-
nouncing a verdict upon, or fear the influen?e ol prejudice when
veightBg tboir merits. With Lablache you were immediately
and for ever satisfied ; you were availed by no conflicts of
1 1 at min : ; you utterl} reject il he - tatiou, ami felt ial sfi< d with
your judgment j you dreaded no result* from prejudice; and
d.d fi 'i»ru haI'' jiu • I i*. i in? pri'ijiisi's to ;i coti&olitJntcil con-
elusion as all Alp lie chamois leaps from a series of rocky heights
to term Jtrma.
Lablache was tho most original as well as the greatest of
comic aetoi'fl. lie possessed no singe conventionalities; sub-
- nlicil to no tricks of thu scone : smelt not of the foot-lights.
Iu playing old nun he did not deem it necessary, ns is the
invariable custom, to crook his knees into an acute angle, open
his legs wide apart, and shake his head as though he was
tr.ptibt d with the palsy. He had seen many old meu with
straight knees and perpendicular legs, who displayed very
ntradlast heads on linn sheulders. He preferred copying what
he observed outside to what he witnessed inside the theatre,
or, in all probability, when he acted, like Dudn—
" He never thought about himtelf st nil,"
but was governed by his instinct. His natural gifts were
prodigious. His walk was wonderfully easy and life-like. How
ne filled up the stage — not with his size but with his intellect !
Every action had its propriety — every movement its meaning —
every look its significance. No artist ever took greater liberties
with his audience ; but in all his freedom and " gaggings" there
was no extravagance or caricature. The very absurdities in
which he indulged became intrinsic qualities of tho character as
soon as Lablache created them. In his bands alteration suffered
no change. Nay, new-model it as often as he might, the cha-
racter lost neither forco nor vitality. The mould alone was
broken — the clay remained the same.
A great many of Lablacho's comic characters would furnish
matter for lengthy essays. What a world of genial fun and
racy humour, for instance, was comprised in his performance
of Doctor Bartolo — certainly one of his most striking impersona-
tions ! The very spirit of Beaumarchais seemed incorporated
in him, and Rossini's spiritual music acquired new force and
character from his interpretation. As we think of this wondrous
personification, what looks, and tones, and attitudes, and ges-
tures come back to us and fill our hearts with merriment once
more ! We again behold the amorous old guardian, with
mincing step and slightly-shaking head, play the gallant before
his tender ward, leering at her as his huge shadow walks into
the light of ber loveliness. Now with Basilio his jealousy is
fired, and he whispers him aside and consoles himself with his
sago adviser, and, as he listens to the tempter — " La Calunnia" —
rubs his hand at the prospect of the gigantic plot laid for the
discomfiture of his rival. Figaro rnters, and a severe look of
cunning is assumed, and he perambulates the stage, sunning
himself before the spectators, Haying as plainly as is possible
without words — " See how wise aud cunning I am ' But this
rascal here is mure wise and more cunning, and I must become
his victim ! Behold how I make myself a martyr !" And
straight he sits down in his arm-chair, and the barber proceeds
to lather him forthwith. Lablache, with instinctive genius, per-
ceived that in Rossini's opera, whatever necessity might have
existed in Beaumarchais, comedy to carry out the contrary, the
character of Doctor Bartolo should not be ployed precisely with
a view to rendering it real and natural. The actual guardian
of the comedy is not intrinsically a comic part, aud the mora
closely it is allied to truth in the performance the fur-
ther removed will it be from creating that effect which is
the direct end of all comic acting. Had Lablache preserved the
verisimilitude of tho part, Doctor Bartolo would have resolved
himself into an amorous, jealous, and disappointed old man, whose
sudden forgiveness at the end of the piece would have been
utterly unaccountable. He did not assume the natural or real
side of thu character, but the comic and effective. From the
earliest scene in the opera it was plain that Lablache took the
audience into his confidence, and, as it were, exclaimed to them
aside — "They think me an old tool ! Well, I know I am, but
I'll plague them before I have done with them. If you staud by
me, I'm a match for a dozen rascally Figaros and twenty in-
triguing Counts .'" And so ho went through his part, and
ap|s?aled to the audience in every dilemma and strait, and pre-
tended to receive consolation from their laughter and approval.
In the last scene, when the Doctor's long hopes of happiness are
blasted by the very rival he bated and thu servant he fostered,
would it not have been the most natural act in tho world for
the man to have gone mad in despair, or at least have fled the
scene in wrath, and not have braved the gibes and sneers of all
the lookers-on by remaining, lablache knew all this, and could
have interpreted so had there beeu a necessity. But he went
beyond the poet and musician, and realised more fun in the
character than ever was contemplated by either. In short,
when he played Doctor Bartolo the spectators became as much
a part of thu performance as Figaro or Kosina, aud his exagger-
ations were consequently the result of tho intimacy between
audience and actor. How if these exaggerations had beeu dis-
pensed with ? The world would have lost some of the most
exquisite displays of comic fancy ever beheld or recorded.
Every scene was full of them, and they alone who have wit-
Digitized by Google
Feb. 13, 1858.]
THE MUSICAL WORLD.
101
nested the performance of Doctor Bartolo by Lablache can
imagine how capable such a part is of being translated into the
highest regions of comedy.
Of Lablachc'a tragic power* we do not hold aa lofty an opinion
as many of his admirers, and believe that the celebrated saying
of Dr. Johnson respecting Sbakspore's genius might, with far
greater propriety, be applied to him — namely, that " his comedy
was instinct, and his tragody skill." In such parts as Oroveso
in Norma, Elmiro in Otello, Giorgio in Puritani, the Dogo in
Marino Falitro, Henry the Eighth in Anna BoUna, and others,
he certainly was grand and imposing, but these did not require
the purely tragic element so much as a commanding look rind
figure, power of voice, and an amount of feeling and pathos
which as often appertains to comedy as tragedy. In the higher
walks of passion, Lablache did not feel at his ease. He had "no
laughing devil in his sneer," to give seeming and force* to the
terrible Duke in Lucrezia Borgia, nor could he invest such a
part aa Enrico in Maria di Rohan with that concentrated
fire and energy so necessary to endow it with vitality on the
stage. Sograud a singers, with so magnificent a voice, so jicrfect
an artist, so experienced an actor, gifted with such splendid
personal qualifications, could not fail to render any port attrac-
tive and important ; nevertheless, upon examination, it will be
found that none of the serious parts with which hU name is
identified contains the real tragic element. Lablache has played
first-rate tragic parts both in London and Paris — Assur in
Rossini's Semiramide, and the fathur in Paer's Ay mm, for
instance — but has left behind him no reputation in their assump-
tion. The Doge in Donizetti's Marino Falitro, written ex-
pressly for him, may be cited aa an example to the contrary, as
exhibiting him iu a tragic character of the loftiest kind. The
fact, however, that the opera, although one of the composer's
most masterly, had no success in England or France, and has
now been laid on the ahelf for a number of yean, is some proof,
at all events, that the performance of the leading character was
not supereinineut. How different the fortunu of other operas
written for him — VEltiir J' Amort, I Puritani Don Pav/uale,
&c, &c. In / Puriiani, Count Pcpoli and Bellini measured to
the greatest nicety the serious capabilities of Lablache, and
consequently the Giorgio of the artist was a consummate per-
formance— grave, earnest, solemn, tender, pathetic, and powerful
in the extreme. Like our own Charles Ivcmble, Lablache rose
to a certain height iu tragedy, and then stopped short. He was
no more a Ttfniburiui or a Itoncoui than Charles Kemble was a
Kcun or a Macready. But this is not depriving him of any
praise. Every great artist has his speciality and his limitation,
and of him who plays everything well it may be predicated
tbat he plays nothing transcendeutly. Genius — to start an old
metaphor — like the solar beam, requires concentration to give
it its greatest force, and when the rays are separated its power
is lost. Lablache's genius was concentrated and burned in the
focus of comedy. It is his just and deserved eulogy, that he
was one of the greatest comic artists that over adorned the
operatic stage.
The celebrated amateur. Mr. Charles Wilkinson, in conjunc-
tion with Mr. Raigb, acted on Monday evening, at the Theatre
Royal, Brighton, to a crowded audience.
OcsDLfc. — The literary institution of this place, established in
June, 1856, under the patrouage of the nobility and gentry of
the county, has reached a very flourishing condition. On Mouday
bast a lecture on " The History and Principles of the Science and
Art of Music" was delivered in the Town-Hall, before a numer-
ous and fashionable audience, by the Hon. and Rev. T. C. Skef-
fington, M.A. The lecturer dwelt long upon the philosophy and
science of music, exhibiting its nature and its office in n very
learned and elaborate manner. To this was appended a history
of the art, of artists and instruments from the earliest times,
which displayed a great deal of research and knowledge. The
rev. lectureeVcnded with some useful practical remarks upon
the right u*£ of studying and delivering music, both vocal and
instrumenMl. A vote of thanks was unanimously accorded at
the eaddftl
M. FETIS ON THE PRESENT STATE OF MUSIC.
What can be dose to Ameliorate tiie Condition or Yodno
C0MFO8ER8, AND TO REMEDY THE DECADENCE OF McBtC*
(See Uu Mtuical World, January mh.)
We have here two questions in one ; namely, to save art
from too evident a degradation, and to lead to the goal artists,
for whom the way has been thrown open merely to be closed
when thev were on the point of arriving at their journey's end.
The melancholy truths I adduced in ray first article result
from several causes, some belonging to (he moral and political
state of society, and the others to our institutions. For the first,
there is no remedy but that which time aud unexpected circum-
stances may bring. For the others alone our will may elfect
the mcessary ameliorations.
Ouo of two tilings is true ; art either flourishes inconsequence
of the patronage of prince*, or finds a support among the people.
When I say, princes, I mean, also, grandees, courtiers, and,
above all, the higher aristocracy ; for, when the master loves art
and fosters artists, all those around him imitate his example.
Italy offers us some remarkable instances of this iu the Kith,
17th, and 18th centuries. Iu France, music begun to take a
start uuder the administration of Mazarin, because be had a
taste for it. The reign of Louis XIV. and the Regency of the
Duke of Orleans were favourable to it. There were four super-
intendents of the music of the King (maltres-de-chapelle), four
court orgauists, music masters of the chamber, harpsichordists
o( the chamber, composers of the King's private music, and pro-
fessors and masters of the music pages, all having apartments
nt Versailles ; lastly, there was a whole train of singers
and instrumentalists — all these persons, I say, were organised
and maintained until the end of the monarchy ; they were
pensioned after a fixed period of service. Them was music,
with a fiHe every Sunday in the Chapel Royal ; an opera at
court ; and a concert iu the grand and the small ajKirtments.
If any men of talent appeared, they were sure of success, the
means of living, aud prosperity.
In imitation of the court, the great nobles, the n ally great
nobles of those days, the Duke du Maine, the Prince de Contt.
the Priuce do Guttucne, aud even (he Farmers -General, had
in their service singers and bands, besides composers to direct
them. It was by this means that Itameau emerged from
obscurity j it was by this means that Gossee Was enabled to
create in Franco the style of the symphony, which was unknown
there, and which opened the door to Haydn.
It was to the passionate love for music entertained by 0"ee»
Marie Antoinette, and the patrouage she extended to it, that
Franco owed the happy transformation of her dramatic music,
effected by Gluek, Piccini, Sacchini, ami Grit try. To this same
princess, to her partiality for good singing, and to her active
patronage, belongs the introduction in Paris of an Italian Opera,
all the members of which were artists of the first class, and
became the models o( Garat ; while Garst, who had a genius
for art, and Meugoxzi. who was acquainted with its good old
traditions, afterwards founded the school of Freuch singers,
which produced such vocalists as Nourrit, Madame Branchu,
Ponchard, Levasaeur, Madame Damorean, and many others.
All the princes of Germany had private musical establish-
ments, and renowned masters to direct them. These masters,
iu the tranquillity of their positiou — which, though modest,
sufficed to support their families — and happy amid the calm of
these little courts, of which art constituted the entire roiiud of
pleasures, wrote works which still enjoy the admiration, or, at
the verv least, the respect of connoisseurs. Aud we must
remark that the patronage extended to music, and the attrac-
tion it possessed for the great, was not limited to tho sovereigns
of the smallest states ; high and illustrious families of Bohemia,
of Hungary, of Silesia, and of Saxony, likewise, had orchestras,
chapels, and even theatres. All the immortal works of Haydn
were produced at the winter or summer residences ol tho
Princes of the Esterhajcv family. It would l>e far too long a
to enumerate the distinguished artists who found powerful
• Tnunlsted from the
*/ Uaxttle
uigiiizea
by Google
102 THE MUSICAL WORLD.
patrons in the noble families of Motsin, Than, Lobkowttz,
Kinski, Fiirslenberg, etc. It was to the patronage of a Count
de Tbuu, aud » Prince Lobkowiu, that Mozart owed his engage-
ments at the Prague Theatre, to compose Don Juan, /-« .Vortt di
Figaro,Mn\ La Uttmenaadi Tito: it wnsthey whopov cd the manager
the largest part of the • sinenses he incurred. The same families,
the Prince de Kinski, and the Arch-Duke Uudolpbe, all emineut
connoisseurs, and passionately fond of art, were the patrons of
Beethoven, too, placing him above the difficulties ot material
life, and securiug him the independence necessary (or him to
deliver himself up to his sublime inspirations.
All this has disappeared ; revolutions have shaken and de-
stroyed even tiling; unheal d ol calamities have struck the
highest families, aud the enlightened taste of these select
amateurs has ceased to direct that ol the public. Vienna, once
the musical city, par txctltence ; Vienna, w here the colossal
works of Gluck, Salicri, Haydn, Mozart, and Beethoven, were
produced, not to mention a multitude of authors, who, without
nttaiuiug the same elevation, have rendered their names cele-
brated by some tine efforts ; such men, for instance, as Krommer,
Uummel, Gyrowita, Schubert, and others, a complete list of
wham would he too long; Vienna has descended, in a short
time, to the lowest degree of musical intelligence ; it la a city
which no longer knows aught but Ldndlert, polkas, and fugitive
compositions of no value.
A fatal moment lor music aeems to hnve nrrivud. To the
time when emperors, kings, prunes, ami nobles not ouly were
partial to, hut truly fond ol music, there has succeeded the
period in which we now are, wheu, with very tew exceptions,
none of these great persouageB appear to care alsiut the art. I
will not even assert that it is an amusement for them, because
they would willingly dispense with it, were It not for a sense of
decorum which required them to appear to do something for it,
because it is acknowledged that whoever does not like music
possesses an incomplete organisation ; but this seeming patrouage
is teduced to the smallest possible proportions. Where should
we find, now-a-dnys, a monarch who, supposing there were
another M< /ai t. would say to him, as King Fiederick William
II. of Prussia did, after ofleriug him the most munificent salary :
".Stop with me, my dear Mozart; you know that my greatest
delight is to listen to your music."
Another enormous evil resulted after the French revolution
of 17M*, ftom the alieuatiou of the church property, aud the
consequent impossibility of reconstituting in a solid and worthy
manner the musical establishments of the cathedrals aud colle-
giate churches, whore divine service was performed wholly in
music. These estubliahmenU possessed so many posts of mattrea-
de-chapelic, who enjoyed an existence free from all can-, ami
Were able to devote themselves as they chose to composition
and sacred music, the means of executing which were ready to
their hand. For some forty years past attempts have been
made to resuscitate these institutions in certain places, but the
insufficiency of menus has, up to the present day, not allowed of
anything being doue really useful to the art.
We must not dissimulate the immense evil which has resulted
from the causes of which I have just spoken. This evil is the
annihilation ot the two kinds ol music in which art soars to its
must idealistic conceptions; I mean instrumental music and
snored music. Musicians cannot live by the composition of
symphonies, quartets, sonatas, masses, or vespers ; they never
have done so jet. The request* made to Haydn, when he
already enjoyed universal celebrity, for six symphonies, by the
society of amateurs called "La Loge Olyiupique," and for
twelve other grand symphonies, for the concerts given as a
speculation in London by Salomon, arc exceptional cases. The
publishers, especially in the actual state of affairs, cannot
purchase the manuscripts of works of this description. It
would be a very gnat stop for them even to consent to under-
take the cx|HUat s of publication, and tin y certainly would not
think of doing so, except in the case of composers w hose reputa-
tion was already established. With the exception ol Beethoven's
later compositions, symphonies, quartets, and quintets wore
never written to be sold and considered as a uieaus of existence.
Most of such works, written for prinota and uoblea, in the calm
[FBB. 13, 1868.
of a certain position, were spread about In manuscript copies,
and then published in Leipaic, Mayenoe, Offenbach, Amsterdam,
Paris, ami London, without the authors ever deriving a penny
from the proceeds of the sale. In Paris, the old firms of Sieber,
Ledue, Boyer, and Imhault, published innumerable editions of
the works of Haydn, Moaart, Wrauitaky, Sterkel, KtsniiU, and
others, and in our own day, the same thing is true of the com-
positions ..it Beethoven and Mendelssohn, and the collections of
the complete works of the great masters all over Europe.
It was thus that, when a composer possessed talent, he
achieved celebrity by the composition of instrumental works.
Now-a-days, public morality has stepped iu to assist the pro-
perty of aui hois, aud, thanks to the protection it accords, the
latter are tolerably certain of remaining entirely unknown.
Let us suppose, for instance, the case of one of those vigorously
constituted artistic natures which can live on poverty, provided
only they produce. Such an individual has written qunitets
and symphonies. For the first, he goes to the friends he pos-
sesses among violinists and violoncellists of talent, and asks
them to give his work a trial. Put friends have a thousand
various occupations; thev havo not the lime, even if they
do not want the will. Worn out nt Isst, however, by his en-
treaties, they consent, and the trial take place in a comer. The
work coutaina beauties; these move the performers, who burst
out into applause. The heart of the poor artist eipHWU ; thank
Heaven, the day has come, as he flatters himself, w hen happy
inspirations, a real work of art, and a life of self-denial, are
about to receive their reward. What illusions, however, are
contained in these hopes ! Delighted with the success he has
just achieved, the composer begs his friends to play his work
at oue of their public quartet performances, attended by
an audience of enthusiastic amateurs, but he Is completely
annihilated at the answer he receives:
" My dear Iriend, your quartets are excellent, but our public
are enthusiastic only for those names which they know. When
called up«n to judge a new work, they are uncertain what to do,
fear to coaipromise themselves, and remain cold. This is the
reason why they only require, or, rather will not have anything
but Haydn, Mozart, Beethoven, or, at most, Mendelssohn. You
must see, then-lore, that, however great our desire may be to
oblige j'on, it is impotwdde lor us to accede to j'our request."
After such a disappointment, every one can understand the im-
possibility of finding any one to listen to a proposition about
an unknown work. I will, however, suppose, as an impossibi-
lity, that there is a person sufficiently liold to undertake the
expenses of publication. When the edition is printed, he for-
wards copies, on sale or i eturn, to his correspondents in the
departments and abroad. These individuals, not being able to
pirate the work, ir it is good, do not trouble their lieada about
it, but leave it on their shelves, and its existence remains for
ever unkuown. With regard to the provincial correspondent,
he knows only oue fact : the Paris patters have not said a word
about the work, which, doubtless, is worth nothing, and, as the
copy is for the publisher's account, he does not care about it.
But again : I will suppose that some popular artist, having
Wen desirous of becoming acquainted with this so despised
work, has tri.d it at home aud has the same opinion of it as the
author's friends. He gives public quartet performances in the
town where he resides, aud resolves on executing the work in
question, but, at the moment the audience has assembled, and
the four artists hit tuniug their instruments, a gentleman makes
his appearance aud says to the artist for whose benefit the per-
formance is given : "Sir, I am the ageut of the Society of Com-
posers and Musi.- publishers, and I am charged, according to the
terms of the taw of 171*1, the decree of such and such a day",
and the agreements concluded between such ami such govern-
ments, to forbid j'ou to execute the works announced in your
programme, until you shall have paid into my hands tho sum
laid down in the tarif, under the penalties named in such and
such an article of the penal code I"
Another class of obstacles has sprung up during about the
last half century. The first public quartet performances were
given in Francs by Haillot. Previously to that there were
quartet performances, every week, at the houses of ft great
Digitized by Google
Fkb. 13, 1858.]
THE MUSICAL WORLD.
103
number of distinguished amateurs in Paris, among whom I may
mention Ardissou, a very able violinist ; the Princes of Chimay,
]. icepeMe, Laforest, Vilieblntichc, Noaillee. Sermental, and a hun-
dred others, who paid artists to accompany them. I have been
connected with more than fifty towns in FV.tiee, where this was
thecase.aud wherequartetperformancesformed part of theamu»e-
meot* most eagerly sought after. Nothing of the kind exists
nowadays, because the feats ol strength and legerdemain, distin-
guishing the modern violin school, having cost into the shade
the art of Viotti, Rode, and Baillot, which it has replaced by the
astonishment caused by the subjugation ol immense difficulties,
amateurs, not being able to decide on adopting the violent gym-
nastics of our artists, have been seised with discouragement.
The consequence is that the amateur on the violin is, nowa-
days, an exceptiou; that quartet* arc only played at artists'
houses, and, therefore, no longer published, for a tradesman orders
only those things which will sell.
What is true of instrumental chamber-music is still more so
of the symphony, because it is far more easy to collect four per-
formers than to form an orchestra. Those now existing, have
programmes ready made, in which it is exceedingly difficult, if
not impossible, for new etforts to obtain admittance. I know
this by my own experience. Being absolute master of the
orchestra which I direct, and desirous of advancing artists
In whom I perceive any talent, I every year give new works a
trial, and I have always conflicts in consequence with the
regular attendants at the Brussels Conservatory. This slate of
things did not exist wheu a taste for serious music was generally
diffused. Everything was tried, and what was really good came
out triumphantly from the ordeal, and took its place among
clussical works. I am speaking of what I have seen. In the
olden times to which I refer, works of genius and of superior
talent were rare, as they always will be. A great many
mediocre works were produced with masterpieces, but they are
now forgotten, aa they deserve to be. Such were the sym-
phonies of Oueriu, Cambiui, Tolski, Van Malders, ami many
others. All these were eiigraved, spread abroad, aud plaved
at coucerts in the provinces. Well, where was the harm » The
expenses of engraviug were about covered. If among all
these poor productions, there had been a spark or two
of real talent, it would have produoed its effect. The artist
would have been kuown, and we should not have seeu him
judged, as is the case now-a-daya, without having been heard.
What are the consequences of all I have just said, with a cer-
tainty and knowledge founded on facts ? They are as follow :
the two most elevated, freest, and most ideal branches of music
threaten to disappear under the influence of thin state of things,
for they neither offer a means of livelihood, nor do they satisfy
the souls of those whom natural talent would impel to cultivate
them. The essential cause of this evil is the enfeeblemeut, at
the top ol thu social scale, of the sentiment lor what is musically
beautiful, as well as the occupations and prejudices of other
claaaes. Having nothing more to hope troiu labours of this de-
scription, all young composers rush to the stage, without in-
quiring whether they possess the necessary talent and instincts
tor it, because, despite the obstacles of which I have already
spoken, it is still the eaaiest road for becoming known, aud that
which demands the least serious study.
Now when the state of things is such that there is no longer
aught to be hoped for from society to prevent the decadence of
an art indispensable to its happiness, the various governments
are bound to arrest this decadence, by institutions which shad
counterbalance the pernicious influence of any one epoch.
These institutions, which I shall enumerate, in my next article,
would, without doubt, entail expense, if they are realised, but I
firmly believe they would be attended with beneficial results.
I fancy I already hear the following observation, which some
odo will not fail to make : " What institutions do you de<ire
■which shall replace genius ?" None, assuredly. But who will
dare to affirm that men of genius, i( they exist — aud why
should they not exist, lor God docs not disinherit one gene-
ration any more than another i — who will dare to assert
that, under the circumsLanoes of which I have just drawn
they are ? The only object of the institutions to which I refer
will be to ameliorate these circum-tances, and foster genius
when it appears. Geuius is not everything ; it wants the
knowledge how to develope its strength ; it requires support to
enable it to reveal itnelf ; iu a wonl, we must add to it strength
of character if it is to triumph over obstacles. Now this lust
quality is not always found combined with it.
FkTia, Senior.
(To be continued in a future number.)
"ELIJAH" IN LONDON.
(Communicated.)
BACRTO HutMOXIC SoCITTT FlttFOUMAXCSS OF " ElIJAH."— 1.
(1KI7) lfiih April •, 2, 23rd; 3, 28*llj 4, 80th | (Mendelsohn eon-
ducted). 6, 17lh Xor. j 0. 3rd Dec. ; (conducted by Mr. Surman.)
7, (IS is/) 12th April ; 8, 12ili Msy i (conducted hi Mr. Perry). 9, 1st
Mot. ; I l«t per'ormunce com III t A at Kietcr Hull by Mr. Cos'*, wllo
his eonlmt-u nil the rwt. It), 17th Nor.; 11 (1849), 23rd April; 12,
27ih; 13. SihMav, 11 (1850). 5th April; 15, 12 l. ; lfl, 2fHnj 17,
23rd l).e. ; in (1851), 20t<> Jan.; 19, 2nd M..y ; 20. 16th ; 21, 6'a
June; 22, 27th ; 23, 4th Julv ; 24, 85ih; 25, 5lh Srpt. ; 2fi, 24ilh;
27 (1852), 6ih FeS. ; 28, 13th \ -'9, 23rd April | 30, 14th Msv ; 31,
24th ; 32 (1853). 2l«t Jan. ; 3H, 23 h ; 34, 13th M«r ; 35, 10th June;
3tJ. 81th t 37 (1851), 8<Hb Jan.; 38, 9th IV'..; 89, 1711-1 40, 2Glh
Msv ; U (1M55), 5t . Jan.; 12, 13lh April : 43, 15th June; 44 (1856),
llth Joi.j 15, llih April; 10, Olh June; 47 (1857), 30lhJsu.i 48,
I fith May ; tlWlHj*), 5lll Feb.; 50, 12tll Feb.
In the above period the Society has given 196 concerts, more
than one-fourth of which have been devoted to Elijah. The
Sfevfi/t has been produced 48 times within the same period ; so
thai half the number of the performances has been absorbed by
these two oratorios.
It is by no means the wish of the Society to recur so fre-
quently to the same oratorios, but the committee must go
with the public; and the proceeds derived from the more
generally popular works that enables them to carry on their
operations. __— „^
PROGRAMME OF
GENERAL REID'S COMMEMORATION CONCERT.
(To Am)
February 13, 1858. is Edinburgh Univtreity.
Past Fmsr.
Overture, "Marguerite," . Mellon.
Romania, " O Tooehto cor eke batte," 1 yerdi
Mr. r. CJioTer.
Voca! Quartette, " When the Weal," . Mendcltaohn.
Mi,s Tlnrlwall. Mi«. & Pyne, Mr. St. Albyn, sad
Mr. Wsllworth.
Concerto in C Minor (Pianntorto) . . BeetboTen.
Mi- Arabella Ooddard.
Cavatins, "Casts Ihvn," (JVorsto,) . Bcliiui.
Mua Loiuaa i'yne.
Solo, Violin, "Olelio," . . Ernst.
Mr. Carrodns.
Overture, "Zamps," . . Herold.
Vkvt Sapoiui.
Pastorale, Minuet, and Grand March (the Garb of Old Gsul.)
Composed by timers! Beid.
Ballad "I lore her," . . Balfe.
Mr. \V. Hnrriaon.
Fnnt-M is (Pianoforte), " Home. Sweet Home," Tlialberg.
Mi»« Arabella Oodilsrd.
Duetto, "T.i Fitflis inciuta," (.Ifaroi PadiUa.) Donisetti.
Mi.s Loui«a Pyne, and Mi'. Suun Pjne.
Aiia, Buffo, " Msdawlna," (OiOOiiaatJ Mozart.
Mr. 11. Drahnm.
Chorus, *' Here we'll re«l," {Somnambula.) Belliai.
Finale, " God asTe the Qu -en," (Band.) John Boll.
Conductor— Mr. Alfred Mellon.
Digitized by Googl
104
THE MUSICAL WORLD.
[Feb. 13, 1858.
THF FUMAOALLI PARTY AT WINDSOR.
(From the Windsor and Windsor Cattle, Eton, Atcott, Slough,
and Eton College Express, Berks, Reading, Bud*, Maidenhead
and Middlesex, Diadtesex Journal, Wet Surrey, Epiom, and
ar BM, w mtmi *— ,
The second couc«rt at the theatre on Wednesday evening, given
by Signora Fumagalli, Sig. Di Giorgi.and Mr. Charlea Brahain,—
Sig. Vianeai, conductor, was well patronised. The programme
was varied, and judging from the applause and 'encores, the
•election could not have been better. The vocaliata fully sus-
tained their reputation. The singing of Siguora Fumagalli
electrified the audience.
THKATRE ROYAL, HAYMARK ET. — Under
the inanagomctitif Mr Bnclcatonr. On Monday, and Tune-lay, February 15th
au.1 10th, to commence at 7 o'clock, with Hturidau'e coimdy of THE RIVALS. ...
n Friday i.ight. January 2»'h, by cu in mai.il «.f Her Mijeely. In
of tin nuptial.
WuiU.„of Prui
... thePnncea. Royal with II. R H. the Pnnce Frederick
.. I'lUMia. The cl.anicU.ra will be represent' d, a. on that ccaaiu, by
the Hajrmarket Com, any sir Antl.ouy Abeoluic, Mr. Chippendale; Captain
Ab-olute, Mr. W. F.inen; Faulltimd. Mr. llo«r<-; Acres Mr. Uucoa.:. Sir
Luciu. OTrlgifcr, Mr. Hudson, Vtg. Mr. Clark; David, Mr. Ke Uy. Coachman,
Mr. Cue; Mra. Malaprop. Mm Poyuter . Lydla Luuruia.., Mle» Reynolds; Julia,
Mia* Ciialrn ra ; Lucy. Mr*. B. FlU»ilh-»m. After >v.<ich. a new grand comic
Chnatniaa Pantomime, entiled TUB SLEEPING BEAUTY IN THE WOOD;
OR. HARLEQUIN AND THE SPITEFUL FAIRY. Tlierc- ncry l»y Mr. W lliatn
Call cot t Harlequin, Mr. Arthur Leclerc.) , Columbine, Mi.. F..nny Wright ;
Pantaloon, Mr Macltay: C««n. Mr. Cti.rloe Loclcrcq; The Pnnc.a. an her
ti.TL'la. Miae Lcxil.o Lvclcrcq On Wed.icaday, February ITtn. beinir A.b-We>l-
iieadiy, NO PKHFOR M A NCR On Ti.uralay, Friday, and Saiurd.y. February
18tb, 1Mb. and -Olh. the Comely of TUB IRISH AMUASSADOtt, lu wi.icli
Mr. Uudaou wii appear, being the lest Giree nights of hui engagement After
which, p. at itely fort eae thiej night* only, the Farce of TWICE KILLED, aa
performed, by crotnaiid of Her Mojea y, an ) In widen Mr Keelcy and Mi>.
kCceloy will euatain O.eirorglnal character.. Willi the P.uitotnitue.
NEW ARRANGEMENT OF PRlCES.-Orcb..tro nulla (which may be re-
tained the w. ole of the evening, and for which there will be noc largcior booking*
Da. each. Fia-ir Paica.— Drue Boxen. J», ; Upi* r Boxen. J». ; Pit, t*. ; Gallery, la.
brrxan Piuct-Droaa Boxca, 3. ; Upper Boxca. in.; Pit, la; Gallery, Cd.
Private R 14a, Two G. Iu«u and Ons Guinea and a-ha.f each. Stage-Manager,
THEATRE ROYAL, ADELPHI. — This evening,
Februar- 13th. the ne<v drama of THE POOR STROLLERS, lu w, Ich
Mcaara. B. Wibaur, Wright, Paul Be- ford, and Madame Celeto will appear.
After which THE SPITALrlKLUS WKAVhR, aa performed by command tf Her
M.K.ty Ch iroctera Li Mee>r». Wrtcht. C, nr.by, Mel Inirton, C. J rimllb. Henry,
and ali.a Arueo. To rou ludctvlth THE DRAPERY QUESTION ; OR, WHOS
FOR INDIA!
ROYAL PRINCESS'S THEATRE
UNDER THE MANAGEMENT OP MR CHARLES KKAN.
0*J
MONDAY and Friday, HAMLET; Tuesday and
or<Uy A > I DSl'MMKR NIGHTS DREAM ; Wediw«l» (be-in,
>y) SO PERFORMANCE, ThuraUy, TUB COR3ICAN BROTH
" utouum. every Kvtnlug.
ROYAL OLYMPIC THEATRE— This evening, the
mfunn iiK will commence Willi YOU CAN T MARRY YOUR GRAND*
MOTHER Alicr u bleb THE DOGE OF DURALTO. To ooududvwltb 1IOOT8
AT THE SWAN. Con.rocnc. at ..all-pua; 7
S
T. J AMES'S THEATRE. - PROFESSOR WILJALBA
FRIKELI, — WeducwUy aaJ Saturday -.ftcl ni> .lis at S. nmi everj- ereulng
at S. Stallx, 4» ; Balcony Hull-. 4a : Moxee. 3a. ; Pit, 2a.; Gallery. In. Private
Iioici. I v. o Gnii ictk. One Guun a aiut'-vlialf, and Ouo Gumaa. ~
at Mr. Mitchell'. Royal Library. 33. Old BouJ-atrect
GREAT NATIONAL STANDARD THEATRE
SHoREDITCH —Proprietor. Mr J«n» Dniat*>».
M*. Jou» D.>(trii.A»« haa greut pi. aanre In aunoiti rii.it he l.»» made amngs-
m< iita for a MONtTBM MUSICAL KNTtKTAINMENT nev, r Ufore uttenipt d
at the haat End of Inn !on. on A»h Widnc-ri.iv. eonal tn.g or llayln'i Ora oriu
of THE CREATION, and a Grand Cone rt. The a lo vocali.U will Include ua
of
aarnee of Mada
ie Elide- aaohti. Mr.
. Willardi (the p nuUr Icnor* Mr Allan
"ft MUo F"""-' Hua "«. Mad. Gareia, Mad Po iot, M ol ilatuoe, Mad. Caro-
1 , • „ Pirc«T»l. Mr OuurUa, Mr, llerwin. Mr. Lomer. Mr. Gr-x.cr, Mr. Good-
win, Mr. George RoaaelL. and a hnat of talent from ExiUr H«.l ai d the Iulian
Ol-cra, Including a Baud and Chora, of s#> perfonnera, under the direction of
TO CORRESPONDENTS.
An Amateur. — Thtarticlet in an evening paper of high repute—
upon the performances of " a certain musical institution which
has removed from Willis's Rooms to Hanover-square, and anti-
cipates increasing glory at the new St. James's Hall "—are gene-
rally supposed to proceed from the pen of the director of that
institution. The style — notwithstanding the careful corrections
and erasures of the Editor, or sub-Editor, of the esteemed
evening jtaper (ichich has always deservedly prided itself as
much on good English a* on good sense) — warrant! the supposi-
tion. Thus the impartiality and fearless independence that
characterise these notices of the " unique performances" in ques-
tion, are easily accounted for.
THE MUSICAL WORLD.
1.0N1KDN, SATURDAY, Tibruaby 13th, 1858.
it .bo in
profitable,
The Atlienarum inquires — "How long will
England before a classical concert, which shall be
must cease to be an ancient concert ? "
We should first like to know the precise meaning attached
by our contemporary to the terms " classical " and " ancient."
Presuming that he includes among the "ancients" every
dead composer of eminence, rind among the " classics " only
the acknowledged great masters, his query is by no means
difficult to answer. The " classical " concert will remain an
" ancient " concert until modern composers apply themselves
more seriously to the study of music. The rare gift of genius
is not absolutely necessary in the production of works good
enough to be preserved as classical ; but a thorough know-
ledge and mastery of the science of the art, combined with
a remarkable natural aptitude (not essentially derived from
genius, as many instances have Bhown) are indispensable.
The chamber-music (for it is of chamber music that our
contemporary is speaking) composed during the last qoarter
of a century, with rare exceptions, is shown to be of a very
flimsy texture, when coniimml with that of the masters who
have ceased to write ; and it is well known that i.ine
amateurs out of ten infinitely prefer the old music to
the new— a preference in which, for the most part, we
heartily concur. Moreover, even now, only a small portion of
tho music of the really great composers is familiar to the
public, while, on the other hand, the public generally is be-
coming utterly wearied (nauseated, indeed) with the Fantasia-
nchool, and its twin sister, the " Rhapsodic," so grossly mis-
named the " Romantic." M. Tholberg, the most illustrious
modern representative of the former, has been of late years
going out of fashion ; and no wonder, since he has flourished
for a lengthy succession of years on the eternal modification
of one idea. Take away his thumb and his arpeggio, and
what becomes of M. Thalberg? On the other hand, Dr.
Liszt, tho most renowned preacher of the " Rhapsodic"
school, never was — and it is to be hoped, for the interests of
music, never can be — in fashion. Happily very few possess
sufficient mechanical skill to execute his pieces at all; and
among the highly endowed minority there are some who
have too much good sense to devote attention to such
inharmonious effusions. Whatever may be thought of tho
two, as " virtuon,'" M. Thalberg is likely to outlive
his contemporary and rival— since his compositions, meagre
as they may be pronounced in the quality of invention,
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THE MUSICAL WORLD.
105
can claim to be regarded as what those of Dr. Listz
cannot — viz., genuine music for the piano. Every new piece
that comes from the pen of Dr. Liszt (and we hare now be-
fore us a series, entitled Rhapsodies Hongroieee) is more
vague, extravagant, incoherent, and unmeaning than it*
predecessor*. Either this eccentric gentleman was not born
to be a musician, or, like his {ante- Wagner) hero, Robert
Schumann, lias lost his senses. The first alternative has
always been our opinion ; but we are willing just now to
grant him the benefit of tlio hist.
The RItapsodies Jlongroises have been noticed by the
Athenoeum in highly eulogistic terms. " They are addressed"
— it appears — " to only pianists of the highest accomplish-
ment, and by those whose ' be all and end all' is a sonata, a
concerto, or a fugue, they had better not be touched " We
agree with our contemporary; and may add that those who
are able to play the greatest sonatas, concertos, and fugues
of the greatest masters, can do to much more, both men-
tally and mechanically, than those who have mastered
such things as the Rhapsodies Ilongroites, that their
time is too valuable to waste upon anything Dr. Liszt
ever put upon paper. But, theory apart, we have
sought in vain for the good things enumerated in the
Athenantm's review of the Rhapsodies Hongroises ("ante"
— page 1 85). Perhaps we may have lost all apprehension of
the beautiful in music ; and if the merits pointed out in
Dr. Liszt's new compositions are real, •hat, or something
like it, must be the case. We own, with submission, that
their " wild gipsy character," their " quaint life and ele-
gance," their " exquisite calculation, as vagaries, to display
the instrument for which they are written," and even their
" rich freak and spirit," have escaped us. We look for such
characteristics in vain.
At any rate we should be grievously hurt to find a spirit
now abroad, in England, for reviving those masterpieces of
great composers which should never have been forgotten
(many of which, indeed, have not at any time elicited
the notice and admiration that are their just due),
checked by a desire for according publicity to what we are
forced to regard as nothing better than rhodomontade — in
the shai>« of music (so-called), by Dr. Liszt and his satellites.
Last year a Russian pianist — Herr Rubenstein — favoured us
with an inkling of what we may expect if ever this false and
vicious school predominates. Mad. Schumann, too, pro-
vided us with one or two specimens of Herr Brahms, another
of the " apostles while players of inferior rank have also
put forth what little was in them on behalf of the " bcla-
bourers" of the pianoforte ; but if such music ever makes
way in England, it will involve a dangerous crisis for the
purity of art.
With these convictions we cannot share in our contem-
porary's regret or anxiety about " classical" concerts being
always " ancient" concerts. On the contrary, wo trust that
such may continue to be the case, until it becomes an
acknowledged condition, that pianists, who prefer writing,
to show off their own peculiarities, shall first mako them-
selves masters of the elementary rules of composition.
Otherwise music will incur the risk of degenerating into an
art not much worthier than that professed by Mr. Flexmore
(short, moreover, of the humour which distinguishes the
antics and evolutions of that distinguished " virtuoso") ; and
with variations, will apply to pianists and their performances
Mr. Thackeray's satire upon "Such a getting up stairs,"
without exception.
That great Moorish temple of ill-success, which with its
dingy magnificence adorns the eastern side of Leicester-
square, and which for many years has been called the
" Panopticon,", — possibly because nobody ever wanted to
see the interior — has been recently taken by Mr. E. T. Smith,
and blessed with the name of " The Alhambra."
Now, Mr. E. T. Smith is a most ingenious speculator, alike
comprehensive in his views, and various in his expedients.
It would be too much to apply to him the exj/.ession , " nihil
litigit quod non cotutvit," but as we may fairly ff, that if a
fallen property does not give some little sigr of returning
vitality at Mr. Smith's magic touch, its case must be despe-
rate indeed. It would be too much to say that he has made
of Drury Lane Theatre a home for the National Drama in
every way worthy of a great metropolis ; but at all events
he has done what no one else has done for many years. He
has converted that theatre into a rent-paying institution
having found it a mere useless heap of bricks and mortar. ,
The energies of Mr. E T. Smith are not easily exhausted.
Lessee of Drury Laue Theatre — proprietor of a weekly news-
paper— owner of an huge luncheon-house, — he nevertheless
finds that these three vocations are insufficient for the full
employment of his faculties. The poor neglected shut-up
Panopticon,— a big house, without a tenant, is just the thing
to tempt a genius of such boundless vitality, and so anxious to
communicate vitality to anything with which it comes in
contact. We do not marvel that Mr. Smith takes the
" Panopticon," — and we have no objection to his calling it
the " Alhambra."
Possessed of his vast edifice, Mr. Smith doubtless began to
reflect what could be done with it, and in the process of re-
flection reviewed several features of the present age. He
saw that preaching in places not being churches or chapels
had become the fashion, and that Mr. Spurgeon, taking the
Music Hall in the Royal Surrey Gardens, was enabled, by
virtue of pulpit-eloquence, to draw a revenue far beyond the
sum expended for the hire of the premises ; at the Bame time
leaving the hall perfectly free for secular uses on the week-
days. He probably observed too, that with a considerable
number of pious folks, it is the habit, on leaving a place of
public-worship, to visit the nearest public-house— an innocent
habit too, the laws of moderation beiug observed, for pious
people have as much right to take " something to keep the
cold out," as any ungodly man who encumbers the face of
the earth Also there is a strong belief gaining ground in
spite of opposition, that the masses ought to be better pro-
vided with means of innocent recreation on Sunday than we
find to be tho case in the present Sabbatarian state of things,
and this state of public opinion no doubt came into the vast
sphere of Mr. Smith's observation.
A whole aeries of desiderata is thus presented to the spe-
culative mind, and the possession of the Alhambra suggests
the supply of them all at one single coup. Why should not
Leicester-square have its popular preacher in a secular edifice,
as well as Kennington or the Strand ? Mr. Rutherford, an
eminent divine, is secured to furnish oratory at the Alham-
bra ; with this difference from the Surrey arrangement, that
whereas on the other side of the water the preacher hires
tho premises, here the owner of tho premises engages the
preacher — a mere financial distinction, not affecting the
soundness of the doctrine taught. It is already declared by
the voice of public opinion that the secular use of an edifice
during tho week does not render it leas available for sacred
purposes on Sunday, and, therefore, Mr. Smith, with due
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THE MUSICAL WORLD.
[Feb. 13, 1868.
Again, if a certain number of persons quitting the place of
worship arc seen to visit houses where alcohol is vended,
this propensity may easily be rendered beneficial to the
religious establishment. A spirit-license ia obtained for the
Alhsmbra; and thus the sale of spirituous liquors, instead of
being conducive to the benefit of the profane alone, may be
rendered subservient to the great purpose of religious in-
struction. F r the serious recreation of the people after the
sermon, n concert of sacred music is supplied, and M. Henri
Laurent, conductor of the Casino, likewise directs the band
in its execution of the sublime music of Handel.
The more we contemplate this scheme, the more do we
find to admire. One edifice, under one speculator, combines
the functions of Church, Casino, Concert-room, and Public-
house, — and these functions nre made so perfectly to har-
monize with each other, that nothing like the shadow of an
inconsistency is to be found in that arrangement. Deeply
therefore, haw we been grieved at finding in a morning
paper the following letter addressed to the Editor, by Mr.
Rutherford, who was to have supplied the oratorical portion
portion of the complex entertainment : —
Slit, — lu jour paper of to-tluy, iu remarking on my preachlM, nt
the opening of the Aihnmbra Palace, you my, "With Mr. Kutherford
there mwl be n reckoning on the score ot inconeietcDay j aince he
who Tchemently opposed, in public meeting, tho Suuduy opening of
national institutions, now lcn U himaelf to u palpable violation of the
law forbidding Sunday amuacmeuU."
Injustice you will allow ma a few word* of explanation.
I consented to open the Alhambra l'ahice, became it hat long been
my conviction t lint uc cannot have too ninny plaecj for the preaching
of the Goipel ( ami b.cau.c ny ttipulatton waa agreed to, that, in the
morning, it ihoulil be o|ien to all clavej, fire of charge. I hail reaaou
to expert that the .'election of muiio would be Mwh i>a i» aung in ti c
choral fcrrico of the Church of England, ami thut iiotlmig would occur
fturompatiblc with true woratrp, When, at tuo cloae of my sermon
kit night, I found the tinging wa« turned into a "Sunday amuse-
ment," I at once slated that I would not again preach under eimilar
circiiiii'lunees.
The notice of application for a apirit lieenje, of which I wm not
aware till I paw your paper, muxes me all the more regret my having
any lia I co: no tion with the place.
I am, Sir, your obedient aerrant,
J. H. Ki-tuebfoub.
41, Oxtbnl.Urrat* UVJ* Park;
m Ktrmmtf, 1S58.
Mr. Rutherford, then, backs out of the Alhambra, Still,
let us hoj'e that a plan so comprehensive and so beautifully
symmetrical is not about to be rendered abortive by the
fastidiousness of a singlo preacher — who is evidently a man
much behind his age. Don't despair, Mr. K. T. Smith.
Look out for another preacher. There arc as good fish in
the sea as ever were caught.
Tue Reid Commemoration Concert takes place to-day,
and the University Professors — who have given an inter-
pretation of General Heid's tustamcnt so little in harmony
with the meaning of tho testator — will be enabled to provide
their relatives and friends with a musical treat of a higher
order than usual. True, the programme (which appears in
another column) contains no " flute solo ;' but, in revenge,
the "Pastorale Menuut" and "Grand March" ( The CUirb of Old
Gaul)— compositions of General Reid— form preludes to the
■econd part of the concert. So tbat ono of the General's
wishes, which was to have his own music and the instru-
ment of his predilection annually glorified, will, at Ica*^ be
fulfilled.
The Commomoration Concert, like every other point in the
will of Goacwd B«id, ia made light of b/ those wh» have
the control of the mnnificent fund with which he endowed
the University. Many of tho Profosaors protest against it
altogether, as a misapplication of College property! Others
only afTord it a lukewarm support, as if ashamed to act
directly in tho teeth of the bequest.
As anybody can see Dr. Reid's will at Doctors Commons,
for a fee of one shilling, there is no secresy about it. The
authorities of Edinburgh University may. therefore, be
charged with having used the money for all sorts of object*
except those of the testator, which were — the foundation of
a musical chair, the institution of an annual concert, ou a
grand scale, the erection of a music-hall for the purposes of
the concert, &e. Tho interests of music (and nothing else)
were in the mind of General Reid when he bequeathed his
large iKwcssions to tho University, with ample directions
for their disposal ; and the interests of music are precisely
those which have been ignored by the trustees, from the
moment they got the funds into their hands.
The successive Professors of Musie, in Edinburgh Univer-
sity, have hud anything but a pleasant task. Those who were
inclined to take what they could get, nnd remain inactive, have
led an easy life enough. They have done little more than
provide themselves with the necessaries of existence out of the
Reid fund, letting music in Edinburgh remaiu at a stand-
still. Those, on the other hand, with greater energy of
character, and greater self-rcsj>ect (to say nothing of a
clearer perception of right and wrong), have been at con-
tinual strife with the heads of the University — in this par-
ticular matter, it would appear, both wooden and thick.
Professor Donaldson, the circumstances couueeted with
whose advent to the chair are no doubt well-remorabered,
has exhibited greater determination than any of his pre-
decessors. A lawyer himself, he is able to cope with the
legal quibbling of his adversaries. He considers that he is
entitled to the maximum which the testament of General
Reid appoints the Musical Professor, as annual salary — viz. :
— £1,000 a-year. At first ho could only obtain the mi'nt-
mum — £300 a-year; but, by dint of jiersevemnco, threats
and protestations, he has raised the stipend to £450.
Our present business, however, is exclusively with the
Commemoration Concert, for the expenses of which a clause
in General Reid's will provides the annual sum of £300.
Although nothing like so much is ever laid out ou the
performance, it seems that Professor Donaldson has no
small difficulty in obtainitig from the University a consider-
ably less amount ; and that only recently (as appears from a
correspondence between himself and Mr. George Wood) he
had to furnish a deficit of £80 out of his own pocket. The
concert is got up under the superiutcudance of the Professor,
and the engagements are made through the agency of a
music-publisher. A certain sum is voted for expenses, by the
University (in utter disregard of the clause in General
Reid's will), and the Professor and the music-publisher are
compelled to make the best of it. Thus, to meet the exigency
of the case, either a shabby concert is given, with mediocre
Bingers and players, or artists of eminence are beaten down
in their terms. In either case tho testament of General
Reid is dishonored, the musical Professor and his agents
are brought into disrepute, and the University is degraded.
We shall return to the subject.
M. Jctlukx has arrived in London, after a brilliant tour in tho
provmces, accompanied by the greatest so) Lets In hia orchestra,
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Feb. 13, 1868.]
THE MUSICAL WORLD.
107
HER MAJKS1VS THEATRE.
The experiment of putting the Bohemian Girt on the Italian
stage, In lite Italian language and interpreted by Italian singers,
was entirely successful on Saturday night. Had the opera, now
called La Zinjara, been written for the principal singers,
it could hardly have suited them better. Madlle. Piccolomini
ha* had no part for which she is better adapted than Arline.
The music ii not too florid, and affords her frequent oppor-
tunities of exhibiting her vivacity and expression. Perhaps the
popular air, u I dreamt thai I dwelt in marble halls," was never
•nng with more unaffected sweetness. How she acts the part of
the §ip*7 girl uiay readily be imagined from recollection of her
previous performances.
• cannot be compared with that of Drury
era was originally produced. Nevertheless,
Signor Giuglini's Thaddens ran scarcely be cited as a powerful
piece of acting, since, histrionically shaking, the part is not
well adapted to his energetic style. On the other hand, his
slltgiuK is extremely fine, ami the ballads "When other lips and
Other hearts," and "When the lair land of Poland," were
encored, on Saturday night, with thunders of applause, the
former being Insisted on a second time.
Signor Belletti sang the music of Count Arnheim most
admirably, and with great effect : he, too, was awarded an
encore in the well-Known ballad "The heart bowM down."
The remaining character, the Gipsy (jueen, by Mdlle. Sannier,
and Flovestati by Signor Mercurial!, were performed and sung
with more than ordinary zeal mid carefulness, and added largely
to the general effect. The character of Devilshoof, by Signor
Vialotti, waB more obtrusive than comic. This part would nave
been infinitely better sung and acted by Signor Caatelli, of the
Opcra-buffa, St. James's Theatre, to whom it should have been
intrusted.
Tho mitt-en-scin
Lane, where the or
taking into consideration that a run of fifty or a hundred
nights could not have been anticipated, and thut tho regular
opera season had not commenced, it must be allowed
that sufficient care and pains have been expended iu the
production. At all events, some other scene than the old
Italian i lie, which did service as a picture of Kith aud the
open champaign generally in the Rivals, at tho Festival Per-
formances, should have been provided for tho Pair supposed to
take place in Bohemia. To increase the attraction, according
to announcement, two new sougs were written aud a Inilut-
dirertitsement composed expressly for the occasion. The songs
Were an aria d'mlrata for Signor Ginglini, and an air lor
Mdlle. Piccolomini in the third act. Neither achieved an ex-
traordinary success, and the public remained faithful to the
selections of their earlier days. The balkt-<liverti>*tmt>U is
lengthy ntid important, and rejoices iu the appellation La Bonne
Jvejituic. The music is pretty aud characteristic, and was
danced, as far as the principal parts were concerned, with great
point and animation by Millies, llortensia CUvclle, Morlacchi
and Pasquale. The firmer especially is a clever and intelligent
dantevte, and is decidedly au acquisition to Mr. huu»J*»
choregraphio troupe.
The costume ol Signor Giugliui was open to criticism on the
first night, ami provoked the expression from a morning con-
temporary, "that he looked like an early remover of dust,"
The popular tenor also Indulged iu an infinitude of thumps on
the hrtftBt while Ringing the " Fair laud of Poland," and was
called to order by the same journal. Signor Giugliui did not
disdain the proffered counsel, but modified both his dress ami
his gestures.
Tho recalls were too numerous to reniember.lbut we must
mention the enthusiastic summons for Mr. lialfe, and the furore
with which he was received when be appeared.
La Ziwjara was ivp.atcd for the second and third times ou
Tuesday and Thursday, and will be given Tor the fourth time
this evening. The divertissement L'llymutfe fellows the opera
nightly. Mr. Balfe has legitimate cause to rejoice in the new
success of Lis favourite opera.
CRYSTAL PALACE CONCERTS.
The coucert last Saturday comprised a fair average selection,
as the programme will show : —
Overture (Athnlie) — Me id<d»«ohn ; Aris, "Ah, pcrftJo," Madame
Horciiardt — Urelliovcn i Fantasia for violin, Mr. Watson — Perry:
Sung, " FruhlingB Tonste," llcrr J'eck — Larimer; S) mpliony No. ■» —
R. Schumann ; Duet, "() lirto memento!" Mudnme linrchardt and
Herr l.Vrk — Itoieldieu ; Seherm from Svmpboni No. 1— Mendels-
sohn ; Sn.|f, •■Idrcsmt tlist I dwelt," Madame" Borchardt-Halfe j
Ran-hansl su Ron*, Herr Deck— LWn ; Triumphal March from the
tn^d} of rnrpria (first time of performance)— Beethoven. Conductor
Mendelssohn's overture went extremely well, and was loudly
applauded. Madame Borchardt possesses many recommendations
as a vocalist and took very great pains with Beethoven's fino
song. Mr. Watson played the violin fantasia in such a manner
as to make us wish he had selected better music Neither
Lachner's song, nor Schumann's symphony appeared to afford
much gratification. The charming duet from the Dams Blanche
was so well suug as to elicit a decided encore. The scherzo from
Mendelssohn's symphony was a very creditable performance,
and we are glad to repeat our impression that the hand is
getting better and better. ITerr Deck, who has a fine voice,
was encored in Doru'n drinking song. Beethoven's Triumphal
March was a spirited climax to the entertainment.
backed Harmonic society.
The first performance of Mendelssohn's Elijah — next to the
Messiah the mast popular of oratorios— attracted an immense
audience yesterday week to Exeter Hall. The announcement
that Mr. Sims Reeves had thoroughly recovered from his late
serious indisposition, and that he would sing, added largely to
the attraction, and wc were therefore not surprised to see every
seat in the hall Occupied, and even the aide-balcouics, so often
comparatively empty, crowded. The principal solo vocalists,
besides Mr. SilUS Keuvcg, were Mad Clara Novello, Mrs. Temple,
Miss Dolby, Miss Palmer, Messrs. II. Barnby, Walker, Smythson,
and Santley.
Excepting that the audience gave Mr. Sims Ileovcs a most
hearty reception, the decorum enforced, or, more properly,
attempted to be enforced by the directors, and anxiously desired
by Mr. Costa, who knows that every interruption must neces-
sarily weaken the effect of the performance, was generally
observed in the first part. Au effort to get up a demonstration
alter Mr. Sims Reeves sang in his most inimitable manner " If
with all your hearts," was politely suppressed : and so the first
part was brought to a termination with " Thanks be to God," to
prevent manifestations of delight alter which tremendous pecan
would be simply impossible.
In the seoud part the audience considered they; had a pre-
scriptive right to encore the unaccompanied trio, " Lilt thine
eyes," which was nevertheless rather slowly and heavily sung
by Madame Clnnv Novello, MUs Palmer, ami Miss Dolbv. The
restriction once broken through wns no longer regarded, and
tho air, "O rest iu the Lord," by Miss Dolby, one of her most
chaste performances, ami "Then shall the righteous,'' which
Mr. Reeves sang magnificently, were b. th encored, the last
j vociferously. Mr. Costa could not refuse assent to such
unanimous demands.
The beautiful quality of Madame Clara Novello's voice was
exhibited with remarkable effect in tho air, "Hear ye, Israel,"
which we do not remember to have heard her sine better.
' Miss Dolby was loudly applauded for the energy she displayed
in the great scene between Jezahel and the people. These were
: the other noticeable point* in the solo performances,
Mr. Santlev has hardly weight and |>ower sufficient for Elijah,
He nevertheless sang carefullv, and will, no doubt, improve as
I he becomes more ft miliar with the music.
The chorus are as much at home in Elijah as in tho Messiah,
and sing it as finely. The grand chorus, "Thanks be to God,
was as splendid a performance as was ever listened to in Kxeter
Hall. Another glorious exainplo of choral execution, in a dif-
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THE MUSICAL WORLD.
[Feb. 13, 1858.
forent style, was presented in " He watched over Israel," which
was delivered with extraordinary smoothness and delicacy.
Elijah was repeated last night with the same principal singers
as on the previous Friday.
Handel's Sainton will be performed on Friday the 3rd of
March, Mr. Sims Reeves sustaining the great tenor part.
Hakovkr-hqoarb Booms. — The eighth annual concert was
given here on Wednesday evening, on behalf of the Milliners'
and Dressmakers' Provident and Benevolent Institution. The
attendance was numerous, but hardly so distinguished as we
remember for the last three or four years. The artists were
Madame Clara Novello, Miss Louisa Vinning, Miss Dolby, Mr.
Lockey, and Mr. Frank Bodda, solo vocalists j Miss Arabella
Goddard, M. Sainton, and M. Paque, solo instrumentalists. The
members of the St. George's Glee Union also gavo their assist-
ance. The selection was entirely of a " miscellaneous " character.
The first part commenced with Benedict's and Do Beriot's
Grand Conccrtante Duet for pianoforte and violin on airs from
Sonnambula, played in a brilliant and highly effective manner
by Miss Arabella Goddard and M. Sainton, the effect of which
was considerably marred by the unavoidable accompanying of a
host of "late arrivals." (The concert began punctually at the
hour appointed.^ The programme included in all twenty-two
pieces, from which it must suffice to single out those which ob-
tained most favour, according to the caprice of the audience.
Miss Dolby, in Balfe's (Longfellow's) " Green trees," won a
unanimous encore. Madame Clara Novello was encored iu a
now song by Miss Macironu, entitled " The recall ;" and Miss
Louisa Vinning obtained the same compliment in the cavatina
from La TYuWa/a, " Ah! fors' is lui," and in a new and very
pleasing ballad by Mr. S. Pratten, "Too late, too late," which
was repeated twice. Among other encores were Mr. Frank
Bodda, in the Irish ballad, How to ask and how to have,"
and Madame Clara Novcllo. Miss Louisa Vinning, and Miss
Dolbv, in tho trio from the Matrimonio Segrtlo. Miss Arabella
Goddard obtained a tremendous encore in Thalberg's " Home,
sweet homo" fantasia, which she executed with a taste, expres-
sion, and mechanical perfection beyond all praise, singing tho
melody as sweetly as she performed the variations brilliantly.
Tho whole performance was a " gem." The fantasia on airs
from // Trovalore, by M. Sainton, was a masterpiece of bravura
playing, and obtained tho loudest applause. The members
of 8t, George's Glee Union did not cover themselves with
glory in thuir first attempt ; but as they proceeded they im-
proved. They contributed both glees ana part-songs. Mr.
Lindsay Sloper accompanied all the vocal music, and M. Sainton's
solo, with musicianlike ability.
MAD. V1AKDOT AT BERLIN.
Ths success of Mad. Paulino Viardot Garcia, in the capital of
Prussia, if wo may credit tho local papers, has been immense.
A few extracts will suffice to show. The Gazette <U Van, of
Jan. 28, writes : —
" Whether Mad. Pauline Viardot belongs to the Alps or to the
Pyrenees, mat ten little. Knoogh that she is one of the culminating
tommitrt of the world — the world ol srt, be it understood. She is the
sinner of all languages, of all epochs, itnd of all styles— a universal
eiwor, which perhaps is even more difficult iu art than in politics,
urope counts five great power* ; if it were necessary to cite fire great
powers in the domain of song, taking tho standard from our celebrated
visitor, we should tie very much embarrassed."
The remainder of the article (signed " Rellstab ") proceeds to
show the empire of the artist over every style. The Gazette
li'Kial speaks as follows : —
"Tlve public was anxious to know how the strength and quality of
the voice was preserved, since sbout the artistic elevation of the canta-
trie*, who holds the front rank among all her living rivals, was not a
question in Berlin."
(The article winds up by stating that tho voice is aftrmU,
and that in all its registers it is more beautiful than ever.)
(2b U eontimttd.)
MUSIC AT MILAN.
(From our oirn Correspondent.)
The Carnival Season, when Italians awake as from a lethargy,
and claim tho national privilege " di fart i/n poco di Motto,"
has been this year, as yet, a very dull and sorry affair. One
material cause of this has been the extreme severity of the
weather, which has been colder than has been known for up-
wards of thirty years, accompanied by frequent heavy falls of
snow. This has produced a general illness, and instead of the
usual cry — "Allegri" — "Allegri" — "Allegri," on all sides
has been heard in melancholy accents — "La Grippe" — "La
Grippe !"
The siugers as usual have been among tho earliest and
greatest sufferers, and the lyric art has been obliged to succumb
to the caprice of the thermometer. For some time, out of the
twelve principal artists of La Scala, ten of them were quite un-
able to appear from illness. Tho consequence has been that the
theatre has either been obliged to be closed, or tho chief parts
executed by such of the " supplementary " siugers as were for-
tunate enough to escape the claws of the " influential " monster.
Pardon the horror my pen is guilty of. This, of course, highly
displeases tho Italians, who have no notion of listening to ladies
aud gentlemen whose talent and services are estimated and
rewarded by a salary of about 30s. a week, iustcad of the artists
of Cartel, who receive upwards of 30,000 zwanzigs for a season
of rather more than two months duration.'*
No wonder, therefore, that under this state of things all tho
theatres (with the exception of the Carcauo, of which 1 shall
hereafter speak) have exhibited a lamentable account of empty
benches. The only operas hitherto performed at the Scala have
been Giovanna di Guzman {Let \ tprtt Sicilitnnet), .Vuo«cw,
and Petrel i new opera (written expressly for the theatre),
lone, taken from Bulwcr's List Days of Pompeii. The last was
produced a few days since with very moderate success. To say
the least of it, better things were expected from the composer
of Marco Viteonti and L'Attedio di Leida. Some of tho parti-
sans of the maestro blame Madame Albertini, the prima donna,
(" L'Ombra," as they now call her) for her want of ability to
execute the music ; while Ricordi, the well-known music pub-
lisher, has been chargod by others with sending a numerous
party into the theatre to "hiss" tho new opera on the first
night of its representation. Ricordi — who, as you of course are
aware, holds the copyright of all Verdi's music — has indignantly
denied tho charge, and that, too, in such a frank and honourable
manner, as leaves no doubt of the libel upon him, although hia
upright and honourable conduct, by which he has realised a
handsome foituue, was of itself a sufficient refutation of such
an infamous calumny. In the meantime, lone is gradually gain-
ing in public favour, and Madame Albertini, Signors Negrini
and Guicciardi, the principal artists, have recovered their lost
voices, and are more " at home " in the music. In the ballet
department, three now ballets have been produced, but all the
most decided failures.
At the Carcano, the barytone, Felice Varesi, aud his sister-in-
law, Virginia Boccabadati, have created a furore in Rigoletto and
the Traviata, the barytone parts in which were originally wrilton
for Signor Varesi. This artist now returns to Milan, after
many years absence, not having sang here since tho events of
1848. Those who knew him in his prime say that his voice is
considerably impaired. It may be so ; but tho consummate
lyric artist^— the actor — the man of genius, remains ; and, in
common with all true admirers of these, I have been quite con-
tented to toko him as I find him. I have seen and heard Corst
and Ronconi in .the Rigoletto, and admire both immensely— th*)
latter especially ; but tho Jester of Varesi, nevertheless, is an
original conception a bold and masterly picture standing out
from tho canvas.
In the Traviata, the barytone part (Giorgio Germont) is not
of equal importance, but here also tho presence of a great
artist was clearly manifest. The first honour, however, belongs
to Madllo. Virginia Boccabadati, who has proved herself one of
* I have good authority for stating that
swaosigs, and Negrini, the first tenor, 33,000.
Digitized by Google
Feb. 13, 1858.]
THE MUSICAL WORLD.
109
the best representative*) of Violetta that havo been heard in
Milan. Her voice is small, but capable of great expression, and
what it wants in force is amply atoned for by soul and feeling,
independent of grunt brilliancy of execution. Her acting in
the latter part of the opera was perhaps rather exaggerated —
at any rate, if true, it was painfully true. But not being an
ardent admirer of the ** consumptive" school of acting, which
pleases the Italians so much in this opera, in Sappho, and in
Rdegonda, my humble opinion becomes of little weight. I
mean no deterioration of the talents of Madllc. Boccahadati by
these remarks.
Apropos of the " consumptive? school. A young and clever
English girl— very good looking, and with the bloom of health
upou her rosy cheeks, recently applied to a certain theatrical
agent here for an engagement. After the lapse of a few days
the agent introduced an impresario to hear the young aspirant
for musical fume exhibit a specimen of her talent. The
impresario stared at the English girl in a very peculiar way,
aud at last stammered out : "But, Signora, I want some one to
sing the Traviaia." " I am quite glad to hear it," replied our
young cancatrice, " I have studied the opera, do me the favour
to hear me sing the cavatina." No sooner said than done ; the
cavatina was sung, and well sung, the imprettario all the while
looking daggers at the poor devil of an agent, who was thinking
of his fee, aud what "good business" he bad done. " Well," he
exclaimed to the manager, " what do you think of her 1"
"Think," sulkily replied the other. "She sings well," added
the agent. " Diavolo !" cried the manager, bursting into a
furious passion — " What's the singing 1 You ass, why did you
hritig me hero? with that fat and those red cheek* she'll damn
the opera in the last act, the very first night I !" So much for
palo face*.*
I promised to send you a list of the engagements of the
several English Artists who have been studying in Italy, which
I now furnish, viz. : —
Swift (tenor), Teat ro Nazionale at Turin, (originally engaged
by the Impresario Merelli for Bergamo, but transferred to the
Manager at Turin for a con-si-de-ra-tion.)
Laurence (baritone), Carlo Felice at Genoa.
Bolton (baritone of the Royal Academy of Music, but now
Italian tenor), Teatro at Crema.
Enrichetta Alexander (soprano), at the same theatre.
Ellen Kenneth (soprano), Teatro Ferdinando at Florence.
Susanna Kenneth (ditto), Teatro at Forli.
Madame Lemaire (contralto), who has made her appearance
at several theatres in Italy with great success, and considers
herself justly entitled to a profitable engagement, which not
having been able to obtain in this couutry, she has left for
Paris.
Fanny Gordosa— who has just completed an engagement at
the Cannobiana, and is at Turin, disengaged.
Maria Alfieri-<no descendant of the Italian Poet, but simply
Maria Croft, the daughter of " mine host" or the Hayraarket),
has made a successful debut at Bucharest.
Miaa Cliipp— (a " Chip of the Old Block " and daughter of the
respected veteran Ilarpiat) has also left Milan for an engage-
In my next I will "report progress," and also, with your
permission, offer some observations as to the difficulties which
the English artists have to encounter in Italy — not only from
Italian prejudice and illiberality, but also from the rotten and
disgraceful system which pervades the management of nearly
all the theatres in Italy. As an example, I propose to place
the " Crown of Immortality "upon the head of a cerUin " MulasJ'
a Signor Curtani, of J'avia, for bis Italian liberality towards
English Artists!
* Mademoiselle Picoolomini's cheeks are plump, and her cheek* not
p.de.— Kd. M. »'.
Madame Enherssod.v has been "doing duty" for Madame
Grisi in the last week of M. Jullien's provincial tour, owing to
the indisposition, we trust only temporary, of the " Diva."
Madame Enderssohn undertook the advertised repertoire of her
' illustrious predecessor ; so that the programmes remained un-
| changed. Tho principal pieces were Tacea la notte," and '• Ah
fors' e lui" (from the Traviata), and Macfarren's new patriotic
song, composed expressly for Madame Grisi — " O weep for Eng-
land's daughters," in which Madame Enderssohn was invariably
encored.
Mb. Richardson, the flautist, gave a toiree musicale at No. 3,
Belgrave-place, Belgravia, on Wednesday last. The artists
comprised Signora Fumagalli, Signor Di Giorgi, and Mr. Charles
Braham as vocalist* ; ami Messrs. J. Day, Forbes, Ganz, and
Vianesi.instrumentalists. Mr.Richardson played for the first time
in public since the sudden aud severe illnoss which attacked him
last autumn at the Surrey Gardens, and laid him prostrate for
months. The ominent flute-player seems to have recovered all his
strength and power, and displayed his extreme command over
the instrument, and his pure taste, as in his best days. He was
loudly applauded, and warmly congratulated after his perform-
ance. The vocal music comprised a new gipsy song by Signora
Fumagalli, written expressly for her by Signor Vianesi ; ex-
tremely effective and pretty, and most charmingly sang ; the
eternal air " Ah ! fors' i lui," by the same lady ; the air ** Ah I
si ben into " from tho Trotatore, and " Sally in our Alley " by
Mr. Charles Braham ; the duet " La ci darem " by Signora
Fumagalli and Signor Di Giorgi ; and a trio from / Lomoardi
by the three vocalists. The room was very full. Mr, Ganz
and Signor Vianesi alternated in the conducting.
—
MUSIC AT SLOUGH.
[The following spirited account of a recent concert appears in
the columns of a Slough paper, the naino of which is too long to
be twice inserted in one number. — Ed. M. If.]
CoifCERT. — Mr. Charles Braham, assisted by Sig"* Fttina-
gelli and Sig. Do Giorgi, gave a very clever entertainment
on Thursday evening last, in the Mechanics' Institute, and
for power of voice and distinguished talent nothing we have
before heard in Slough havo equalled it.
THE OVERTURES TO " TANNIIAUSER " AND
"IL BARBIERE."
M. Hbsri Blanchard, one of the staff of La Jtevue et Qatette
Musieale, was present at the " Concerts do Paris" during the
performance, for the first time, of an overture by Richard
Wagner. " These concerts," says the critic, "give asylum to all
musics — of the past, the present, and the future. Thus no doubt
it was that the scared habituis enjoyed the advantage of hearing
the overture to Tannhauter the other night." M. Blanchard then
enters into an analysis of the overture, where we shall not fol-
low him. He concludes thus : —
"The whole terminates with a species of harmonic tumult in place of
peroration ; and here the composer has thought proper to insert the
word 'finis,' but why her* sooner than elsewhere, nothing indicates.
The audience listened to this strange work in religious silence, and even
applauded, which was very polite on their part. After having followed
the composer step by step, with probably as Utile clearness in our
analysis as he has exhibited in his work, we must acknowledge that
M. Richard Wagner has the art of producing vigorous orchestral
effects, but that in unity of melodic thought he i« entirely wanting.
The overture to Tannhauter, which lasts more than a quarter of an
hour, was followed by that of the Barbiere di Srciylia, which lasts
l«s than scren minutes. The juxtaposition of these two orertures
suggests an epigram. In less than half the time, Rossini says more
than twice as much. He show* bunscU clear, spirited, and gay. Hu
melody is charming, his harmony sufficiently studied and refitted — the
whole proving that he knew how to make good use of his time."
Which criticism is neither more nor less than sound common
sense. — Heme et Qasette Musieale ! — he Musical World et salve.
A Nsw Fact is Acoustics. — A curious paper has just been
communicated to the French Academy of Science by M. Jobart
touching a sound exactly corresponding to the note la (the note
A in the English notation), which is heard by some persons
in shaking their heads rather smartly from right to left.
Digitized by VjOOQIc
no
THE MUSICAL WORLD.
[Fbb. 13, 1808.
M. Cagnlnrd do L&tmir had be*n the first to remark thia fact, and
although he was known to be an exact observer, the announce-
ment was received at the time with Incredulity, because the ex-
periment was generally repeated tunler unfavourable circum-
stances, being interrupted by other slight sounds, such as the
rustling of a cravat, etc. M. Jobnrt has investigated the subject
aysiologically, and has ascertained that the sound is caused by
s striking of the malleus upon the incus in the interior of the
ear. It la well known that the manumbrium of the mallena la
atUched to the centre of the tympanum, aud that it is kept in
equilibrium by thin elastic fibres. Now, in shaking the head
the malleus may easily touch the bone of the incus, producing a
alight nietallc sound, which all those who havo heard it acknow-
ledge to agree with the note la in music. Those, M. .Tobart says,
that hear the same note in both their cars are endowed with a
perfect sense of hearing; they are musicians born. Those who
hear the note in one ear only possess the sense in an imperfect
degree, just as those who have one eye weaker than the other
mistake one colour for another. Those whose cars emit different
notes in unison, are not only bad musicians, but they hate the
art From this fact M. Jobnrt deduces a curious cousccptcnce,
which, if verified by experience, may bo extremely useful iu
■electing a profession for a child— viz, that the capacity for
music be tested at an early age, by ascertaining whether the
subject hears tho note equally in both ears or not.
fTS.
HOARSENESS, SORE THROAT, LOSS OP VOICE
IRniTATION Of the MIONCIIIAL TUBE*, cur. a. unit u ixrfoctlv Cimr
Voice produced by the use of Wilkinson. Bridge mid Co.'. BKONCHIO-I HoRACIC
LOZKSUK8, i tv|med from a recuipt or 01 e of lti« inust eminent Physiui ui* of
the d>y
They are napocinPy useful to Y..call*la, MemtHira of Parliament, Clervywen,
Barris-tena, Public Si-eakcrs. Ac . slid. aaag*u<rid Ctmgii lioaejige. unon. tolled.
Prepared only and 'nldiu boxes at U, and 2e. f)d : slsD in tint, at At. >A , lcia. ed
Slid 9ft* each. I" Wdkm-nii, Bridge. ,u>d t'o ISienilara, at Ilrdire'a ceM-nitM
Saraaparllla, and Ginger an! Itanatutle Dc]<^l. STO. lb gtnit-etroet, Lomluai, W.
PI A NOFORTES.— D B W RANG E'S COM FENSAT1NG
PIANO may now Isj a- cn «t tbo dcj'of, S3, Suho-aepuro. By the application
of Una principle a heavier string cm be used, the result of which is, that the full
lower of • errand •• obtaiind from a cottafin instrument, .it lbs aaino time th*
win* and tin [rani* on w>deh tn*y :.re sWung expand and centrist with change
of temperature equally and together, bo that tho necessity fur frequent tunlnv, a*
In the ordinary instrument, U entirely obviated for fuliioaa ..nd r undoes* of
tone, with «struoidin*ry pooera of modulation, theee instruments are quite un-
equalled, at the -una time tbe price la no higher thau that ot an urdliury piano.
COALS.-IMPOKTANT NOTU K -" CLAHKE'S BIST REAL
OLD BILK8TONE COAL."
THE GREAT NORTHERN RAILWAY COMPANY
are now diapoeir g of these Coata. In their Integrity, aa m ard by and aent
direct from the Ct.lliery, It* good quality and noted ctnr.ictcr lave long
established It as a flrat clone iimit Cool The. Public are then Inro i articularly
reu icsted when applying for ikia Cred addressed in "Mr. Herbert Carte, Cewl
Office, King's Cr»«a Stall .n,'' In obeerie ami order "I'larks'i fill H4lk*tou«."
For prlcia, Ac, ecu the Company's List, —Old f ilk*t tie l'ol:tary, S Pol... 18S8.
PERSONAL GRACES.
The
tie rendered additionally planing I y the well arranged curl, th
Ike flnw.ug tre... In .ire-aiug the h..lr, nothing c-.u, equal th
ROWLANDS' MACAhSAR OIL.
Rendering it ao admirublr soft tl at 11 will 1 « lll.my • ! recti, in. producing Iwniitifiilly
flowing curl*, and by the triusoetidaut I. arre it iu .parts, raidcrum tho hcad-drcaa
tiuly CUth-TIlt t.g.
ROWLANDS' KALYDOR
la a preparation of unpnraj'cled cfftclcncy In im| loving and beautifiirg the akin
and cntnulexlofl, iiroaorring thoni froni e»«rT Tirt»! iubi of t . e woaih. r, and
completely eradicating ah Cutaneous Enipttoiia, Freckle*, .ind DieooJoratlotia, and
ROWLANDS' ODONTO,
OB, PEAIir. DENTl PRICK,
la alike InTa'unMe for its beautifying aid procntiitiee effects on tlx tretli and gums.
CAUTIOX.— The
Sold by A, ROWLAND ek SONS, RO, HaltOn-KSJ
nod \>j Obemists sad Perfamsra.
*•* Mttcari «/ epurieu* initultone.
FREDERICK DENT,
(ffikrr ot tht Ornt Clock fot the fljdincs of Pailiamtnt,
And so * 8
61,
1.1* pateat right* aud buaiue** at
and the C ock and
Strong Silver Lever Watches
Church Clocks, with Compensation Pendulum, £.S
ROLLOWAY'S OINTMENT AND PILLS indisputable)
remcllea for the cure of b id hga and old wou-oJ*. If thtae medlriuei are
nael ici-ording to the d nctlon* elvni with them, tt.om ianow <und, lui-l to/, or
lUeerou* aoie. howctrer aba i-.ate nr lor.g ataudlnir. hut wdl yi* d In ttnlr bealtug
and cur-ittvu prv.iier |. a Nnmt>oia of |vjrauua w-l o bir-1 been patient, iu acvcral
of tho Urse ln.apiuU, and under
the a i/htral l> uent, have ber
II
and disease* of
I"
>ona, witho'it dcrlvn**
ltment and P1IU For
th* akiu. tbarc » no
gift, dular awellingx, Ininonra, actirey.
medicino that csn be nmei with *.. Kool an effect H..M hy all Medinnc V.
tl.ro.igiiotit tbe world, and at Profeaaor Holloway1. esubiislimeut. Stt. 8t
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ANOTHER TESTIMONIAL IN FAVOUR
or
D R. LOCOOK'B PULMONIC WAFERS.
Pmm Mb. A. Scott, ii. Trumai*. aia»gow — "I am gU I to a*y I hat the
Ir L<xyKk'a Pnlmouic Water* haa commenced thia <ckion very
d<ntand f.tr Dr
brmklj-. I IkjIIcv*
koo.i In *Ux-k • CL-ry cough tnoiMuo wlilch lia* Uvu ndrut-
eath*r in tune post or present, but there i* not one o' them which h«» gsincd tbe
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it prefer to par Sa. 9 1. for a box of 1'ul . onic Wafer* to boxes of similar alaa
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their efficacy.— A. 8COTT."
DIl. I.OCOCRVS Pt l.MOHIO WAPKRS give fu.t int relief and a rat Id cuts
of satliroa, consumption, .xiugna. and .dt dlaonl raof the brnalh iaid lung*.
TO SINGERS AND PUBLIC SPEAKEHS ther are iiivaltinMe for clearing and
[tim voice. Tbsy Iwt* s idaosaat UiU. Prio* Is. lad. V*. »\t. and
11a. per lox.
I by all urufcTfirta.
FRAMPTON'S PILL OF HEALTH.
Price la I|e1 . and Sa fid. |ier box.
THIS excellent Family Pill is a medicine of Jong-tried
»ffkucy for pudryiiiR the I'IoVkI, »o very essential for the founditiou of good
health, and uorrectlng all disoid i* ot the at roach aud bow da Two or tlirw*
do*** will osiTinew ttic iBllctcl of It* *aii.l«ry eOiict*. The at. tuael. ta 111 tp**.idjr
reyii u il» »tren,nh. nbedthy tirtioo ..f the liver, hovel., and kidiwe. will lapldiy
Uko place, and renewed health will le the oulck reault ot taking :bla uirdtclne,
according lo ll>* directhii* acco«i|uiiyliig cacti box.
Pen. na nfa full habit, who ure mi jevt to hcwliehe, gddincau, drowsincea, and
singing In the iara, arialug 1mm Pogr. at a flow of M<wd to the head, aliould u*r*r
be willioin thetn. *a many datigsrruua aymptoma wll lw entir ly tMirlod off by
tl eir timely uai ; and for elderly jruople, where an oooaaional a|Hiri«nt ia resniied,
not). lug cau bo l«tler .olapted.
Fttt K males these pil e are truly excollcn'. reinoviiig all obstructions, the dis-
tr. aatng headache an very prcnilent with the aex, d<i|<ro*»ioii of epinu. dulaesa of
aljiht. ncrioti* adtcil tl*. hlotches. p mvlo-. and aallowues* of ttis skin, aud give
dtliy, juvenile blown to the c mplcxioo.
o* ii
l '.
Sold I
Loudon,
f nil mtxiieinu vendors. Observe the i
on itio Uovernnieut stamp.
MR. HOWARD, Burton-Dentist, fl2( FleeUtt.reett Ixtm
intrxv)tKt>i *n ciUiio'y i «w ^tKr>|*iton of A IfTIKtClAl* TBETU.
wi'bcrUI wTjintiKN wirv*. or hgaturctt. T icjr ■■> po-f ctty rtwn.i Iu liic navtunU
teeth its siot to L-edift ii g\ii*h»>lfrf>ni tm-orl^ii >aln V*y tlto clos.r-t olxn-rver lhay will
novur c '»nuo <*n out or »y, au-1 will bo ouu I i«it|»cri'ir to any t-*th enrrlwfort
uaofi. Thin tutilhoil daoM not n^uiro the txtrsctiou of ro- ti, or iii>y f s«*ti t < opettv*
tf u, will itippt.rt ao'1 pro*. rv« tci tb that ure IvKM*. wi t Ih (jiur.Dti'o J to r.ntorc
•rtletiliatiHrii Mtd ma*tIc«ll-'U. lkcoy«d Ucttt a:o[>j>c*l an I n.Thl«T-.<! KMitid 4iktl
UfUrful id miisticntion, U% FloH-BtrccV At home irnm IO till b. \
T
solo.
morv<
■•rices t
Vepn
HE FLOT of the OPERA is very fully described iu each
iluroeof BCK>.><F.Y and SONS' MKRIW of o.tupleto OPKdAS. for i
cltiibhT g the in.iiil.t to a precbilo tho acntlmcnt and cbaiSeter of every
•a»i in the wdtk. Thirteen oiwnia uie now published Iu atrnieg vlotli ct
Tra%d»L\ 5a |
(Id each. »l*.i— II Ir
u- at 7». «d- ; Hiwolettn, &*.
UiUitoonta, 7a (H ; D « Juan,
Remuieut, i« .Lucia, 6*.; "
Hollentreet, W.
ViltiJI . , I.
tcttn, 6*. ; Ronnamhula, 4'.; N. iS* *• ; Iva
; Fra Ihseolo, la. ; Purltsjil M l Wll* du
uaia B,rg», is. Buossy and bo>V 24 aua M,
uigiuzecs Dy
Googl
Fib. 18, 1858.]
THE MUSICAL WORLD.
Ill
Id Cloth Cover, Price ft*
HENRY SMARTS CIIORAL BOOK,
In a rariety of way.
FROM "THB A T H B N X V M."
"W« Ilk* the larger portion of those half hundred tunes. Wo like, too, tha
style ia which they hare been oawMiml—d ; the motion an.l play of the Inner
' -t without dlBturlttiiw."
FROM "THE LIVERPOOL MAIL"
"Thsrocnl harm niaaUou
of* Urge
AND SONS' MUSICAL UBIIAKT. U and 2S,
MADAME OURY'S MARTIAL FAXTAISIE
PRUSSIAN NATIONAL AIRS.
of UM
AND SONS, U «
Just rmhllshad. composed by T. Graham.
"DEAUTEOUS MORN. — Now song for voice and piano-
X) forte. 8ai.it by Ml) a Endorse dm. und other eminent vocallata.
TITREE FAVOURITE HYMNS. -Rock of Ago.." "J.»ua. lorrr of my souL"
and • Oh I that I l.*d tha wing* of a dove," In mxicv. 2a.
GRAND FANTASIA for tha pianoforte, Including "Tha Blue Bell. ofSootUnd,"
with van .thins. Da.
To be had of all muaic-sellers, and of the Author. Whran.
MISS JULIA ST. GEORGE'S SONGS. — Sang by her
In " Iloma »n«. Forrion Lyrics." Tlio atmt »ttrt,ctiv<- CaiUrtaiumeut uf
tb« day — ride public | re**, TH* who * of tb»mu»<c by J. F. Dugyiui, Uannunn
Ud Co . S8w A.«*..y^irwt, K.W , and ail Mu*e-«llor*.
INDIAN SONNETS. — No. 1, "Hark! that cry;" No. 2,
-L " Spread tha glad tidings." New Fcnirs. by Thom.ia Mojot*., arranged by
T Browne. P/ioe, Sa. each. Ixmdon : Williurne, 1 1, Pateraoetrr-row.
RS. PR ATT EN'S PERFECTED FLUTES on the
• old system of fingering with Urge <«r ama't lmtea. are no * n.ado with
German Silver Keya a'- 4 ,uiueaa, and with .te ling silver Kara from 8 to 17
"*"' frf lb Iri"tu'led"nt [*tU" h' Mr' Pr*u*n'
HAYDN'S THIRD SERVICE, with English and Latin
Word a, forming No. IS of John Blsh pa Original Two Shilling Harid-
for the Oratorio. The Meesra Robert Cocka and Co. were the ftrat to
o for la. 4d. and la.
w
VINCENT WALLACE'S NEWEST PIANO-
• FORTH PIECES — Fantasia on " R.y a Wife." and "We're a"
Sa. ; Galop bri lanl dv Salon, 3*. ; L'Ab«ence, Romanoo, Sa [ La Rctoiir,
"and " I'm o'er young to marry yet,"
nod-lln'.
Polka brtl auto 3a
• Salon 3-.
' K n och of Kin'ocli.1
Th ghioeriy night 1- gathering fast "and "The Lata o' Gov>ric," Sa, ; "AuM
Or»y," and " Th» boatie r.wa," Sa. ; " B-av, swoct home,- 3a
EVERY STUDENT of MUSIC should provide himself
with a ltltle pamphlet ON THB THEORY of MUSIC receutly printed for
oua circulation by Her Maieety'a publleliers, Meaara. Robert Cork, and
. ite r*«e» *"l he fmn.d much valuable information.
BRINLEY RICHARDS' LATEST PIANOFORTE
MUMC — Nc! M pih nun ml aouto. v. 1th variation*. Sa. ; The N;.i»d'* Dream,
Sa. ; Warbling* at Eve. 2a. ; The Echo Nocturne, Sa. ; Marie. Nocturne, Op. CO, Sa ;
.— . Op. M. 2a, ; The F-ne-w.ll, Romance, Sa ; The Pantos' Dance. la ; Id
Absence, Romance. 2a. Londor, R bert Cocka and Co., Near Burliug-iou-etroet,
and of all uiualr-sellors-
CIGNOR FERRARI'S NEW WORK on the CUL-
O TIVATION of the VOICK and MINUINO la now published, price 8a,, and
mar be ha i at hie residence, Derou-hire Lodge. Portland<n<ad, Portland-place,
and at all th«) principal nuiic aeAleia. "Of all the treatlaea on the oultlrat oii
of the r«iice that have apiieared for many year-, it la the meet aenaible, eonciae,
and uaeful-" — Daily Ncwa. "There la more aeuc In thi. work than we find in
Otoe o t of ton publlcattone of a similar kind."— Athetueum. " Forma a kind
of grammar of the vocul art, and no- a mere ooUeotlon of excraace," — Critic
, •Her* la a rWly Moilble work."-Mu«icoJ World.
FANTASIA UPON FAVOURITE SCOTCH AIRS,
DHMCaTT.D TO
THE COUNTESS OF ERROL,
MADAME OURY.
JViiv 4r.
Loheox, BOO«ET * SONS. PATEIISON tk SONS, Kcnsivann *»d
LOWES NEW LANCER QUADRILLES upon popular
EniUah iilra. Prloe Sa. I'»tcr>ou and Bona, Edinburgh owl G .3 ■
Lonilpu, all muaicvellera.
A MAGNIFICAT and NUNC DIM ITT IS, by Edwin
IX U. Huiper. in Vot.i Boor*, with Accompaniment. Price Ta. <d. NoveUo.
Gil. Doan-etreet. Soho.
-J^'ASTES' MUSICAL SKETCHES OF MANY LANDS
Tie H»n> «t Judah Poetry by Lord
The Danube Battle 9> t^ .. J. P -
When we wcr y.ninit „ J. E'Aatca
The Wanlor't uretli.g „ O. M. 8tcmo
The Ernigraiit'a Farewell ,. J. E'Aatca
Qa*JM to the WoolUnda ,, J. K' A .tea
TuH.mI Tollw! Sir Walter
Roaming thr ugh the Forest Dvll 0. M. Sicrno
The Snug or the Britieh Navy J. E'Aatca
Hath ahe luve for mo? „ J. E'Aaba
For one Voice, with Piano accxifopauinneDt ; In one volume. In handsoruo glased
wrapper, printed in go d and gilt e-lgea (suitable fur a present). Price Ons
Sniujao^aiid Sutencx (3.1 pogeaX poet free. Norcllo, London; and Author,
THE QUEEN'S 8TATE BALL.
■ wet* performed by WElPPERT'fl BAND on the abor*
occaaion r —
1.— I.AMOTTK'8 TRAVIATA OALOP.
S.— D'ALBRRT'8 LINDA QUADBU
S. — LAU BENT'S MAUD VALUE
4. — GUNGL'S PETERnOF VAL8K.
r ptwio and oicheatra by BO
*4 and 4S. Holloe-i.lrcet, Loulon.
AND SONS,
DR. MARK, with his JUVENILE ORCHESTRA'
numbering upward, of SO Instrumental Pcrfurmera. and a Cluirua of 40
Voice*, o-inipcaed of little Engliaii, Scotch, and Irian Boys, from Ave to fifteen
voare of »g». and ki own by the title of " DR MAHK AND HIS LITTLE MEN,"
I. open to encagemt-nta. Application by letter, addreeeed : Dr. MARK, care of
Mi a»r«. Bo. aey and Bona, 28. Ho.lea atroot, Oxforl-street, Ix>udon.
Dr. Mark h«a p>-rfortna>1 with hi* imi lla In crowded bouva, and obtained th*
hii-hi-at approbation in Ltutuuhire, £iat and West Riding of Yorkshire, Scotland,
Htafi"rdahlro. Ikivonahlre, Olonccstershlr*, Cortiwall, Wa'oa, Bomoraetahlrc,
Warwickahire, Worceatcral .ire, Lincoliiahiie. Derbyshire, N«ttingliamslifre. etc.,
etc , and his given Concerts with the great cat success at th* rVtie Trade II all.
MancbesUri Bt George's Hall, Uver|«x)l; St. Oecrge". Hn'l, Br»dfonl ; Mu«lo
Hall, Edinlurgh; City Hall. Glasgow; and all the principal room. In the above
louiitlcs. id. entcri.ri.* b<:ing iironounecd by th* iinanlmou. vol,*; or Uie preaa.
mid by public ami private t- stinionlala as the most useful, plvuaiug, and ui-
a nictive entcrtaiiimmit ever iniroduccl to the p-iblic.
To those who may, however, \ie all I unacquainted with the meanlig of "Da.
Mark and inn LlTfLK Mm,' Dr. M^rk bey a iikhI reap ilfullv i.ialite thut Ids
plete JUVENILE ORCHESTRA. .
gratuitously, iu . rdcr to illustrate his vntlnJj now, alnipte, ami enVctivn system
of musical education in favour <>f oiKisetrviitorie. of mn^ic f.r the pei-ple" iu ev,-ry
town ai.d city througtiout tl u Ui.iud King-iom, «nd especially intended for little
eltlldrcn and apprentices, where they may ineet and .pend iheir o»onlng houra far
more congenial tlaan the evil, and remptatious of the streets will oflcr tb*i*i.
Th* pvrf'irmauce of "Dr. Mark'. Little Men," la also tn-.andidto sh-'W what
can be ucliieved with an ludiscrlmluaio sclca'tlun of little Englian boys, by a
simple pl^u of training, tlmuttantously eucouriging and promotl <g native
mu-lcal talent In every possible way amongst the rising generation or this
country, and to excite an intercut wbercvi-r I play, to consider mnaic a moat
neotaaary branch cf educittion in tlie Immh^ost of sch io s. and by Uioki means to
bring the acqnlaftixn and wholesome influence* of mnaio within the reach of all
classes of society, as a means of education, its an element of recreation and attrac-
tion to their hoi-sea, and a. an agent to improve and tlev&te the ton* of
society, and promote the social and domestic coudiUon of the [wople at Urge.
Now
DR. MARK'S highly
BducaUou-'-THE MUSICIAN,
approved Works on "Musical
uiyiti.
3d by Google
112
THE MUSICAL WORLD.
[Feb. 13, 1858.
MESSRS. DUNCAN DAVISON and CO.
n*r« rti HUSHED
THE FOLLOWING NEW VOCAL COMPOSITIONS
MEYERBEER :
TV ftaj-tKA i~r«iV>B »/ (A/ \nr-ti it by JoMK OxrirroRfc. Eaa
i d.
THE LORD'S PRATER, for fotir voices (aoprano. alto, tea©., and baas)
with English and I At in text, organ wl lib. SO
•Every Inter of mam.- will, we arc Mire, feel "JriMia lo know this rotercatttig
irk. It la written fur four ordinary voices (soprani, alti tcnuri. and baaail lo be
aaiur without accompanlm. nt. An orj;»ti |»rt ha», bowevex, hen added, 'to lie
uee>l when the v..iona hat.- a Uulcncj '" So*er.' The melody, a* « proper In com
Li •■Bed
III • m.V.I HI. » >'IV"^« l»l MU'ILUUJ ..." .V"" VI . f IIU tl»»-|«,»J , IW »■ |'< ■*. w...-
twltinn* of this nature. 1* simple — yet it i* eo elegantly barm i.lvrd that tl c
interest never flag* Tor * raiment, ai»l the m'-nototiy and coldncae m> often com-
plained of in religious wotYeniw, v*ith<>ut accomiMUilaHiu', arc entirely avoided
M We d't not reajembcr any work of a aimilar kind, in which the modulations
are more beautiful than in thin composition of M. Meyerbeer. The rnrrrv of the
«», which OQODla towarda the middle of thu Prayer, could not l-ave
cted in a more master y manner ; indeed throughout the piece, the hand
oX a ci.naumtnate liannonUt, and a cotup"*cr who baa .wdivd every resource ol
hi* art, I. vlaiblo
"M. Meyerl.ecr's aatting of the " Lord's Prayer" haa already be«-n sung by the
eholr of the Bencher** Chaiwl, Lincoln's Inn. London, umler ilio able direction of
Mr. J. Pittman ; and ii will, no doubt, be adoptod, aa it .Itarrea to he, by nil the
principal metropolitan and provincial choirs.** — LutrjK** MaJ,
TOIS HOUSE TO LOVE IS HOLT (adieu aux jennev imiW.), Serenade
for eight voices. (2 soprano*, 1 contralto*. 2 teoor*. and 2 baa**)
witliout accompaniment ,. .. .. .. .. .. .. . . S U
NEAR To THEK (I'rf* to '.-0. fur voice, piano, and violence] o .. .. 4 I
HERE, HERE OS TUB MOUNTAIN RECLININO (Lc riant du Bcrgerl,
for via ce, piano, ai.d clarinet, or harmonium 4 0
N.B.— The above Iwo song*, with French and dermaii word*, eac'i
«... aa well aa th* co hx-Uon, In 8vo form, of Meyerbeer'.
'•Quarmnto ll.io.lie. k une et k pluaicur. vol»." with piano
accoi.iuaniment, 12a . may be obtained c.r M
at»t> Co.
D. Davisox
NEW VOCAL MUSIC.
•* I LOVE THE OAK," Lalhvl by Adolfo Kcrrarl
"Sweet day. nf youth, farewell/ ditto
" Vieni, vbni," serenade ditto
" Come, fairies, come," cbaml«rtrio, foraojirain, mezzo, and con
"Come. sisters, let ua d utc-i and .log." for ditto ditto
-'The formation and culti*a't->n of the voice f. r singing."
ck arise, maiden mine," Air Styrien, by J. DataaUer
I wa* young, '* by Ernc.t Bi uce .. .. .,
"When first you ahou* bar.r* me. ' ditto
"THE TWO SMI LES." fur a contralto voice, hyO. A- Macr,
"THE C^^^'^^^^to ^v^jfl, W. Datibox
"IN TrJIlt
by ditto
In the Prcu.
ballad for voice and piano, by Charle. J. Hargllt.
1 i)
: o
2 tl
2 II
8 0
2 0
3 6
1 0
1 0
1 0
2 0
3 «
VOICE, PIANO, AND VIOLIN OR FLUTE.
LT, 8IN0 MOURNFULLY," by 0, Cruweil. Op. 31 .. 2 »
VOICE, PIANO, AND VIOLONCELLO OR VIOLA.
" WHERE 18 THE SEA." by G. Cruwoll, Op 32 I
VOICE, PIAHO, A\D ROXK OB VIOLOKCtlXO.
MEADOWS GREEN." by E. Vivior . .
S 0
NEW PIANOFORTE MUSIC
•i*:^fwwF^'n^O.,;^'^.'1^C0,'wt•.(,,lJ,, • ,• Mi" A~be"» «J«0Vt*rd)
, "AT." Romance, lV Eugene Mnjini ..
ELISE, Hnn.aaee Ian elctant toachiui; plecel by E. A.
" TRIUMPHAL MARCH." by Mnaeheka . .
I* the Prm.
THREE I.IEDER OHNE WORTE for tho piano, by C, J, Uargitt
COMPOSITIONS FOR THE PIAHO BY THE HON. MBS. OBEVILLE
"?B*^" M*FII \I)c,,1«*t«'lto" R-n Hie Dukeof Camb.liio.. .. » 0
..rr.u? fotturno, di-dlcatedtotl.eRijthtHon, Lady de Rra .. 4 0
L AM1CI/IA," Nottumo, dc.tUatr.1 t"tbr ilmi Mra, Edmund riimnt S 0
"LE 111 EN VESU,' Walt., dedicate to Mrs. Fr«ei. F^t^cn" T '" » ,
WUADRJGLE," dcllcatd to tiie Itiijl.t Hon. Lady Vt llllam Henry ',. a 0
LONDON :
DUNCAN DAVISON A CO.
(Dk-rto OfejituaL Dl LA MAI901I BuAJiDUS, DK l'ABIt).
tat, REQENT-STREKT. CORNER OF LITTLE AROVLIr STREET.
PIANOFORTE MUSIC
ADOLPH GOLLMICK.
TWELVE
GERMAN VOLKSLIEDEE
(PEOPLE'S SONGS)
Traatcribtd in a popular form for th* pianoforte.
1. TRFXF. I.IKBK (TRUE LOVE)
2. WANDERt.IED i PARTING BONO)
3. LIEB UND GLUCK (LOVE AND HAFFINKBH)
4. RI1EINWEINI.1ED iRHINE SONU)
4. AKNNCHEN VON I HAIt.U? (SERENADE) ..
fl. DKR CUTE KAMERADE (THE FAITHFUL FRIEND
7. FIDEI.1N (FIDEI.INl
5. M KIN BCIlATZERL 1ST HCBSCn (MT MISTRESS IS FAIR) 2
o ABSCHIED (FAREWELL) S
10. MEIN SCH.iTZ 1ST EIN IIEITER IMT IX1VER IS A SOLDI ER| 2
11. DAS ISKRBRtKTHENF. RINGI.F.IN (THE BROKEN RING) 2
H'S SON"'
a. d.
2 •
2
S
I
*
12. bOLDATBNLIED (THE SOLDIER'S SONO) 1 •
From "THE ILLUSTRATED LONDON HEWS."
Gollmii
nt th* t
lick, who ia one of the moat acooni|>tl>h
i* day, baa produced a act of ptanotortc
highly attractive, not only from the beauty . f the air*
toate and .kill with wh.rh he haa mated them."
■vithor in i<ubHc.
" THE DRIPPING WELL."
litioo. always
by tho
From
aparkling and chari
' Pluio de Perles
acterxtic pice*, likely to rival in
POPULAR PIECES.
Faulaka
R*reri« Arooreuac
ChansiMi \ LKiiru
Europa Galop,
I Fairy Deil . .
I La ci darcra . .
Midninht Galop
BOOSET AND SONS' MUBICAL LIBRARY. 24 k 2*. HOLLES STREET.
, handanmcly bound in crlmaon and gold, price 7a. Sd.
MENDELSSOHN'S
SONGS WITHOUT WORDS.
J. W. DAVISON,
With portrait by John Lracn, and pre/ac* hr the Kditor.
From "THE DAILY NEWS.
"ThU ob»*p, coin pact, uid most elegmnt edition
'Lie let oil n o wnrte,' will be welcomed 9* ft boon by et
not excr|kUi'fE tuch tu Atrveylj po^Mfla those e&qukBil«
ftlmidy publlehrii : for iofjcpeudenUy of the besut;
cleem«M And accuracy of the t- xt. It tuts tho furtlt-rr
acoocnpliahe'l oditar, which every one who cheriahce
imuician. will rve/t with luetruction and | Icamn-v,"
of the thirtV'«i:x {xrr.in*
iy loT*r d Meodel««ohia.
pieces aa they hare been
of the eolume, and the
,,fo7,b,'uLb,lh?
From "THE SPECTATOB.'
"They are edited with great c
and critic, who haa enriched thi-
e and corTe-ctDi'**. py *11 accomp!lahe.i musician
ollcctlon with an able and interesting preface.*'
From "THE ILLUSTRATED TIMES."
"Mr J. W. .
interesting preface. I
BOOSKY AND
i his ] en, accompanUa thta volume
Published by John llo.„.rv, o« CaaUelstr-hiU, in the |..ri.b of Ealin*-. In U.e
County of Mi l. II. «x. at the office of Boo.tr A Sojia. 2*. Hollea-atrawt. Sold
aid by litjtj.. 11. Johnatreel, Oi.at Portbuid-etreet ; Ali.rw. Warwick-
lane: Vuair*, Holyw*)l-.treet; Kuril. Paowss, 4i Co,
0 KrntiaMANK, Si, Ncwgatc-at recti Joiijc SHxninm.
Haaar Mar, 11. Ho bom-ban. Agent* for Sootland. PaTaaaox *
Edinlmrgh «.,d Ul.ag.»w ; for Ireland, H. Bt«au, Dublin ; and all J
aallara.
Printed by Wilium Si-aacax JotaMO*. "Naaaau Steam Preaa." 60. 8L Martin'a
laaa. in the Pariah of St Martin-in tbe- Field*, in lb* Oour
Saturday, February II, 184*.
uiyiti.
3d by Google
"The wobth of Abt at
m deducted, it u
Mai eelorll).
Mratc, since it
TOWKB, A1»D IT
, KO SrTUlCT-MATTJtB,
WIUTBTKR IT «— "
SUBSCRIPTION:— Stamped for Postage, 20s. per annum— Payable in advance, by
to B008EY & SONS, 28, Hoiks Street, Cavendish Square
VOL. 36.— N(
SATURDAY, FEBRUARY 20, 1858.
( PRICE 4d.
I STAMPED 6d.
LOUISA VINNING
REMOVED to ItT,
to announce that she
nt's-park, where all com-
WANTED. — A GOOD CORNET PLAYER for a
^ Militia Regiment ^ Tcrin«, 2S*. to 30*. per week. Apply la
WANTED by a young man, twenty-one years of age,
who ha* iuet completed h . article* with a country mualcHMdU r. a eiu.at.ou
In a London jniWt.liInf house. 11* baa a cood knowledge of music and la a rod
ooeey and Bona,
non publi.ldng house,
Apply by letter, add
Holha-stroct.
QIGNORA FUMAGALLI, SIGNOR DI GIOUOI,
kj and
ti.-ua fo the pruTiucea, or the
Manager.
umtsd). A I ai-pb
Mr. diaries Biana
CATALOGUE OF INSTRUMENTAL AND
VOCAL MUSIC Sacred and Secular, and of Book* retains to mturio. la now
Cu the ttlh. a Catalrgue of Book* (Part 1119) on all aubjecta, but more
connect, d wuh Bug ish History; both itratla and poet-free. John
IK, High Hulboru.
ORGAN FOR SALE.
I^HE ORGAN now standing in the Free Trade Hall,
. Manchorter.-Mcesr*. Klrtl-.nd and Jardlne bag to intimate t at the aUor.
Instrument will be eoUl a bargain, as »t» Immediate removal t» requisite pre-
paratory to Uio erection of the Unuwl Oryrsn Vu It by t cm for fie An Trea.urea'
Exhibition A plj to Klrtland nod Jaidlnc, Organ Bu Idem, Manchester.
\|R. AND MRS. GERMAN
• » *- Barton) will repaat th-lr rotartaiomant
at t caaturday altcruoon at 3. Adnihvlori,
without extra (barge at the Royal Gallery
at Cramer, Dcalc. and tV*.. 'Wl, Regent-*' reet.
REED (lato Miss P.
iant erery evening (except Batmrdsy)
■ u a.,d r*.; Sulla. 3a. aecured
of Illoatrattou, H, Regent at reel, and
MR. BRIN
t at he will
«,i,
rR. BRINLEY RICHARDS has tho honor to announce
> TWO SOIREES OF CLASSICAL PIAKOFOHTE MUSIC
. in M ireh. To commence oti Wednesday, me I'Jth. The
• O manll. and
iwiUi
1 give Tl
Room*, i
t of work, by Beethoven. Moaart, CI manli. .
a scries, I>a)f-a-guln»a ; alngle ticket*. Ta To be
to thai
Mid of Mr. Briuley R, chard*, a. Torrlngtun-street.
MISS ARABELLA GODDARD'S THIRD FER-
rORMANCB OP CLASSICAL PIANOFORTE MUSIC will taka p'aee
at her rearideiire, 47. W, 11* ck -at root, Ctvend »h*quarc, on Tuesday evening,
March 2. «t half )ia*t d prcciaely (to terminate about a quarter to 11> The Pro-
(runmc will tnciudo — Sonata in D (piano and violin), Mnaart ; Onuid Sonata In A
Hat. Op. USI (piano aotoX Weber: Pantaeia, no Pxsga In 1) major (piano solo) (B-«k II
<>f Griepeukotl's " Complete Edition ot tlio Fltnojbrte Work* o J, ~
»<at.mr
B mat,, in E, Op. 100 (piano aoU.l Beethoven; o
(piano. TtoJm. and vioUcelJok McndelMobo. 1
violin. M Sainton ; Tlol..noeU.>, M. Paqiie.
Tiek.t* (10a. fid) to b* had .my of MUw
lofort* Work* o J. a Bach"). Bach ;
a..d Grand Trio l.i C minor. No. S
OaTcudi *h- >quju-o.
47. Walbeckatract,
LAST NIGHTS —
BKLLETTl, VIAI.ETTI
HER MAJESTY'S THEATRE.-
I ICOOLOMINI, BANNIER, St'KZIA.
AI.DIGllIEill. LL'CilESI. VIAI.ETTI.
Tuealay. February » lant tifeht but two) — IA PIGLIA DEL REGGTMEXTO
and Uat act of I.A FAVORITA, and L'UYMENEE
Thursday, FVlmiary iSf>etnl|[hl butoncl— I A ZINOARA (being th* Kalian
•ira-ou of Balfe'* opera ■ I ' The Bohetnkin Girl').
Uy. February n (l«t night) _1L TROVATORK and l/II V.MEXF.E.
I —Hit Mall*, 12* «d ; boxea (f> hold four peraonii) pit and on* pair.
pair, 14a ; gallery boxea,
at the box-office of the
rmtiw—Fl'. Ktall*. 12* 0d. ; boxe* (l« h«:.l h.ur jiena
£1 ta ; grand tier. £3 Se. ; two ,«lr, afl 6*.; three pal
ICe. i pdfery Mfc »a. M gallery tt | pit. 3a. «d
Each reprracuta Ion will commence at right oVIock.
Appllcnttooe fot box**, ttalU, and UckeU to be made
8
0i
MAPLESON AND CO.'S
J>!fISH It FOKSIfii! HSUSiCAL AGfiHGT.
OrTICES :
CLAKEKCE CHAMBERS, 12, HAY MAT BET. LONDON,
Tun Agency liaa been calabliabed for the piirpoee of mppljing what ha« lieeo
] ao long teoiilrcd both by Manager* nnd the Musical Ptofeaaiuu genanifty, via. : — a
i medium of communication, ana greater facilitiee for the tranaactWci of all buaincaa
coin. ected with Muac.
Tide Ageiicj' ia in a pi *ltk>u to arrange, with the utincet I'romptute*. complete
Operatic nr Concert Cum paid- a and *upply all the Choral. Orchestral, and other
reqniaitee; slao to negotiate engngemcnts ot ercry kind f.ir Art ■ • * ol ability and
reptile, both vocal and In^ininieniai. «hi>.-t> cannot fail materially to aa*l*r in Uie
reinOT.nl etf obataclea and d flicuttxa which hare hitherto greatly rcLirded the
a-lr inaement if the lyric art In th ■ country.
Reglatera are kept for ti«= gratuitous in>]«cti*o of Mm >ctra. rontalnln( on trie*
of th* naiiica of rncal and liiatiunitnUI artlxa wanting cngiurementa, with all
nee aaary partk-ulara, ale.
Ut'nciL Itxraaoa.— M. W. Balf.-, Esq , Ork-traei
Sitinor Schlra, 17, Princes-street, Hatioecr-niuate; Jtilaa
cheat er-aqiian.
ls*oSaF^i?7 " D;* '
R.nk id London!
Ma.xaou. — J. U. Mii])lesoti, Esq., 7. Ol-,.i«ai*r-etioe», Bogent'e-park.
Ban
-Uui-
OFFICE OHCRS FROM 1.1. EVEN TO FOUR
Clarence
MAPLESON AND CO., Musical Agency,
Chamber*. IS. liavninrket. hare nagDoiatod tho follnwing euirageuienta
during the lni*t wrek. Madame RudendortT. Miss Peet* Mdl.u. Huoli. Mia*
Fiuiny Huddut. Ma. I tine llorchardt, Mn>Uin< Pbina, Mr*. Jli-urr Chalnild.
Mr. Uhsrles Braham. Mr G.orge Pcrr.n, Mr. Mlran.Ua, Mr. Honry Haig , Horr
Deck, Signor Drtgone. Mr Winn, Mr. Allan Irriiur. Mr. m :>. for the
Alltambra PaUco; also, Ml** Pauu> Unddart furGlas^o > ; Mdlle. Finoli, Brighton.
lloier.nl. Li'cr|tanL Ac. ; Mr. Horace V.uitin. Mo, chest, r. lie, r(to l, IK u ford.
ilfliv^'iu, avaa- wa a-wa, b\. , mi. iiuitnu ituiuu, hi iHprn ■ , in-"n'iu,
Ac; Mguoi Drag, no, MetelTd Bnghf,.,. Ipawlcb. *c ; Mr l!»rUcmao, ditto;
Mr. Gear** I'erten. Glaacow ; M Ci.ulo, Ucrubirt. Manei^stor. L»ert«» l. Ac.
Slgnor llandegger. Slitwr VaUstaL and HX> cboilstrs, ^lao extr. band of**, for the
LAMOTTFS TRAVIATA GALOP, performed at Her
M-Jcrty's SUU Ball by NMg Band Price, h. Band rauu nearly
ready. B.-oeey and Sona, 34 and 28, Hotleav*: rect.
CONCERT SEASON, 1808. — NOTICE. — 0. M SHEK
\J reepectfudy intimate* to the MnsicU PtUeaaiiNi that he has removed to J.
Bcak'Strevt, Krvei't-street, where he conrhiuc* tho airangeutont of couoerta
(public or itrivate) at hi* usual moderate ciiary.-a A most injtinoua praceehaa
been sdopud duting inany |««t itosa-itis of employing inoomnrunt per*nn»^fot the
uTapph/ to I "
at J,
ST. JAMES'S HALL
Tn« Dtrrctoraor the St Jawr* » HatL ConrsMT (limited) beg to state the Great
Hall will be inaugurated by a (JRANO MUSICAL F-BSTIVAL IS All) OF (UK
FUND* OK THE MlDDl.EflKX UOSI'lTAL, on ThurMLty, Uie Uth. a»l Batnr-
•tay. tho !7th due of March next, under Uie immedl tic p,itrotage of Uer Maj .aty
tho Q'ieen ntwl ELB M the Pnu.e Cooaort
The Great Hall can now be cn/uged f.» Oruid M iMcal Perf.nmancca. for Meet-
hu!» ,d the rarious socictis*. and P-r utlter hl<b-cUsa iau-|« eea. Applications to be
n*lc i0 the Seavury, at the offlcea, ^ Piccd Ur, *.
By order of tho Hoard.
IS Pebruary, IgU. 0BORGE LESLIE, StcreUry.
The ST. JAMES'S RESTAURANT, in eonne.tion with the St. Jamce'a Hall
will be »i»Ttly openol. ai d ia Intetided to , upply "Do of the grc-xt w.u. taof l/ondou
in the ahaps of a Beetauraiit or the eery highest claass Accommodation can be
given f r large dinner* uf the various stxavtiv- Iheie are tv.» latgedlalng aavnona.
which wilt be ti|si:ied dal y to the Pnbx. and a number of separate noma, looking
Beseut-* n • t. for private pnrtie*.
Cn.andTS,-
apou 1
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114
THE MUSICAL WORLD.
[Fib. 20, 1858.
MESSRS. DUNCAN DAVISON and CO.
THE FOLLOWING NEW VOCAL COMPOSITIONS
o»
MEYERBEER :
.*. TV JSWtl'mA tvr
rf •>„
i Jonx Oxxxmiui, Eao,
alto, tenor, aod baas)
a. d.
:h occur* towards the m ddlc of the Prayer, crxi.d not l.tra
mastery m inner; Indeed througl.out the piece tho hand
onist, and a ramp.* r who has studied CT.ry ra-ma ol
THE LORD'S PRAYER, for four vnirca (soprano,
with English and Latin text, organ ad lib.
" Every lovev of music will, we arc Bore, foci nirwius to know this Interesting
work. It is written for four ordinary voices (soprani. aJtt tcnorl, ami hesai), to b«
sane without aceompaninieut. An organ part boa, however, ben addod, 'to bo
used when the voices have a tendency «o lower.' Tho melodv, as ii pmpor in own-
powllona or Urs nature, is simple— yet it is so elegantly hamnmlssd tin! the
lot* re-it never flairs for a moment, rum tbe monotony and ooldncas so often com-
plalivcd of in relltrious tn^rrenux. without accompaniment, are clitirvly asinded.
"Wedn not renumber auy < ark of a similar kind. In which tbe modulation*
are more bm.utir.il than In this composition of M. Moverlxer The ntrtt ni the
parts In India too. which occurs towards the m ddlc of the Prsvcr, crni.d not I .are
two eflected in a
of a o- naiimrnate
his art. Is risible.
"M Maywrlieer's set ins; of the " Lord's Knijm" has already hw n snrur by the
choir of tbe'Beuchcr's Ontiiel. Lincoln's Inn, Uindon. unter the able direction of
Mr. J. PlUaun ; and Ii will, no .l..iii.t, be sdoptad. as It ■'• s-r.ee to be, by all the
principal metropolitan and pr-.vlntlal ei.oirs," — Lii-rrj^A AfoiV.
THIS HOUSE TO LOVR IS HOLY ladlm aux jennet marlesl Bcrcnade
for ci.ht voices, (2 sopranos, 1 coutr.dt.ia, 1 tenon, and S bosses))
WltllOUt ilC oni|>ailtr|irut J0
NXAR TO THBK (Prts ••etai). for role* i lano, and violoncel'o 4 0
HERB. HERE ON THE MOON TAIN REDLINING (L» chant du Bcrger),
for voice, pdano, and clarinet, or harmonium
N.B.— The above two songs, with French and German words, each
4s, at well as tho co lection. In 8vo form, of Meyerbeer's
"Quaranie kK dies k une et k iduaiems voli," with piano
Hnpanlment, 12a.. maybe obtained of Messrs. D. Davison
4 0
Ann (
NEW VOCAL
"I LOVE THE OAK." ballad by AdoKo
"Sweet day of youth, f.irewell, ditto
•• View, vi ni." serenade ditto
"Come, faiiies, come." chamber trio, forenrnuv,
"Ooroe. sister.. Icr us d<iM> and »liui," fordito
"Ths lormatton and eultlTa l..n of tho voice f. r
MUSIC.
andoontralto, ditto
•• G/.tck arise maiden mine. ' A r S yrlm. by J. Desmucr
••Whs. I wssyotinsi.-liy Ernest B.ueo
Tfhcri first yoii shone hef ro
•THE TW.i FMlt.B.Viora
itto
to voice, by O
"THE OOOUBTTB. 'for onrrraib. voice, by J W. Dayibox..
"AT EARLY DAY'S DAWNING," by H. OROayxNult
■ IN TE, DOM INK. SI'ERAVI," anthem f.-r vaioos and organ, by ditto .,
In I A« Prtit.
"TO-MORROW," ballad for voice and piano, by Charles J. HargHIL
A MAcrsnREs
VOICE, PIANO, AND VIOLIN OR FLUTE.
"MOORNTOLLT. SING MOURNFUI.lt," by O.Cniwell. Op. SI .. J »
VOICE, PIANO, AND VIOLONCELLO OR VIOLA.
'• WHERE IB TH1 SKA." by O. On well. Op Si s a
VOICE, PIABO, AHD HOHN OB
OntR THE MEADOWS 01U5EN," by E. Vlvler
S o
NEW PIANOFORTE MUSIC.
»^^«w7vn•M7.7i•U..d5CoD'*T<'.('4^l,'',1 bT U'm GooVmrd)
n.»> - ., n ,j , LiinTpLeA ly E. A. Gomloo "
H, " by M.schelus
Hotnanoc ..
• TIUUMI'UAL MAR
/» Ikt Preu.
THREE LIEDER OHNE WOHTE tor th» piano, by 0, J.
Lady de Ros
Mrs. Edmund Phipps
OOatPOSmONS FOB THE PIANO BY THE HON. MB*. OREVILLE
"GRAND MARCH." Dedicated toH RH the DukeofCambtlditvi.. ..SO
LA OOBTANZA." Notlurno. dL-dtc»«d to t'nc Risht Hon Lad
I. AMICIZIA," Notlurno. dedi.-at.-l b> ihi U
" Ut UIRN VENU,- WsJu. dodlcHUd to Mrs. Kniiicis F.ini
AD1UGLR." dedioabrd to lbs Right Hon. Lady William
MUSIC Ala
IVOR 1. 1>
4 0
3 0
3 V
5 0
LONDON:
DrXCAN DAVISON k CO.
{Dktit CiUktiXi. DB LA MA1S0H BrZANDCS, DR I'ABIS).
KKT. CORNER OF LITTLE ARGYLL- STREET
•:>»H. BEOENT S TrtK
V
PIANOFORTE MUSIC
BT
ADOLPII GOLLMICK.
TWELVE GERMAN V0LK8LIEDEE
(PEOPLE'S SONGS)
Transcribed in a popular form for tk* pianofort*.
a. d.
1. TRECE I.IEDE (TRUE XX>\K) | |
t. WANDRR1.IKD (PARTING SONG)
3. LIED UND GLUCK (LOVE AND HAPPINESS)
4. RnEIVWEINI.lED (RHINE SONG)
4. AF.NNCIIEN VON TUARAU (SERENADE)
6. DEH GUTE KAMERADE (THE FAITHFUL FRIEND
7. FIDELIN (FIDELIN;
5. MBIN SCHATZERL 1ST nUBSCH (MT MISTRESS IS FAIR)
9 ABSCHIED (FAREWELL)
10. MEINSCIIATZISTKIN ItKITER (MY roVER IS A SOLDIER)
11. DAS ZEHRROCIIENE HI NO LEI N (THE BROKEN 1UNOJ
12. >OLDATENLIED (THE SOLDIERS SONG)
From "THE ILLUSTBATETJ LONDON HEWS."
"Herr G.illnilck. who is one of the most accompli»U-d pinni-ts and snocssaful
cmi-os n) . f the day, has pro.lu.i-d a i t .>f piaiwforte pieces which will in found
r^tsind'sknVwl^uwhT-t'he'iM *™ Wt fr",D ^
An
author tn imbue.
"A nuirtlinj and
notorious 1 Plule do Pi-rles
"THE DRIPPING WELL."
edition, always encore 1 when performed by the
to rival in popularity the
POPULAR PIECES.
Fanlaka
Reverie Amoreuao .,
Chaiis..n k Isiire ..
Buropn Galop, tnd edition
3 0
S 0
S «
BOOSET AND SONS' MUSICAL LIBRARY, Si * 28,
In one volume, lian.laou.cly bound In crimson and gold, pries 7a, «d.
MENDELSSOHN'S
SONGS WITHOUT WORDS.
J. W. DAVISON,
mtn portrait by Jon* I.txcit. aarf prrfact by tk« Editor.
From 'THE DAILY NXWS,
"This cbesp, compact, and most elegant edition of the tl lrty six famosu
'I-leder obn* wrto,' will be welcomed as » boon by every tov.r of Men-lelssnhn.
not •xcepUiiit such as already [.»«>. thou- esquisite pi. cc» as they lave been
already published: for independently of the beauty nf tbe volume, and the
clearness and accuracy of the i xt, It h..» the fintlter advantage . r a i.refaco by the
From "THE 8PECTAT0B."
1 m'Fc'wllo'haa euri. -^cd tho colicctiuii'wlu"lii"ab>!e audi
From "THE IXLDSTBATBD TIMES."
"Mr. J. W. Davison hss studio i Mendelssohn deeply and lovingly. A Tory
luteTestinit preface, from his pen, accomj.suiis this vohitne.
B006EY AND SONS' MUSICAL LIBRARY, S4 A 2*. HOLLES-STItETT
Digitized by Google
Feb. 20, 1858.]
THE MUSICAL WORLD.
115
WOLFGANG AMADEE (NOT MOZART) IN RE
HIMSELF.
To the Editor of the Musical World.
Sir,
I have observed in the "Musical World" the amiable criti-
cism on the 1'cnsie Fugitive of Mr. W. A. Bcalc. 1 ntu afraid
the critic takes his conclusiuna as he does his steps— with a chop
— «h f Mr. Beale is doubtless glad that his " Wolfgang Amadec*'
is not Mozart— that poor exploited old autique whose Dun
Giovanni only is alive and tolerable. I believe I know the
Mendelssohn in F t minor — I perceive no resemblance. Will
Choppr suggest it? And I should be glad to know what medi-
6
cine is good for "the health" of a •» — I don't see anything the
3
matter with it — never having taken lessons of— him ? I like
the .V» The E 2"* Treble ascend to F $ the B 1* Treble descends
to a — The Iwiss nt contrary motion with the melody. Artistic
and beautiful — pity the rtal Wolfgang Amsdii (Mozart) never
thought of it! But the wind-up pars for all. Richard Franz!
I would have given a hundred (or the compliment. It is the
greatest that could have been paid — and only goes to prove that
however partial itooktes tuny M to their own and similar bray
'tv.mr.<oi! chords like Mozart to wit) still their long ears are
capable of distinguishing the notes of the nightingale— or of the
Spirit or the Rhine— when fchef hear them— note— lor the fir$t
time— from the pen of an fin:/i,hm-m/ Do M Editor provide
a liberal and unbiassed critic— your present ono has to get over
the difficulties of Stell elt and Fleyel !
I am M Editor
your very humble Ser1.
The Editor of the W. G. F. Bcalo
M usica] [ Mi. /art) Wfldd
[Wo gave, in our last number, a specimen or two of Mr.
" Wolfgang Amadce" Beak's music. The above letter will
ahow that his manners are about on a par. If in the first he
violates the rules of good harmony, in the hist he equally
sets at nought the conventionalities of good breeding. —
Ed. M. JP.j
DR. FOWLE,
To the Editor of the Murieal World.
DsUR SlR,— The inclosed advertisement will show you vher*
Dr. Fowlc received the degree of Mus. Doc.
It has often occurred to me that the Royal Academy of
Music ought to be the institution for conferring musical degrees.
Music, I believe, forms no part of an university education.
While, therefore, we have a national institution devoted
exclusively to the cultivation of music it seems absurd that
musical degrees should be conferred by institutions devoted
exclusively to the cultivation of literature.
For your spirited crusade against the modern " virtuosi,"
and their sickly trash, you deserve the everlasting gratitude of
all true musicians. — Yours, very truly, R. A. M.
[The following is the preliminary of the advertisement
forwarded by R. A. M. : —
DR. FOWLE,
(Prvfenor and Doctor of Mvtie is the Univereity of Oiritrn, and
Orgmitt of St. John'* Church, Torquay),
BEGS to announce hi* srnval nt Torquay, and that lus will
gits
LESSONS ON THK ORGAN, PIANOFORTE, AND SINGING.
It is unnecessary to print it in erttnso.— Ed. If*. IF.]
LABLACIIE.
To He Editor of the Muical World.
Sis, — With reference to the srtiole on Sisnor Lablscho, in your last
number, I will merely mention t'.o fact, I bat tlwt great pingrr has \wr~
formed in sn opera of Signer Yerdi'n. In the Jduiical World fur the
year ,1847 (page 480) you will And that Signer "
in /
Oardoni, etc.
in conjunction with Mdlki. Jenny Lind,
I am. Sir, vours very truly,
G.C..
Signor
[Our correspondent is quite right, but Verdi wrote the part
in / Matnadieri especially for Lablacbe, which makes all the
difference, and does not contradict in the main what is affirmed
by the writer of the Memoir.— Ed.]
FARTIE NON-OFFICIELLE.
LE NOUVEAU PIFF-PAFF DE MOSSOO.
[From the ■■Mailed version of Let Hvguenott, as ordered by
the Moiiiteur to be sung in future at all representations of that
opera.
The Emperor knows nothing about it, and will be bo sorry,
you can't thiuk, when he finds it has got into the Government
organ.
Dedicated to those glorious French regiments who alone won
the battles of Alma, lukermau, and everything elso in the
Crimea, and are now comiug over to tako England.]
A bsi le» .ser.;» Ko.bif.!
Jriin Bull A lerrel
A bin leur< fetnuic* i rendre !
Au fru Leyces-tcre-vjnerre !
An feu He Lonilrm W* mum,
Krpainm impurs !
Lei Anglais ! TrrraMons-le* !
Frnpp. iu lea !
Pifl"! psff! pouf! B»xorn-les!
Qu'ils I'leurriit,
Qu'il* nirurent.
Mai* griee . . . .*. . Goddam !
Jsmai* la France ne trembla
Aux plumes de Timet t
Mslheur nu J'umch perflde,
Qui Tsnte let crime*.
Briaoua Roebuck qui triehe—
Qui »i»k An.leetiil
Docks, Lord-Mayor— cawes-les!
Chssseilssl
PilT! psff: p uf! Frsppciles!
Affau-Aff,
Pertare — psff!
Main grice . ...Guddim !
(C«
lout).
ELECTION OF ORGANIST FOR ST. LEONARD'S.
(Fr
the Shoredilch Ohi
Wb understand that the committee appointed to make ar-
rangements in the above matter have selected Mr. Turle, the
organist at Westminster Abbey, as umpire, to select six persona
to be returned to the ratepayers for their choice of one ; and that
on Monday next the first trial of all the candidates will take
place in Shorediteh Church, at half-past nine ; but we are not in-
formed whether on this oi-casion it will be open to the public.
The time of election will depend on the public Vestry, which
will be held on Thursday, the 18th instant, at six o'clock in tho
evening.
[Query. Has Mr. Turlo undertaken to peruse the applica-
tions. Sic, &c of thirtyis candidates, and to select six for
parochial canvas and election 1 It is Mid that the vicar objecta
to lady organists.]
Tire HAore.— Ferd. Driller's overture. Fin Tram* in der
Chrietnacht was performed at the second Diligentia Concert
In this composition there is an evident departure from the ordi-
nary overture form. Wc would rather call it a " dramatic
scene," represented in bright colours and sharp outlines. Ite
I effect was excelleut, and its reception by the public most
| favourable.-Z>*cA Sheet.
Digitized by Google
116
THE MUSICAL WORLD.
[Feb. 20, 1858.
FLO TOWS MARTHA.
(Tramttattd from the Rttme tt Gazette Mvticale.)
How strange ia the history of some dramatic and lyric works I
Here, for example, is an opera born of a ballet, which, in its
torn, sprung from a comedie-vavdevMe, the subject of which
was derived from "memoirs." A composer, of German origin,
but educated in the schools of France and Italy, M. de Flotow,
in 1*47, wrote a third of the music of the ballet entitled Lady
Henrietlc. MM. Burgmuller and Deldevex composed the re-
mainder. Recalled to his native country, where ho held a high
musical position, M. de Flotow bethought him of the ballet, aud
converted the subject into the text for au opera, of which be
com posed the entire partition. It was thus that Ixidy Henrieite,
which had it* source in Madame dEgmon and the Jfemoiret de
Madame du Barry, was transformed into Martha, and repre-
sented at Vienna for the first time, some ten years ago, with
immense success, which has continued and increased up to the
present time in all parts of musical Europe, and has even passed
the Atlantic, for in America now, as in Germany, Martha is
played in every town and city, and constitutes an integrant part
of the repertoires. Paris at last considered it time to produce
the work; and the only question was to which of our theatres
Martha would give the preference, and in what language she
would like to speak. To her, in her quality of cosmopolite, the
various idioms were indifferent The Thl&tre-Italieu has hail
the merit and advantage of triumphing in this rivalry, and
Martha has become its conquest, which, however, will not
exclude it from the provincial theatres.
In the Italian opera, Lady Enrichcttn suffers tho same tor-
ments aud abandons herself to the same caprice as Lady
Henriette in the ballet. She disguises herself as a peasant, aud
joins the young girls who go to Richmond to seek master* and
mistresses. She is accompanied by a friend disguised like
herself and escorted by Lord Tristan of Mickleford, an uncouth
cavalier, who conceals himself in the attire of a menial. Two
young gentlemen, one of whom has something noble and
melancholy iu his air, while the other is frank ana jovial in his
manner, take notice of the two young girls, and offer to hire
them. The bargain is concluded in presence of the sheriff ; the
young girls are engaged for twelve months, and the gentlemen
carry them off to their farm, in apite of the protestations and
outcries of Lord Tristan. Arrived at the farm of Lionel and
Flunkett, Lady Eurichetta and her friend call themselves
Maltha and Betsy. They do not remain long, however, in
their new habitation and in a situation so unworthy their rank.
Thanks to Tristan, who brings them a coach, they make their
escape the same night, leaving nothing behind' them but a
remembrance terrible aud fatal, especially to poor Lionel,
who is almost deprived of the use of his reason at the loss of her
who has enslaved his heart. When next he beholds the pre-
tended Martha, who retissurucs her proper rank and character,
he can hardly restrain himself. In the ballet Lionel loses bis
senses altogether, and is sent to Bedlam. The opera docs not
carry things to the same extremity. In the end the lady dis-
covers that Lionel is the son and heir of an English peer, long
exiled, but now, by the grace of the British Queen, restored to
liberty and his possession*, and, all obstacles being removed, they
are espoused. Flunkett at the same time is wedded to Retey,
and all terminates happily.
Doubtless tbis hbretto, of which we have given but the
merest sketch, furnished the composer with an excellent canvas.
Variety of characters, sentiments, situations, costumes, playful
coquetry and profound passion— all the elements, in short, of a
musical drama supplied him with the colours he was to use in
forming his picture. M. do Flotow acquitted himself of this
task like a master initiated in all the secrets of his art.
It was at Pari* that his education was completed, and
where he revealed himself in efforts iu which might be
traced the successive stations of his studies and his progress. At
first he ouly wrote (or an intimate circle of friends, and for
theatres where money was not demanded for admission. Every-
where and always a melodist, each of his works was received
with extreme favour. Youthful and freah ideas were displayed
abundantly in them, and there were indications of an imagina-
tion and a style which were not slow in arriving at maturity.
L'Etdavf du Camoent, given at the OpeYa-Comique, and L'Ame
en peine, represented at the Grand-Opera, exhibited the com-
poser as approximating to that point of his career when his
manner was as clearly his sign-manual as writing his name.
Circumstances, however, did not permit M. de Flotow to await
this period in France. He returned to Germany, and it was
there that the great hour sounded for him, the hoar of durable
and popular success.
We have already said that Martha was produced about ten
years since. The first representation took place towards the
end of 1847. nerr Ander, the tenor, Herr Formes, the bass,
and Madlle. Anna Zerr, created the principal characters. At
Paris the work bna been interpreted by Mario, Graxiani, Zuc-
chini, Mesdames St. Urbain and Nantier-Didiee. One could
not desire a better distribution of parts, and in spite of tho sub-
stitution of a barytone for a bass, it might have been believed
that each of the parts had been written with an especial eye to
the artist who filled it.
In the German piece, as in the ballet, the action passes in tho
year 1710, under the reign of Queen Anne. The Italian libretto
goes back two centuries, and places the epoch in the reign of
Charles the Sixth of France, in the days when men wore shoes
<i la poulaine, when women endured gilded sugar-loafs for head-
dresses, when it was the fashion to hunt with the falcon and with
the lance. This chronological change possesses tliis advantage, that
it adds to the verisimilitude of the national airs borrowed
by the modern composer. ■ The Last Rose of Summer," one of the
most ravishing of these melodies appropriated by M. Flotow with
equal fineue and talent, has been made in some sort the musical
pivot of the score. In the second act, when Martha finds
herself ttte-a-lite with Lionel, who begins to speak to her of love,
and prays her to give him the rose she conceals iu her bosom ;
the improvised servant consents to give it to him, and sings
with a trembling voice the following words : —
" Qui tola, vergin rora,
Come uuoi In fiorir "'
Aacora mrtxo ihom
K pm*o gii | morir."
From that moment the divine melody remains graven in the
heart and memory of the tender Lionel. He sings it over aud
over again when Martha leaves him, and when he believes she
is lost to him. And with what emotion he hears Martha repeat
it, when he discovers her in the fourth act ! And yet in the
first instance he is afraid ; he mistrusts himself; he ouly feels
reassured and fully coufident towards the end of the same act.
Then his voice unites with that of Martha to breathe forth for
the last time the sweet melody which assumes the character and
expression of a nuptial song. To borrow, as M. de Flotow has
done, is to create, and, besides, his wholo score proves that he is
sufficiently rich, in case of need, to lend to others.
The overture to Martha is a charming instrumental piece
written with spirit, aud of which the allegro vivace points out
the country to which the drama is aliout to transport us. At the
rising of the curtain Lady Enrichetta appears overcome with
ennui in the midst of a chorus of women who partake of her
sadness. The *■ . ng of the servants who are going to market ia
heard. In a few minutes tho project of the mad freak is con-
ceived, put into execution, and we find ourselves in the market-
place of Richmond, where all is animation and excitement.
Nothing can be more exhilarating and more amusing than this
sort of village lite, where farmers and servants intermingle and
converse, and terminate their bnaineaa without delay or embar-
rassment. The pathetic duo of Lionel and Plankett is in good
contrast with tho noise and bustle which surround them, and
the finale, in which is introduced a charming quattior, opens with
an excellent chorus s—
" Eeco ?U'<na mexxoiii
I mcrcato sapre gia."
The second act is far superior to the first. The two couples
arrive at the farm-bouse, aud the masters begin to show their
servants what work they have to do. Two spinning-wheels are
Digitized by Go
Feb. 20, 1858.]
THE MUSICAL WORLD.
117
brought forward, but the young girls are ignorant of their nse.
Neither Martha nor Betsy knows anything about rock or reel
and their masters are obliged to teach them how to spin. This
scene furnishes the subject for one of the prettiest quartets ever
written for the stage. It was not only applauded but encored,
and received a second time with loud anil unanimous accla-
mation. Next comes the duo between Lionel and Martha,
accompanied bv the famous Irish melody, followed by a delightful
nottumo, in
night.
In the third act, we have to mention a very original air called
the " Porter Song," which Plunkett sings while distributing the
generous beverage of that name, which was encored ; a chorus
of female hunters, who traverse the woods at the sound of the
horn; a brilliant air by the friend of Lady Enrichetta; all the
scene of Lionel and Martha; and, lastly, an admirable morreau
treated in the style of the Italian masters, as well
1 and sustained as the numerous masterpieces left us
in the same style by the clever and inexhaustible Donizetti.
a romance, sung by Plunkett, which
I substituted for an air by Martha in the original piece;
two duets of a totally opposite character— the first between
Lionel and Martha, the second between Plunkett and Betsy ;
the whole being crowned with a finale which brings us back to
inds us of what we have seen in the hloile
the first act, and rem
du Nord.
The success obtained by M. de Flotow has been most
quivocal. How otherwise indeed could the French public re-
ceive a work which offers nothing but pleasure without fatigue,
which never languishes, in which all is ingenious and ani-
mated, and in which tho music and the action depend on each
other T At the fall of the curtain the composer was recalled,
and was received with thunders of plaudits.
To name the interpreters of Martha, was already to give them
the praise on account which they merited. And, first of all,
Mario signalised himself by the admirable manner in which ho
sang and acted the part of Lionel. Secoudly, Graziani exhibited
himself under a totally different aspect : he played the rustic
peasant with a frankness and gaiety in which he had no
occasion heretofore to display his talents. Mdlle. de Saiut
Urlutin and Madame Nantier-Didieo distinguished themselves
equally in the characters of Martha and Betsy. Zucchini also
sustained the part of Tristan with much pleasantry. The nw#e-
en-ecine, by its splendour and its elegance, will contribute largely
to the success of the piece.
I.EKDH — {From a Correspondent). — " Drawing-room Operas "
have been performed during the week in the Stock Exchange
Hall, by Mr. and Mrs. Henri Drayton, to crowded audiences. —
Mr. and Mrs. Henry ITaigh have been performing at the Prin-
cess's Theatre. — The People's Concert of Saturday last was by
s successful. The committee had provided an enter-
called " The Omnibus," by Miss Clara Leyton. Mr.
of Leeds, was the accompanist— On Wednesday
t the members of the Leeds Madrigal and Motet
sve a "Member's Concert," in St George's School-
bis was the second gathering of the kind that has
place, on the recommendation of Mr. Costa to the various
madrigal and motet societies, as a means of improving vocal
part and choral music The concert was numerously attended
by n i practising members of the society, and other ladies and
gentlemen. The solos were sustained by Miss Walker, Miss
Maria Tav lor, and Miss Newell, and the chorus numbered about
eighty voices. Mr. Spark was the pianist and conductor. The
programme comprised sacred and secular music, including
selections from Handel's Judo* Muceaixtu*. Some of the part-
songs and madrigals were admirably executed. The choruses in
Mendelssohn's Lardy, with which the entertainment terminated,
were rendered with spirit and vigour. The audience was espe-
cially pleased with Mendelssohn's " O wert thou in the cauld
blast," and "May-bells," both sang by the Misses Walker and
Taylor. Miss Walker also gave "The Sea Diver," and was
complimented with an
MICHAEL VON GLINKA. AND MUSIC IN
RUSSIA.*
Micbakl vow Gumka was born, of rich and noble parents,
in the year 1804, near Smolensk. The peculiar melodies of hia
native country— melodies for which he conceived a great affec-
tion in his earliest childhood, and which exercised an important
influence on his talent and artistic efforts — floated round his
cradle. We do not know who was his first musical instructor;
lie was eighteen when he took pianoforte lessons from Field, in
Moscow. It was to this master of the gxxl old school that he
owed the elegant and expressive style for which he was distin-
guished in his early years.
Favoured by birth and fortune, Glinka at first cnltivated
music simply as an amusement. His happy talent suggested
melodies and songs, in which a fine artistic feeling was
apparent. Diilttanti spread them abroad, and music-sellers
soon hastened to publish them. Adolf Henselt used sums
as themes for pianoforte pieces. Glinka, nlso, wrote several
smaller pieces for the piano; they were very succesful, especially
when he played them himself.
After a somewhat long residence in Warsaw, which he left in
consequence of the events of 1830, he obtained permission from
government to go to Italy. He remained several mouths in
Vienna, and then proceeded to Venice, where, also, he stayed
some time. In Milan he published Italian canzonets, piiee* de
talon for the piano and stringed instruments, on themes from
Bellini and Donizetti ; a eeptuor (serenade) for piano, harp, hoi n,
bassoon, viol, violoncello, and double-bass, on motives from
Anna Bolena ; an original sextet for piano, two violins, viol,
violoncello, and double-bass, and several variations and dances.
The year 1833 was spent by Glinka in Naples, where he
delighted tho saloons by his pianolorte playing and sougB, which
were sung by IvanofT, then in the full possession of his mag-
nificent tenor voice.
In the year 18315. Glinka was once more in St Petersburgh.
A great alteration had taken place in him. He had previously
cultivated music simply as an amusement, but he now looked on
it as a serious pursuit. He felt his inward vocation as an artist.
The warm desire to prove this vocation to his native country by
a grand composition, induced him to tike the resolution of
writing an opera. He naturally selected a Russian subject,
Life for Me Ci'ir, at which he worked several years with in-
dustry and love. In I83fl the opera was produced in St. Peters-
burg, and enthusiastically received ; in fact, public opinion
instantly raises! the author to the rank of the most celebrated
comiKKKrs. The Imperial Court had interested itself in the
production of this national work, and nothing was neglected to
put it on the stage in the most brilliant manner. The natural
son of Field, Leonof, a tenor and an excellent musician ; a lady,
Mad. Stepanowa, cduc.itcd in France, and known in Paris uuder
the name of Verteuil, and the baxs Petrof, sang in the opera.
The choruses aud orchestra were good, and the whole was
directed by Signor Cavos, a talented Italian musician.
This opera was followed by a second, a grand opera in five
acta, Russian and Ludmilta, adapted for the stage, from a
poem by Puschkin, founded on the earlier history of the Grand
Priuce of Kiew. It was very well received, although it did not
achieve the extraordinary success of the first, a success prin-
cipally caused by the libretto and the story. His countrymen
were, however, unaiiimonaly of opinion that the two scores
rendered Michael Glinka the greatest Russian composer of the
time.
After the success of these works, Glinka again obtained per-
mission to travel abroad. He went to Spain, and, on his way
thither, visited Paris, in the year 1843. no was forty years of
age, but known to no one, with the exception of a few virtuosi,
who had been in Russia. He gave a concert, with full band, iu
the Salle Ilerz. He could not raise a chorus. This was greatly
to be regretted, since the choruses play a very prominent part
in his operas, and he was compelled to limit himself to the
preformance of a Scheno in tho form of a waltz, grand
Cracovienne, a fantastic march from Russian and Ludmilla, aud
* Translated from the Hiederrkeinisthe Mnsii-ZeUun*.
Digitized by Google
118
THE MUSICAL WORLD.
[Feb. 20, 1858.
* few iionga. Haumann, and Leopold Ton Meyer, also, played
at his concert. The public then heard, at n concert given hy H.
Berlioz, a rondo from the opera of Lite for the i'uxr, sung by
Mad. Solowiowa (Verteuil), and a grand piece of hal let-music
from Liuimilla. Hie result did not come up to the composer's
expectations. The Russian words, and the want of a programme
to explain the various situations, prevented the public from
understanding them. In addition to this, the romantic and, it
must be owned, somewhat monotonous character of the music
did uot please the French ; and, as they had just read iu
Custine'a book on Russia, that " the national opera of Russia is a
horrible drama in a magnificent house," the general public fell
bored, while musicians objected to certain peculiarities, ami
reproached the composer for having introduced pieces of such
■mall proportions to a Parisian audience.
Although a kind notice appeared in the Gazette M\uic<jJe,
Glinka was deterred, by his little success, from further efforts.
He left Paris, and retained all his life a very unfavourable
opiuiou of the judgment of the French iu musical matters. He
was right and ho was wrong. The great mass is pleased only
with what agrees with their own feelings— it is in Paris as
everywhere else ; but there is, also, a select class who appreciate
and admire, with taste aud sure judgment, that which is artisti-
cally beautiful. The Parisian public are reproached, and uot
unjustly, with prejudice against everything they do not know,
and with their love for celebrated MUM, But wo must, in
justice, allow that they do not, out of a desire lor novelty, de-
molish the altars they have erected to previous celebrities.
(This is true of instrument*! work-, but what about operas i)
In the summer of 1845, Glinka went to Spain. In July, he
was at Ynlladolid, aud, iu Oeloltcr, reached Madrid. The prin-
cipal object of his sojourn iu the Pyrenran |>einusiila was to
collect national melodies. As a man of the world, who despised
none of the enjoyments ol life, he fell very comfortable iu Spain,
and speut several years there in the Jolre far niente style. His
friends considered him lost lor art. He resided for a very long
time iu Madrid ; then in Andalusia, and, at hut, iu Cadiz. He
did uot return to Russia till the year l85z\
He now seemed to pluck up courage once more, »ud be de-
sirous of devoting himself afresh to the kind of activity for which
his inclinations naturally fitted him, especially as the Emperor
bestowed on him the management of the Imperial Chapel, and
the opera. This post induced him to busy himself with -acred
music, amongst which there is a mass with a full baud. He was
Suiting the last touch to this, when death overtook him iu
leriin, on the 15th February, 1857. He was just 53 years
of age.
His decease is to be regretted, as far as the progress of music
in Russia is concerned. Whatever may ba the verdict of pos-
terity on the two great works which were the foundation of his
tame" among his countrymen, it cannot, at auy rate, be denied
that his music possesses a highly peculiar character, different
from that of the Italian, German, and French schools of any
period. Had it been developed by his successors, it might have
become a separate artistic form.
Music, as an art, has, indeed, enjoyed only an exotic
existence in Russia during the eighteenth and the first quarter
of the ninteenth century. A Russian musician, Dimilri Stepauo-
wilsch bortnianski, educated in Italy, had, it is true, about I7i)f>,
founded a peculiar and beautiful kind of vocal sacred music,
when he re-organised the Imperial vocal chapel, established in
the reign of Czar Alexis Michailowitsch. Foreign artists and
connoisseurs who have heard the singing of this chapel, assert,
as is well-known, that it is impossible to hear auything more
beautiful, as well for the quality, the wonderful compass of the
voices aud delicacy of executiou, as for the noble, serious aud
impressive character of the compositions. But to this alone, and
to the charming national melodies in tho provinces, was all
Russian music, properly so-called, limited. In the reign of the
Empress Elisabeth, an Italian comjtauy was iuvited to St. Peters-
burg, the Venetian, Galuppi, being tho director aud court com-
poser. Catherine II. retained this company, and, at various
times, had Paesiello, Sarti, and Cimarosa in her service. Sarti,
who, from bis long stay in the couutry, had become, to a certain
extent, a Russian— he possessed a number of estates aud serfs,
which the Empress anil Prince Potcmkitu had given him, and
spoke Russian fluently — was the first who ever composed an
opera and a 7V Deum to a Ru-siau text. But the music was
Italian and nothing more.
After the death ol Paul I., the Italian opera was abolished,
aud Alexander I. summoned to St. Petersburg a colony of
French artists, amongst whom were Boleldieu, Rode, Baillot, and
Lamare, the excellent violoncellist. French com io opera took
the place of Italiau opera. Bofeldieu directed it, aud wrote, also,
new works for the tlieatre. dementi and his pupil, Field, the
pianists, also, were iu St. Petersburg at the same period.
Before the arrival of these artists, the public of St. Petersburg
aud Moscow were acquainted only with Pleyel's music. Baillot
and Lamare introduced the quaitets of Haydn and Mozart, for
whom the educated aristocracy were most enthusiastic The
traditions of this epoch were continued by Couuis Matthias and
Michael Wielhorski, Messrs. Lwoff, Setuenof, A mat off, and other
amateurs. After Bofeldieu's departure, Steibelt succieded him as
director of the French opera. Ho wrote for it CendriUon and
Darainm, and touched up his scores, Romeo et Juliette, and La
J'rineeue de Babulone. He died iu the year 1623, just as he was
completing a new o|«-ra : The Judgment of Muia*.
Thus, lioth dramatic and instruments! music, up to abont
1823, existed in Russia only as something imported from abroad.
It was then that the spirit of cieatioti first awoke in tho breasts
of a few distinguished lovers of art. fount Michael Wielhorski
wrote quartets and symphonies ; General Alexis Lwoff, director
of the Imperial chapel, and a very talented violin plater and
composer, wrote, iu addition to several smaller pieces, and a
hymn, which has become the national hymn, two operas : Bianm
e Qnaltiero and Undine, and a Stabat Mater, which is much
prized. At the same time. Glinka's talent began to make its
way, while Werstowski produced his opera, the Orave of Aikokl.
A little later, Dargomys-ki, who, like his artistic colleagues,
belonged to the upper classes, and was distinguished as a
pianist, published several Russian songs, most of which were
very popular. In the year 1848, his opera, Eimeralda, was
produced in the national tlieatre. It is a well-wriiten work, in
which we find concerted pieces conceived in a really artistic
spirit. >ince then, two other operas by him have been brought
out, but I do not know the scores. D.irgomyski is now 44 years
of age. His music diffrrs essentially from Glinka's by its
structure, which is more certain and bitter adapted to the
general forms of art at the present day. It U, also, more dra-
matic and passionate, but less original and less Russian than
Glinka's Lite for the Ciar.
It is well kuowu that, in Anton Rubinstein, a new instance
of talent has now sprung up. His original positiou in society
was different from that of his uoble predecessor*. He would
have boeii compelled to become a soldier, and, iu all proUbilitr,
have been lost to art, had not the protection of the Grand Prin-
cess Helen assured his destiny. As long since as 1841, lie
exciteo, as a boy, admiration by his pianoforte playing, and we
all know that, at present, he is one of the heroes of that instru-
ment. Rubinstein has already written for the voice, the piano,
and the orchestra Two operas by him have also been pro-
duced, but they are youthful efforts, 'and to be looked upon rather
as essays than aughtelse. [He has composed, likewise, an ora-
torio] May he not go astrny on Lis path, and exaggerate
certain tendencies, which appear promiueutly in his works of
the present period I
On the whole. Glinka seems to have comprehended, better
th hi his artistic contemporaries and immediate successors, tho
secret of imparting a national character to Russian music. The
choice of his melodies ami rhythms, the peculiar forms and har-
monious passages, to which he is partial, give his works an im-
pression of originality, and that is their principal merit. On
this account, if we would appreciate him properly, we must put
ourselves in the position he occupied wheu he wrote his works,
and we should lie judging them altogether wrongly did we seek
in them tho dramatic effect presupposed by French or Italian
opera.
Digitized by VjOOQIc
Feb. 20, 1858.]
THE MUSICAL WORLD.
Manchester— (From the Manchester WeeHy Time.'). — At tho
undrew concert of Thursday, t!i" novelty was Mis* Kemble,
daughter of the late J. M. Ketuble, Esq. The name of Kemble
is sure to meet with favour. I/»t us hope that it will become as
honourable a tradition iu relation with music a« with the drama.
At present Miss Kemble is but a novice, possessing a pure-toned
voice, and we feel inclined to believe good tnsto ; there ia evidence
of a premature appearanco before tho public in that nervous
trepidation which leads even to an incorrect ear. The great aria
from Idomeneo, " Zeffirctti Insingh
waa far beyond the
powers of this young vocalist. Equally severe ia " From mighty
kings," which require* all the force aud brillinncy of an accom-
plished artist. In Weber's plaintive melody, " Uloeklein,"
Miss Kemble indicated nice feeling ; and Benedict's ballad,
"Hush I from all voice," brought a kindly and gracious
encore, though the same faults were observable to which
we have had to allude, aud let ua also a id the same good
elements. Miss Kemble possesses natural qtiallLies which will,
we have reason to l>elieve, di velope into something worthy of
admiration. — at least, nil who love the art must hope as much.
M. Vieuxtemps (the violoncellist), was introduced to a Man-
chester audieuco at the Classical Chamb r Concert of Thursday
evening week, when a refined mauner of his playing, as well as
delicacy of tone, were noticeable. He played a Lestocy, bv
Servaia. M. de Jong, on the flute, was the other soloist. The
concerted pieces were the Don Giovanni overture, Rossini's
Italian* in Algtri, Beethoven's Eymont, and Havdn'a
Symphony In D. The overtures were played skilfully,
and the symphony gave pleasure to all. VV'hen hearing
Haydn, who can think of anything but cheerfulness and
grace. "Old familiar faces" gradually light up with smiles;
and you may observe head*, ltoth young and old, nodding mutual
recognitions across tho room, with which pleasant thought* at*
mingled. There is so much fancy, and so many pleasurable
associations connected with this music, that one can imagine the
great composer to hare been a favourite with prattlers as well
aa " children of a larger growth." Do ' Maestro Halle ! let us
have more from this cheerful old friend, and less from that
terrible old gentleman of later years whom you so love to
honour.
fThc "terrible old gentleman" is Beethoven— which is equi-
valent to saying that the critic of the Manchester Weekly Timet
is a terrible old twaddler.— En. M. If".]
Sbrkwbbdrt — (From a Correspondent). — The concluding
Concert of the sixth series of the Shrewsbury Philharmonic
concerts, was given on Thursday week. There were no band
and chorus, and no instrumental performance excepting two
pianoforte solos. The increasing popularity of these entertain-
ments, however, is affirmed by Mr. Walter C. Hay, who appeals
to tho subscription list iu continuation. It is to be regretted
that, with such support and patronage, the concerts do not take
a higher position tbau that of mere vocal performances. The
vocalists on the present occasion were Madame Euderssohn,
Miss Fanny Huddart, Mrs. Haynes, Mr. Allen Irving, aud
Mr. Millard. All these are well-known artists, with the ex-
ception of Mrs. Hayues, who made her first appearance in
Shrewsbury. This lady created so great an impression, and
pleased so much, that I made inquiries about her after the
concert, and learned that she had studied under the best masters
in Italy — aa, indeed, I should have guessed without being in-
formed— and that she had only appeared at one or two concerts
in England. Mrs. Hayues' voice is a soprano, clear, brilliant,
and! of beautiful quality, especially iu the upper register. Ills
not what I would call a light soprano, nor can it be called
powerful. Naturally flexible, it has lieen well cultivated.
Mrs. Havnes displayed moro courage than judgment in selecting
the rondojin<d» frotu Cenerentola for her first essay. She might
havo chosen a bravura better adapted to her voice than "Non
piu meats," which was written for a contralto. The style, how-
ever, exhibited in tiie slow movement arrested attention, and
the brilliancy of execution displayed in the rondo delighted the
audience, who honoured the fair artist at the termination with
the heartiest applause. The taste and expression of Mrs. Havnes
instanced u
see tho risen moon," which was rapturously encored. The
critic of Rttlowes's Xhretrsbury Journal coincides almost entirely
with the above. I annex an extract from his notice, merely
surmising that Mrs. Haynes's voice is a pure soprano : —
"A Mr*. Hat nes," lay I the writer, "to whom we hare before
alluded, and who we find » a resident in tho neighbouring county of
Worcester, now made hrr appearance, and her first esssy was a
dangerous one — nothing less than the celebrated "Non pih meats"
from It >mitii'» Ceixtrentula, which haa been the stock oonoert-pieo* of
all the Italian and semi-Italian contraltos of many yean pait. We
ounnot is? that the selection was in every respect one of the happiest.
Her voice is a metsu soprano of considerable compass, clear and re-
sonant, and her execution of tho florid division* with which Rossini
has burdened the aria, was as near perfection as need be but there
waa s lack of power, especially in the lower notes, which ia requisite to
giro it ita full breadth of effect. We may congratulate this Isdy on
the possession of a voice of delicious qunliiy, which has been highly
cultivated and is most art i«t icallv used."
Of the other singers I need say no more than they all exerted
themselves to the utmost. Mr. George Russell played SchulufTs
Car naval d* Vtnist, and Paner's Cascade, ou the ]
satisfactorily in a
'Come and
MR. PUNCH TO MISS GODDARD.
A VALENTIXE.
(F,om Punch.)
Mr dear Miss Goddard;
A creature foddered
On Liszts and Thai bergs, extolled by Ella,
Perceives creation
Of new sensation
When you strike ivory, Arabella.
Who said Miss Goddard
Had been « soft sawdered ?"
Crtdal Judatu, our friend Ap' Ella.
Pilar* reads no praises
Which reach the basis
That he Wgins at, dear Arabella.
You'vu known, Miss Goddard,
What 'tis to plod hard—
The bee must toil ere he hives the nulla j
Now, music gushes,
Or leaps, or rushes
To your white fiug.-rs, Miss Arabella.
The folks, Miss Goddard,
Who yawn, or nod hard
At tricksters, whack with the umborella,
When for grand Beethoven
The way is cloven
To English heart.-", by my Arabella.
My dear Miss Goddard,
Funch " plies the rod hard
On brass Impostors" (see Swift to Stella),
And for that reason,
Hath praise, in season,
For golden Artists, like Arabella.
February H 1868.
Rotterdam.— The programme of the fourth concert of the
Eruditio Musics, which took place on the 21st ult., consisted of
Symphony No. «, with obbligato pianoforte accompaniment by
Niels W. Gade ; and overtures bv Al. Schinitt and Sterudale
Bennett. The vocalist was Madlle. Claire Dobre. Herr Bremer
presided at the piano, aud Herr Grutzniacher was the violon-
ccllial.
It was the first time Gade s symphony had hecu perforated
here. It was favourably received by the audience. We cannot
approve, however, of the obb'.igalo pianoforte accompaniment,
by which the strength of the orchestra as a body is rather dimi-
nished than increased. On the other hand, the piano would,
perhaps, produce s good effect if employed sltogethcr as an or-
chestral instrument, according to the plan suggested by Hector
Her!k.z, in his Theory of Instrumentation. Ofcourae, in such a
case, it would bo necessary to have a number of pianos, pro-
uigiiizeo
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120
THE MUSICAL WORLD.
[Feb. 20, 1858.
to the size of the rooms and the strength of the
An. [?]
We can only designate the production of Aloys Schmitt's
overture as a mistake on the part of the directors ; Bennett's
overture, Die Waldnumphe, was, on the contrary, most welcome.
Madlle. Claire Dobre. from Paris, sang an air from Spontini's
Ferdinand Cortet, and the well-known romance, "Sombres
Forets," from Rossini's OuiUaume Tell— Dutch Sheet.
'HiATRE ROYAL,
the m.>mgitii«t.t"f "r. Bo..-k»t«ie.
H A Y M A RK ET. — Under
Oo Moi.dav, F«bm try V2iid. and mirinff
c-me iv ...
c>i»mct«it
tp- earo oe i>f MISS AMY SEDGWICK aa Bitlnuc. in Sltak.perc'li
01 MUC'l ADO ABOUT NOTHING, ben.g her timt ti|>]iear.tD<-e iu that
tmdon After ••' fcrh. etory *v> nlng. a ut>w pmn-i roniic Cnriatmaa
tie I THE KLEEPIMJ BEAUiY IN THE WtiOD. OR, II A R-
1.E0.U1X AND THE SPITEFUL FAIRY. The .c ncrv be Mr Wnliiun t jilkx.it
Harlequin, Mr. Arthur Leelerc, . to umMiio. Mia* r\nny Wright ; Funtaloon,
Mr Muck*)-; Clown. Mr. Cleulea Lcclcro1; Tho Priiui.M ou Ucr traTela, Mix
Louiic Lcclercq
NEW ARRANGEMENT OF PRICES.-Orcbnlra stall* (whieh bu»t bo re-
tained tbf w. ole of Uit cTei.tug, mid for which tlicto wilt U> uociiargelor bookingl
A*. e*c*i
■sum
Pri
Mr. Culpus-udsU.
••eii. Fm*r tar - li.c-s lloxoe. 5«. : Upikt ttiitt. 1%, ; Pit. 2.. ; Gullerv. la.
>.«u P«ie*.-Dr»*a Boxes. 3. ; Upper Bux« ts. ; Pit, I* ; Gallery, ed.
t..uj Boxta, Two O'dttca* and Que Giinejt aud a-lnilf oaeli. SUige-Minmer.
rPHEATRE ROYAL. ADELPHI. — This eveniug,
X Februar. 30th. THE FA I BY CIRCLE ; OR. CON O'CARULAN 8 DREAM
in which MR aud MRS, BARNr.Y WILLIAMS will inno.r. ArterwhUI, will l„
V^yiZXZ i»-'"'■"'""1<>•^''<:dnuu',• fSUthtl YANKEE C dJRTSHIP. Oil.
aW OT_DOWN EtST. To cooclu Uj with tint suieoaaful original farco culled
ROYAL PRINCESS'S THEATRE.
UNDER THE MANAGEMENT OF MR CHARLES KB VN.
ON MONDAY and FridoyT HAMLET; Tuesday (for
tbeb iu«tnf Mr Hullue, Clown). ThureJay, lad Saturday A MIDSUMMER
NIGHT'S DREAM; Wodiieeday (firrt lira, thio two year./ LOUIS XI. Aud
ROYAL OLYMPIC THEATRE — This evening, the
K-rform n«. will oomnKii.o with YOU C\NT MARRY YOUR GRAND-
MOTHER. ATir wbWiTHP. DOGE OF DURALT0. To cututltkL; with bOOIS
AT THE SWAN. CotMBMnea at I al!-uua- 7.
CT. JAM ES'S THEATRE- PROFESSOR WI I J ALB A
K_7 PlilKELI. — Welnnday aud Catur-Ur itiYct 1 1> >na nt 3. .in I every erei.iug
lex«rpt Saturday) ut S Sru U, 6a ; ludeony hull*. 4a : U.xc*. 3a. ; Pit. ia:
Gall«r>-. In. Tiivntc BUS*, T.- o (llllli— Oi.c Ouin u and-ti-l alf, and Quo
Guinea. Place* li> be ktvnrrd «t »lr. Mtlcluu]'* Royal Library. SJ, Old Uond-atreit
GREAT NATIONAL STANDARD THEATRE
SHiiRKDlTtJH — Proprietor. 5!r. Jons Dnroiam
On Monday during llu week to cori'tiwrice «ttli tbu IRLAND OF
SILVER STORK, wi ll new acecry, an i W coiieludo with the tuutoinltn* of
OEORGEY PORQEY PUDUINil AND HIK. o„ W^in .Uy fnt tho »«;uiflt .,f
Mr. W Hmith a,.d Mix Cu-hiilo. On Satuniay, l.bnuuy «, Mr. O. K.
Dickouanna tlr t »|i|Kjunta.v.
TO CORRESPONDENTS.
L. — The programme of the I/uirich concert is non iu
our corre'pomlent iiwMy oblige ut with another?
WUl
Til K ML S1CAL WORLD.
I-OJIDON, SA1UKDAY. FfiuuUAhY 20rn, 1858.
Ok Friday (the 12th inst.) Mendelssohn's Elijah was per-
formed for tho 50th time by the Sacred Harmonic Society.
This masterpiece, as every one knows, was composed ex-
pressly for the Birmingham Festi vul, and was first produced,
under the comber's own direction, in September, 184G.
No one who hud the good fortune to be present can have
forgotten the triumph achieved on thut occasion, or tliu
elituUniaMii expivufacil by the vast audience for the composer
aud his work. People left the Town-hall exclaiming—" Here
is a new Handel, with a new J/eMtaA/" The fame of Men-
m already greater iu England before Elijah had
than that of any living composer; but this pro-
digious inspiration at once placed him on a level with the
greatest musicians of the past. Birmingham might well be
proud of an event which established its festival more firmly
than ever at tho head of our great provincial music-meetings.
The Sacred Harmonic Society, although the just pride of
our metropolis, can by claim to no such distinction as that
which has immortalised the Birmingham Festival. The
managers, however, were eager, as usual, to avail themselves
of so splendid an opportunity of strengthening their resources;
and, more than six months later, Mendelssohn was invited
to conduct four performances of his JBlyah at Exeter HalL
This was his last visit to London ; and for more reasons than
one it was a time to be remembered. Tho Royal Italian
Opera commenced its formidable opposition to Her Majesty's
Theatre on the 6th of April, 1647; and Alboni and Jenny
land were for the first time heard in England. On the
4th of May, the night of Jenny Lind's dtbut, Mendelssohn
was in the stalls, during the first two acts of Robert
It DiaUe ; and to not a few in the house the sight
of that spare dark form, by which the greatness of modern
art was represented, was even more interesting than the
new phenomenon about to turn the heads aud win the
hearts of almost all the inhabitants of Britain. The next
day, we believe, Mendelssohn quitted the country where he
was loved and honoured so much, and which he was never
destined to revisit. During his short stay among us, besides
directing tho performance of ElijaJt for the Sacred Har-
monic Society, he played the G major concerto of
Beethoven at the Philharmonic, aud conducted one part of
the concert — Mr. Costa superintending the other. He also
played at the Beethoven Quartet Society (his own second
Trio and Beethoven's Thirty-two variations on a theme in C
minor); and on the state evening presided at the organ
in Hanover-square, for the Ancient Concerts, then fast
tottering to the grave. Besides all this, he directed a
memorable (and miserable) performance of Elijah, in Bir-
mingham, for which he had been promised the same orchestra
and chorus at the festival— upon what good authority is still
remembered. Perhaps never on any previous occasion did
Mendelssohn appear so often in public, and in society, as
during this his lost visit to England. He went away, har-
mssed and worn, Baying that we were " a nation of time-
eaters."
During the interval between iU first performance at
Birmingham and its reproduction at Exeter Hall, Men-
tltlssohn, always anxious to perfect his music, had made
many changes in his oratorio. Among the most worthy of
note was the substitution of tho unaccompanied trio, " Lift
thine eyes to the mountains," in place of a duet by soprano
aud cvtUralto*, to which the words had been originally set,
and the completion of the great dramatic scene in Part II.
(where Jezebel the Queen incites the people to destroy
Elijah) by the important addition of the chorus, " Woe
to him ! he shall perish." The success achieved at
Exeter Hall, and the honour that accrued to the Sacred
Harmonic Society can hardly have been forgotten. It
was, moreover, tho indirect cause of a revolution which led
to the most significant results, and to which in all probability
the Society owes its flourishing existence at the present day.
Tho first four performances of Elijah were conducted by
Meiidelssohn himself; the next two by Mr. Surman; and the
two following by Mr. Perry. The interval between May and
November was spent by the Sacred Harmonic Society ia
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Feb. 20, 1868.]
THE MUSICAL WORLD.
121
deliberations that ultimately led to a division in Council,
sDd the election by a large majority of Mr. Costa, aB
conductor of the concerts. On the 1st of November the
popular and talented Neapolitan directed the ninth per-
formance of Elijah ; and, since then, he has superintended
forty-one others, the last of which took place on the evening
cited at the commencement of this article.
The fact that within the same period of scarcely eleven
years Elijah should have been presented fifty times, while
The Messiah itself has only been given forty-eight, is im-
portant— more especially when it is stated that the popu-
larity of Mendelssohn's oratorio is at this moment quite as
great as in 1847, and that, on the other hand, it has been a
reliable attraction during the whole series of years, not only
at the triennial festivals of Birmingham and Norwich, but at
the meetings of the choirs of Worcester, Hereford, and Glou-
cester, and the recently constituted music gathering at
Bradford. Add to these the countless performances, both in
London and the provinces, by bodies of less magnitude (Mr.
Hullah's Upper Singing Class at St. Martin's Hall taking
the lead), and it may be safely asserted that no great work
{The Messiah not excepted) has ever been given so often in
the same space of time.
That Elijah is the most faultless of all musical master-
pieces, was our conviction from the outset ; and that the
Eublic should thus for have shared our admiration for its
eauty and sublimity causes us, we are ready to admit, no
slight degree of satisfaction.
Among the many growls that have arisen in connection
with those terrible " festival performances,'' we may espe-
cially distinguish a lengthened grumble, shaped into an
article for Eraser's Magazine, and entitled " A Word about
our Theatres." Ostensibly the frightful events that brought
January to a sad close occupy but a small sliare of the
writer's attention, but as the subject* discussed at large bear
no particular reference to the present year, while the
temper in which the article is written gives evident signs of
a recent rufiie for which the "festivities" will clearly
account, we may look for the key to the whole twenty
columns in the single column that, as if by chance, touches
on tho Opera-house Macbeth.
Certainly there is nothing more irritating than the dis-
appointment which one feels when, having tried to like
something against one's better judgment, one finds one's
benevolent intentions constantly thwarted by the object
one would foin admire. A dear old friend gives you a
dinner at which the soup is cold, the fish manifests a
tendency to decomposition, the boiled fowls are almost raw,
and the potatoes have a " bone in them." Tou know that
your dear old friend means kindly, that he is providing for
your entertainment out of a straitened income, that the
warmth of his welcome exceeds the chilliness of his banquet,
and therefore you try to fancy the dainties less exceptionable
than they are. But your attempt is vain ; the conviction
that you have eaten a confoundedly bad dinner is not to be
overcome by any sophistry of the heart, and as the evening
advances you find yourself in a misanthropic mood, execrating
two of the greatest blessings of life, viz., friendship and
culinary art in general.
Now the temper which pervades the Fraser article, exactly
corresponds to toe state of mind that a gentlemen would be
in, who having paid a high price for a box at Her Majesty's
Theatre, and having found that it did not aflbrd him a view
of the Queen, resolved to be pleased with the performance
on the stage, but found his resolution frustrated. We msy
be wrong, but we will suppose that the article is related to
circumstances of this sort, as effect is related to cause
A determination to like Mr. Phelps comes early into the
scheme for contentment. Bearing in mind the merits of
that meritorious manager, tho writer remembers that " at
Sadler's Wells the play and the actors are not sacrificed to
the costumier. All needful care is bestowed upon the scenic
accessories ; but the hearts and souls are arrived at as well as
their ears and eyes." The eulogy of this distinctive virtue
of Sadler's Wells is in harmony with a theory of our
essayist, that over-attention to decorative accessories is
a great cause of the decline of dramatic art, but his memory
has been somewhat treacherous. The system of forcing
extraneous ornaments upon the Shaksperean drama has
been carried on quite as unscrupulously at Sadler's Wells as
at any West-end theatre : witness the mechanical "effects"
iu Pericles, the details of the Tempest, the moving panorama
and dummy soldiers in Timon of Athene. No one, on the
occasion of a grand " revival," has appealed more openly to
the taste of the public for decoration than Mr. Phelps — and
we will add that the appeal has always been made in the
most efficient manner, tho resources of his theatre being
taken into consideration.
However, in spite of his strenuous efforts, the kind-
hearted occupant of the bad box can't be satisfied with Mr.
Phelps after alL He says : " It has done Mr. Phelps little
good, we fear, as an actor, to havo been so long away from
collision with performers and audiences of the first class, and
bis performance of Macbeth on the occasion we have men-
tioned was not what his well-wishers would have desired."
Disappointed in Mr. Phelps, the enthusiast for dramatic reform
seeks for enjoyment in the shabbiness of the scenery. " Still
it wsh a comfort," he exclaims with forced joy, " to get rid,
if only for a night, of the rubbish of antiquarianism."
This petit verve of bliss is certainly free from the sprig of
rue; the lover of a bad mite-en-scene had indeed every
reason to be satisfied with the manner in which Macbeth was
put upon the Btage. However, we have here a miserable
sort of enjoyment at best, and the writer was evidently
more pleased to find, by the Lady Macbeth of Miss Helen
Faucit, " that we still possess an actress almost without a
rival in Europe." Miss Helen Faucit " rises to the measure
of Shakspere's great creations with a sweep of power we (the
essayist) believe beyond what has won the reputation of
Rachel and Ristori." This remark is, no doubt, kindly
meant, but it is most unfair to the accomplished English
actress whom it eulogises, for by needlessly placing her above
Rachel, as for as the " sweep of power is concerned, it
forces us to remember that whereas a whole audience in
Her Majesty's Theatre was mightily grasped by the genius
of Rachel, the tragedy of Macbeth, played in the same theatre,
produced no sensation but of weariness. An English actress,
not being a vocalist, is not bound to make an impression in
a huge theatre, constructed for lyrical purposes; and Miss
Helen Faucit loses nothing by not producing the effect that #
perhaps a Rachel alone could attain. Why, then, force the '
comparison upon us 1 However, "notwithstanding the great-
ness of Miss Faucit, the essayist, falls back into the sad reflec-
tion : " Such is tho state of our London theatres, that there
is, apparently, not one at which this power can be made
available." This remark, it will be borne in mind, was made
before the lady's engagement at the Lyceum.
From the general disappointment at the performance,
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122
THE MUSICAL WORLD.
[Fsb. 20, 1858.
which the writer cannot conceal, and which ho shares in
common with every one who witnessed it, arises the bilious
Article, of which we have noticed a small but important part.
A general hatred ngninst prosperous people, inconsiderately
directed pervados the whole of the effusion, in which right
and wrong are blended together in fashion the most extra-
ordinary— a broad anathema being spread over theatrical
free-trade, antiquarian decoration, burlesque, Mr. Robson,
and the newspaper critics. In short, popularity itself is as
distasteful to the essayist as to a Baturday Reviewer. But
his largest vial of wrath is poured on the head of the
journalists. Hear him: —
" The editors of our leading journnl* obviously think it of no moment
how questions of art ire dealt with, and we Wo become the laughing-
stock of Europe for the ignorant, and not rarel.tr dishonest, trash to
vrhicli they give currency aa criticism. In no department U tl.i» di..
creditable fraluic more conspicuous thou in that of dramatic criticism,
Use pre**, wbicJl should bo the great check upon the abuse* of tho
stage, has for long contributed to lomc .t them. While it is loud
enough in its moans over the decay of the drama, it rarely lifts its
voico agaiust the causes of this decay. Dad pieces and worse acting are
praised ; good pieces and good acting are as often as not pns»i-l over in
silence. The vicious management of our leading theatre* is not de-
nounced. At one of these, for example, we may see a Lady Tenr.le with
the airs of a torttie, and a Charles Surfsco with the manners of n
clown, but tbepspers of next morning probably will extol the refined grace
of the one, and the gentlemanly ease of the other. Acuin and again
within the lust few yenrs have we been called upon to admire actresses
whose taleut for costliness of wardrobe was supreme, but who could
neither speak, walk, nor look like Indies; my, who were continually
violating, with an unconsciousness truly astounding, the simplest rules
of Walker and Lindley Murray. WfuU else, indeed, could tie expected
from the uneducated pretenders who have lately fllle.i the places which,
until the last change in the management of our leading eoju-dy theatre,
were occupied by gentlewoman ofculturc and experience, who respected
theni'drcs and thiir vocation P An hom-st press would have ma le it
impossible for • manager to insnlt the understand!, g nnd good feeling
of lbs public by thrusting such vulgar iucapscity upon them. It would
have told those 'Cynlhias of the minute,' who did not know the rudi-
ments of grammar, much less the rudiments of the dramatic art, to
find another sphere for the display of their fine dresses and tawdry
manners. It would have compelled managers to ree that their actors
did not trifle with their parts, and made actors foci that they could not
do so with impunity, But this it lias not done; and wo can hope for
no improvement until the criticism of the stage is in the hands of men
who are not only competent to judge, and have nothing to hope for
from managers, but who also keep thcmsclres entirely aloof from all
personal association with actors."
This is all very well in black and white, but by the rules
of human society, a man who is competent to judge works of
modern art, and likewise takes an interest in such works,
will insensibly bo brought into contact with the artists. A
critic on painting who knows nothing of painters, a critic of
music who ignores musicians, a critic of theatres who Is
Inaccessible to dramatists and actors, is a chimera that has
no existence in actual life; and the more eminent the critic
becomes, the greater number of artists will be comprised
within the circle of his acquaintance. The same persons
who like the society of literary men also like the society of
artists, and a constant meeting of the former with the latter
is absolutely inevitable. The eremitical isolation which tho
Fiaaeriati recommends would have absolute ignorance of art
for its inevitable result,
Mites LaKAatrs, pianist, daughter of Mr. Lazarus, the cele-
brated player on tho clarionet, performed lately at a concert
at Ipswich, with brilliant succees.
Adder's comic opera of la Fianctt has been revived at the
Opera-Coniique with diatiuguished success. The revival, and
tho new cast, will receiv* oen*id*ration in our next.
MISS ARABELLA GODDARD'S 80IRERS.
At the sccoud performance, on Tuesday evening, the
audience crowded the rooms to suffocation. Tho programme
was ns follows : —
n«T i.
Sonata in 1" major, piauo and v:olin (No. 13) Moxarl.
Grand Boasts in A list, "IMus Ultra" (Op. 71) ... Duasek.
ToeCaiS con l-'nga, in I) minor, first time in public,
(from Book \ of V. C. Griepenkerl a " Complete Col- ( T«s n
lection or the l'ianoforte Works of Bach"), Fantasia f "M
cou Kughetls, in I) major (do. do.) )
Sonata in C minor (Op. Ill)
Grand Trio in I) minor (No. 1), pianoforte, violin, and ) jT^ddrtohn.
violoncello ... .. ... ... ... ... )
Mozart replaced Haydn, Dussek Cleincuti, Boetlioveu Weber,
mid Meinl. Niuliii Beethoven — John t>id»a.itiiui Bach retaining
the plnec of honour. So that, ns \vu hinted in our notice of the
first soir/e, the present series of concerts is as essentially in
honour of Bach as that of last year was in honour
of Beethoven. In 1857 the music of imagination was
represented ; it is uow the turn of the music of intellect. (The
Director of the Musical Union may deduct* from the above, that
wo deny the quality of intellect to Beethoven, nnd the quality of
imaghuuion to 15ach ; but the Athenecnm will acquit us of any
such intention.)
Mozart's charming sonata in F (one of three for violin and
piauo in the same key) has not been heard in public within the
remembrance of the present generation. This made its exqui-
site beauties, and its equally exquisite interpretation by Mian
Arabella Uoddard and M. Sainton, doubly welcome. The
audience admired the vigour of the al/earo, the quaint beauty of
thu air with variations, and the expressive melody of the jir.aU
(in the style uud measure of a tuiuuet) ; and gave veut to their
satisfaction at tho end of each movement. If a preference could
be remarked it was in favour of the " Variations ;" but the
whole sonata afforded unequivocal delight.
On more than one occaaion we have called the attention of
our readers to Dussek'* superb and unjustly neglected Pitt* Ultra.
We hnvc also described its origin, or rather the origin of its
seemingly inexplicable title. A note in Miss Uoddard 's pro-
gramme sums up in few words what it has frequently taken
half a column to recount: —
" The Sonata Op. 71, in France, where it was originally published,
bears the title of Lt Jttlottr d Pari*. Just before it was *csil to Eng-
land, s Sonata by Woclu had appeared, under the name of Ae Pint
Ultra, tho finale consisting of vnruitious on " Life let us cherish,"
somewhat in the style which M. Henri Hem was long afterwards sup-
posed to- have originated. " Ne pins ultra" was intended to convey
that diflicultv could go no further] but Dus.ek's London publisher,
judging that'the ifefewr ,i Paris was even more difficult than Woeul's
tvouata, reehristeued it Pint Ultra, with a dedieation on the title page
to Ae riv Ultra."
Plut Ultra, however, is not merely difficult ; it is a grand and
imaginative composition, and one of the very few works pro-
duced at the commencement of the present century • which fore-
shadowed the immotisity of Beethoven. We have nu space
to describe it here, but must refer our readers to foregone
analyse* and pnuegyrica ("an<e" — we forget both page aud
volume). Suffice it, every movement is instinct with energy
aud muulul power, show ing Dussek — the " Prodigal," (as Mon-
delssohu christened him "in our ;>rescucc")t — striving to nurit
the hospitable welcome of his mother, " Art," when returning
from his vagabondage, and owning that ho had wasted, in a
measure, the splendid gifts with which she bad endowed him.
Poor Dussek ! It was a pity he ever kuew Woelfl, nnd Piuto,
and John Cramer. When his life had numbered more than
• Dussek died in 1812. Plut Ultra was bis 71st "op**." His lsst
great work, V Invocation, numbers Op. 77.
Veeorrf, "in I
t V.dt the Musical UuU,*
of which every great
aonwtliiog— sensible or the
purpose of the " '
the presence of" the author
of tho present age seems to have said
', as may have suited the immediate
Director in recording It.
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Feb. 20, 1858.]
THE MUSICAL WORLD.
123
half a century of summers, he became a Pinto— ami, aa that
thoughtleaa, gifted boy waa cut off in premature youth, ao
Dusxek (in so far as music waa coucertieil) may he aaiil to have
been cut off in premature maturity. (Any cumini lector will
understand us).
Never did a genius whose early years had been comparatively
misspent, strive so hard to declare what was within him, as
Dussek, in the first movement and the scherto of the sonata in
question; never did a comparative failure (judged from the
point of view of artistic severity.) generate such a full glow of
beauty as in the first instance ; and never was success more com-
eauty as in tbe brat instance ; I
plete and triumphant than in the last. In the Allegro non
troppo Dtissek fell, like Pine ton, amid a halo of glory; Install
was more imposing than auolher'a rifa\ It might even be said
that he fell not, but was carried away in a chariot of fire, like
Klijah — being only the imperfect man — the prophet (as M. Otili-
bicheff would not say) of the lutu re " Messiah" — Beethoven. In
the brief tchtno Dussek spoke the language of inspiration, untram-
melled by the arduously conquered rules of art,4 and with an elo-
quence that could not be misunderstood. The adagio and
Jtnale, if less strikingly original, are quite worthy of the rest.
Miss Arabella Goddard must have been inspired when she
performed the Plus Ultra. Her execution was certainly "pint
ultra" than any imaginable "no plus ultra." But that waa
nothing in her case. It was the strong sympathy that her whole
peril •nuance manifested with the author she was endeavouring
to interpret. Into the first movement especially »he threw her
whole soul, as though she felt that it was really something great
that only wanted the proper expression, and was sure to be
appreciated if it got it. She was Duasck't advocate, and the
dead composer was lucky in such a pleader. No angel ever
urged the pardon of repentant sinner with more touching grace.
Every heart was won by this yearning and indefinably beautiful
first movement. The tchenu wanted uo pleading; while the other
two pieces, being more ad captandum, were easily made brilliant
and effective by such playing as that of Miss Goddard. To
conclude, the Plus Ultra created enthusiasm withont bounds, and
the sternest purist recognised the genius that had given it birth.
From Dussek to Bach — what a stride! — backwards or forwards
mutters little. How one man made light of his gifts, and how
the other treasured them 1 And yet the one was in reality no
more a squanderer than the other a miser. If Bach's fugues re-
present — as the false prophet of the age asserts — " music
egotistically trifling with itself," we can only say that we could
pass a life in witnessing their egotistical performances. Some
who respect Bach (in spite of themselves) without at the same
time understanding him, havu snid that Miss Goddard should put
on a wig when she plays the music of the master of harmony in
public. Not so ; she plays it with such a grace and invests it with
•uch a charm that tne wig falls from the head of the patriarch,
and he becomes pictured to the mind's eye as an anient aspiring
youth, with dark flowing hair, all his own, and nature's glossy
hue npou it. Miss Goddard 's interpretation of Bach is indeed
unique, and can tnly spring from nu instinctive sympathy. To
understand Bach is the test of musicianship ; to love him iuvolvea
a convincing proof that to the finest perception of the mnsical
art is united the imaginative faculty, without which the complete
artist is impossible. Miss Goddard both understands and loves
him — which is shown iu her playing.
After three such illustrations of three such masters as Mozart.
Dussek, and Bach, to approach the very last of Beethoven's
sonatas declared a confidence that, but for the entirely successful
result, would seem to have bordered on imprudence. Nothing
of the kind. Miss Goddard waa just as much at home with the
poet Beethoven, who aspired to the skies, as with the philo-
sophical Bach, who explored the very depths of harmony ; and
perhaps, among all her performances during this remarkable
evening, not one so entirely attained perfection as that of
Beethoven's snblime sonata in C minor, Op. 1 1 1, in which the
giant, taking a last farewell of his favourite solo instru-
* Tbe plan of the minuet nf this scherzo, which iet» otT in F sharp
minor, sad terminates in the key of the •onsta— A flat— could only
1 by genius. No art could u»v» invented it.
ment, would seem to have said — " Thou sbalt be another
orcJifint!" So true is it. that no symphony is richer in
colouring than this roost original and marvellous sonata. No
work of Beethoven so strikingly illustrates two opposite states
of mind. The opening Ma-stoso predicts with amazing grandeur
the fiery and ungovernable ebullitions of the AUejro appassionato;
while the arietta with variations in the major key, which con-
stitutes the /ftt'i/o, indicates a complete revulsion of feeling ; and
with the exception of one angry, turbulent, and restless passage
(Variation No. 2), represents the master of tone in a train of
absorbed and mystic adoration of the wonderful works of God.
It is Beethoven lying down in the open country, at noon; under a
blazing sun hearing, with the ears of a musician inspired,
the varied sounds of nature, and viewing, with the eyes of a poet
equally inspired, the multitudinous objects of the dwdal earth.
Such music cannot be described ; but happily it can be played;
and by her playing Miss Goddard made an echo for it in the
hearts of her intelligent audience.
Probably nothing else than one of the grand trios of Mendels-
sohn would have been listened to evenpatientlv at the end of such
concert, and after such a sonata. The trio in D minor, which
might almost reanimate a corpse with ita galvanic energy, thus
magically performed (MM. Sainton and Paque being worthy co-
operators), brought to a magnificent climax one of the most
interesting performances ever heard. The audience wis worthy
of tl
AMATEUR MUSICAL SOCIETY.
Tim third concert (the first of the ordinary series) took place
on Monday j when the Hanover-square Rooms were crowded
with a brilliant and fashionable audieuce. The following was
the programme :—
Past I. — Stuipbony in F, No. 8— Bsethoten. Aria, " Qusndo le
ser«"(Lui.s MdUr), Mr.. Frederic Dickens- Verdi. Air, •• Come
unto Him" (Immsnuel), Mr. Arthur D. Coleridge— Henry La el is.
Victoria Festirjd March— VaL Morris.
Pa*i II.— Concert Stuck, Mr» T. J. Tlioni) son— C. M. tou Weber.
9ong, "If o'rr the botuidlssi >kj," Mr». F. Dirkm* — Moliuue.
"Miserere" (11 Trovatore), rolo* by Mctini. Pollock and Burehott—
Verdi. Song, " Thou, itresmlst, hist s tuneful voice," Mr. Arthur P.
Coleridge— S. \V. Wiiley. Orerturo (Ls Dsrne Blsuche)— Auber.
Conductor — Mr. Hi-nry Leslie,
Tho eighth symphony of Beethoven does not suit the amateur
performers. In the Concert-stllck of Weber Mrs. T. J. Thompson
was immensely applauded, and at the termination of the last move-
ment (decidedly her best performance) was recalled unanimously.
Mrs. F. Dickens (her sister) sings with taste and simplicity,
and was much admired in Ilerr Molique'a beautiful little song.
Her voice is a contralto of the purest quality. Mr. Arthur D.
Coleridge sinjjs with expression, and would please even more if
he did not occasionally lorce his voice. Messrs. Alfred Pollock
and George BmeheU won general approbation for their oboe
and cornet sotoa in the "Mis. rcre." The overture to La Dame
Blanche (str.uige to say) did not go well. The pieces to which
no allusion ha» Ik en made we were unable to hear.
At the fourth concert Mr. S. Waley is to play Mozart's piano-
forte eoucertn in A (No. i), which is very littlo known ; and
Mr. Frank Mori's overture to the Put of Florence will be given.
The symphony — Haydn's B flat— may afford the amateurs a
chance of redeeming their symphonic laurels ; but wo think
thev would do wisely not to provoke the shade of Weber, by
meddling with his Ruler of the Spirit*.
Theatrical Itkms.— Miss Helen Faucit has appeared at tbe
Lyceum as Lady Macbeth, and is announced to repeat the
character. Her engagtment of six nights is, in all likelihood,
but a step preliminary to her return to the stage — a consumma-
tion devoutly to be wished by all lovers of legitimate acting. —
At the Haymarket Air. Hudson has been playing for several
nights Sir Lucius OTrigger, in the Rivals, and appeared on
Thursday evening as Sir Patrick Plenipo iu The frith A mbamador.
Mr. and Mrs. Keeley are also engaged at the Haymarket, and
have been playing iu the farce Twin* KUUd, Miss Ajny
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THE MUSICAL WORLD.
[Feb. 20, 1858.
MUSIC IN LIVERPOOL.
(From our ov>n Correspondent).
Wb have had a few musical events (worthy of special men-
tion) in Liverpool, ainco your hut publication. On Saturday,
the fith instant, Misa Charlotte Montague and Miss F.Hudda'rt
appeared, and Mr. Henry Loxarua came to illustrate a well-
established reputation. Miss Fanny Huddart had a reputation
to sustain, and she maintained it. In the duct with Miaa Mon-
tague, " May Bella," MendeUsohu's muaic waa rendered with
pood expression, and merited the encore it obtained. Mr. Henry
Lazarus ia well known for his great power of execution on the
clarionet, the difficulties of mastering which lew executants
have been able to overcome, but on which he discourses with a
master voice. His solo from the favourite opera / Puritani
received an enthusiastic encore, which was answered by a still
more favourite air and variations from La Sonnambula. Ilia
rendering of the fantasia on the Scotch air, " Ye banks and
braes of bonny Do- .ti " was received with, if possible, more en-
thusiasm. On Saturday evening last a vast crowd was attracted
to Mr. Hime's deservedly popular "People's Concerts" at
St. George's Hall, to hear the debut hero of some pupils of the
.-famed Mrs. Wood (Mias Paton), who "assisted" at the
pianoforte. The concert waa a decided success, and Mrs. Wood
was most enthusiastically received by the immense audience.
On Monday evening the Pyue-Harrisou troupe made their
first appearance at our Theatre Koy.il, aud they have nightly
played The Itote of CattUie before large aud fashionable audi-
euces. The local critics are loud in their eulogies of the
tnstmke of these operatic performances, which at last realise
the existence of that musical myth — a national opera. Balfe's
sparkling composition has quite hit the taste of our musical
atlletaute, and the admirable vocalisation of Miss Louisa Pync,
and indeed of all the artists, and the excellence of the chorus,
band, scenery and appointments, have given more genuine satis-
faction than any operatic performances I have ever witnessed in
the provinces. The troupe appear here for a month, aud at
present there is every prospect that their stay in Liverpool
will be profitable to themselves and pleasant to the public.
Ou Tuesday evening, Mr. Santley, a Liverpool man, made his
debut here at the first Philharmonic Concert of the season.
He was well received, and his voice much admired, (ratal he did
not seem in the full possession of his powers, I should not like
to offer a decided opinion upon Ids vocal merits till I hear him
again. The other artists were Madame Lcmmaus Sherrington,
who sang with great brilliancy, and created quite a furore in
Macfarrcn's "May-Day," and Charles Halle, whose perform-
auces were as chaste and unexceptionable as of yore.
MUSIC IN EDINBURGH.
(From our own Correspondent. )
Until the visit of the Pyne and Harrison opera troupe (just
terminated) there had been a long dearth of music here, broken
only by the annual winter visit of M. Jullien, who gave a most
successful series of five performances. These, being of the usual
kind, call for no remark, unless it be, that, judging from tho
reception given to the performances, M, Jullien may safely make
further experiments with the masses (at least in this city) in the
way of classical music.
Although tho recent performances of the Pyne company at
the Lyceum have been frequently reviewed in your columns,
perhaps a notice from a different point of view, local and musi-
cal, may not be out of place. Next to the reappearance of the
universally popular Miss Louisa Pyne, tho principal feature was
of course the performance of Balfe's new opera for the first time
here. Public expectation had been greatly raised by accounts
of the success achieved by the performance of thi9 opera in
London, but I must confess that the feeling here was one of
disappointment.
I do not think Miss Louisa Pyne's voice is improved since her
last visit here, before her trip to America; but in finish and
purity of style she is as great as ever. Such brilliant execution,
such power of sustaining the notes, such distinctness of articula-
tion, and (last, not least)
few singers attain, Such an artist is doubly welcome at n time
when systematic training is so much neglected, and singers — to
use a figure— try to run before they can walk.
Any lengthened notice of the other performers is unneces-
sary. Mr. Harrison, by the vivacity of his acting, atones in a
great degree for any other deficiencies. Mr. F. Glover has a
good method of singing, but I am afraid that too early promi-
nence is leading him to force his voice, which is not yet fully
developed. Mr. Honey is a valuable member of the company,
but rather inclined to over-do some of his comic impersonations.
Miss Susan Pyne is always satisfactory, and in the part of
Azuccna, iu It Trovatore, evinces high dramatic power. I may
mention that this opera was exceedingly well done, and the
Loudon public may look forward to a great vocal treat in Miss
L. Pyne's performance of the part of Leonora.
To Mr. A. Mellon the highest praise is due for his admirable
direction of tho whole. The excellence of both orchestra and
chorus was the subject of universal remark, although, as is
always the case with touring parlies, both were deficient in
numbers.
I have only room to mention that Miss Arabella Goddard
made an immense sensation at the Re id Commemoration Concert
on Saturday evening, it being her first appearance here. May
she soon come agaiu !
I am glad to sco that you are taking up the subject of the
Keid bequest. It may interest you to know that the new music-
room for the University, in connection with this bequest, is at
last commenced, the foundation stone having been laid last
Saturday, the anniversary of General Reid's birthday. It is to
cost 48,000, aud will, I believe, fully meet the wishes of Pro-
fessor Donaldson. An organ, at a cost of ,£x,000, is to follow.
Edinburgh, Feb. 17. H.
(From another Correspondent.)
One of the most successful " Reid Concerts" on record took
place on Saturday, the 1 3th inst. I enclose you the programme.*
The aiugers were tho " principals" of the Pyne and Harrison
company, who have lately been delighting musical connoisseurs
in Edinburgh. They gave a large variety of nieces from Italian,
German, and English authors, with more or less success. As it
waa Saturday night (aud you are aware that " Auld Reekie" ia
uncommonly devout), it was requested before the coruuicuc&-
ment of tho ontertainment, that there might be no " encore*."
Thus Miss Louisa Pyne, who sang " Casta Diva" very brilliantly,
and Mr. Harrison, who gave " I love her," from The Rote of
CattUle, in the popular atyle for which he is noted, although
called upon by the least straightlaced part of the audience (the
majority), to repeat their performance's, contented themselves
with bowing their acknowledgments.
"Sandie" was not altogether satisfied with this arrange-
ment, but, nevertheless, submitted to it with tolerably good
grace. In the instance of Miss Arabella Goddard, however,
our musical enthusiasts (and we are really musical in Edin-
burgh) would put up with the restriction no longer. This
great and accomplished (though very young) performer had
already played Beethoven's fine pianoforte concerto, with
orchestral accompaniments (in C minor) magnificently — so
indeed as to win the unbounded admiration of all tho connois-
seurs and well-informed amateurs in the concert-room. To
" encore" a piece so long, however line, was of course out of the
question. But when, in the second part, Mias Goddard gave,
with a delicay, taste, expression, and brilliancy, impossible to
surpass, Thalbcrg's arrangement of " Home, sweet home," the
audience were almost frantic, aud insisted so uproariously and
unanimously on a repetition, that Mr. George Wood (who repre-
sents at these concerts both Gen. Reid aud Professor Donaldson)
was compelled to lead her onee more to the piauoforte. Instead
of repeating "Home, sweet home," Miss Goddard substituted a
fantasia on Scottish airs, the most prominent of which were
"Auld lang syne," and ono of our racy, genuine, invigorating,
national " reels." You may imagine the result. The first note*
of "Auld lang syne" elicited a burst of applause, while the
• The 1
wu published in <
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Feb. 20, 1858.]
THE MUSICAL WORLD.
125
"reel,*' executed 'with an animation and a rem? to set all
Edinburgh dancing, completely turned the heads of the as-
icmbly. Mint) Goddard retired amidst enthusiastic shouts of
delight. It was her tint appearance in Edinburgh. When she
comes again she will be " feted," and no mistake
There was a very good orchestra which played overtures
pieces (including the Minuet and March of
Reid) with great precision and effect, under the
experienced guidance of Mr. Alfred Mellon, who accompanies
the Pyne-Harriiion Company in their provincial tour. Mr. Car-
rodus, too, the young Yorkshire violinist, performed a fantaiia
on the Trovatore so well that it was generally regretted lie
l ad chosen such poor music for the display of his talents. Miss
Susan Pvne, Messrs. F. Glover, St. Albyn, aud Hamilton
Brabam, were also among the singers, besides Miss Thirl wall
aud Mr. Wallworth, who took part in one of Mendelssohn's
l-art-songs ("When the west1'), with Miss S. Pyno and
Mr. St. Albyn.
It was generally remarked that this concert was better worth
the £'.100 bequeathed by General Reid for the annual Com-
memoration performance than most of its predecessors, although
probably not much more than one-third of the allotted sum was
spent upon it J. L.
Edinburgh, Feb. 15, 1858.
MUSIC AT TURIN.
(Frost our otrs Corrrtpontitnt, Feb. 10.)
Havixq been for the last three weeks a victim to the pre-
vailing epidemic, "La Grippe," 1 have done little but sip Ustin,
nnd so scarcely thought it worth writing to apprise you of the
fact. However, on Saturday last, my medico j.ave me per-
mission to resume my nightly visits to the Opera, and now being
competent to send you a little musical chit-chat, I lose no time
in doing no.
Great changes have lately taken place at the Regio. Ever
since the opening night, to which the correspondent of the Time*
alluded, at the same time slating the reasons of the general
disapprobation of the performance, this establishment haB
bet n en manrai*f odevr. Doubtless politics have in some
measure chilled the enthusiasm of the audience ; but every
one agrees that the directors did not exercise prudence or
wisdom in the choice of their troupe. Mdlle. Moreau-
Sainti, from the fact of her being a Frenchwoman, and more
especially from her being essentially a singer of the French
school, as might bo supposed, would not bo acceptable
as the prima donna attotuta in a city like Turin, where
Itclian music and the Italian style of singing reign predomi-
nant. Then the selection of Madllc. Sanchioli, as a prima
donna, was, at the least, a mistake. I would not fur the world
say anything prejudicial to this lady, for I think she has talent,
and might become an artitte, but the directors wore at fault in
bringing her forward so prominently. In such parts as the
Queen, in La Zingara, aud Orsini in Lucrezia Borgia, sho would
be admirable, but Fides, in Le Prophite, at present is far be-
yond her means, and this, I imagine, they bavo at last dis-
covered ; for some time ago, Signor M irate, whose performance
of th» Duke in Rigotetto I have mentioned, was indisposed and
unable to sing for six successive nights, so the only choice left
them was to givo Le Prophete, with Madlle. Sanchioli, or close
the Theatre. They chose the latter—which speaks for itself.
But this is not all. In the early part of last week, Madlles.
Morcau-Sainti and Sanchioli, aware of the riisagreable position
in which they were placed, threw up their engagements, and
before the week was ended, Mdme. Lancia did the same. It is
said that the reason given by the last-mentioned lady to the
directors, was, that she objected making her first appearance
before an audience that was exasperated with the establish-
ment, and everything and everybody concerned la it ; but I
bave heard that the real cause of her decision is, that she has
yielded to the entreaties of her friends, and has consented not
to appear in public. Whether this be truo or not, I cannot
say, but certainly such a report is going the rouud of the clubs
and cafe*.
The opera at the Regio on Saturday was / Puritani, which,
considering that Madlle. Marai is the only prima donna left,
was about the best that could be given. Although the lady has
but a small voice, aud is by no means an artist* of the highest
as Madlle. Sanchioli; and I expect that
y prefer her to the French lady, who has
disgusted at not having made the furor*
order, she is quite as much entitled to the post of prima donna
at the Court Theatre as Madlle. Sanchioli; an
the Turinese infinitely j
departed, thoroughly di _
she anticipated. Elvira~is a character more suited to Mdlle
Marai than Bert* in Le Prophet* (but being so accustomed to
Bosio in the part, I could not help missing her). She sang the
whole of t he music skilfully, and in the difficult bravura passages
displayed infinitely more agility than I thought her capable of,
though, at times, I was pained to observe evident signs of phy-
sical exertion, especially during the delivery of " Son vermin,"
which, nevertheless, she sang wonderfully well, and obtained
the only bit of the evening. As Arturo, Signor Mirato was not
nearly so successful as he had been in Rigoleito. His singing of
" A te, o cara," however, was good in many respects — full of
feeling and grace, and marked by an elegance of phrasing which
is often disregarded by singers of his stamp. His propensity to
the robuttiuimo style of singing marred those scenes which
should bo characterised by tenderness, and the absence of any-
thing approaching to fury. Sigoora Benedetti and Pizzicati
were the representatives of Giorgio and Ricardo; but they both
seemed out of sorts, out of temper, out of voice, and most fre-
quently out of tune, which is unpardonable in artists of their
calibre. No statement was advanced why or wherefore "Suoni
la tromlV was omitted. On Sunday evening (you must not bo
shocked), I went to the Teatro Rossini, which, since my last visit,
a few evenings after my arrival here, bears a better reputation. I
understand that a party of gentlemen have undertaken the
management of this theatre for a short operatic season during
Lent, which it is expected will be eminently successful, as they
promise to give us first-rate principals, a good band, and efficient
chorus, and this little theatre is decidedly the prettiest and by
far the most comfortable in Turin. Who are to be the prin-
cipals no one seems to know, but in a week's time we may expect
to see the official prospectus.
The night that I went to the Rossini the Barbiere was given.
Neither Kosina, nor Bartolo, nor Almaviva, were first-rate, bnt
they all sang quite well enongh, and acted with sufficient spirit
and vivacity to render the performance satisfactory ; and I was
quite surprised to find so good and steady a band, and so much
completeness in every department. Sig. Grandi, who was the
I Figaro, has a good voice, with (for a baritone) remarkable
facility of execution, and is a good actor, though I expect his
forte is not in buffo characters.
On Monday I went to the "Viltorio Emmanuels, where the
performance consisted of Mathilda di Shabran, which, not having
been heard for some years in this city, will doubtless have nearly
as Mo*i, which has drawn full houses f.
a run as Jlosi, which has drawu full houses for up
of six weeks. I will allude to the perlbrmanoe of Ma
a second hearing.
February MM.— I have just met a friend who, informs me that
the directors of the Teatro- Rossini have offured an engagement
for the Lenten season to Mad. Lancia, and that she seems likely
to accept it. If this be true— and I have good reason for
believing that it is — the report I mentioned of her having given
up the profession of the stage, must be what the French call a
A YANKEE- ATHENIAN VIEW OF THALBERG.
(from " Harper'* Botton Weekly.")
The American tour of Thalberg fell iu an unfortunate year,
and yet his notes have not been at a discount. He has played
in earnest all over the country, making it a great keyboard, over
which ho has run from one end to the other, and now lifts his
fingers, puts one hand upon his heart, and one upon his pocket,
and so bows himself gracefully away.
There has been no difference of opinion about him, as there
was about Jenny Lind and other famous musical artists who
have come to us. Tho simple perfection of his performance
was at once appreciated, and always enjoyed ; and yet at last
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126
THE MUSICAL WORLD.
[Feb. 20, 1858.
it cloyed. No one eared to hoar, for more than the twentieth
time, the same fantasia, played in the same way. At the
twenty-first hearing, it began to sound a little trite.
But this was not the fault of tho artist — if it were any fault
at all. It was merely the limitation of interest in tho instru-
ment. Thalbere plays the piano as well as it can be played ;
bat then the piano is a very circumscribed instrument. Ho
seems to understand its resources perfectly, and to develops them
with complete skill ; but ho is not a bit of a mountebank. He
does not play with his shoulders, or body, or ambrosial locks.
What the piano can do, in the interpretation of a piece of music,
he makes it do — and no more.
That is tho difference between Thalberg and other equally
celebrated performers. Thalberg's playing is not suggestive.
It is entirely satisfactory in itself (with the limitation men-
tioned), but it does not leave the feeling that ihe player could do
a great deal more, nor does it raise any haunting image of a
jrreat orchestra pouring force and fulness, blood and substance,
Into the music the performer sketches upon the keyboard. He
trills exquisitely, but he never thrills. Then is exquisite
symmetry in all he does ; bat in the greatest works of art, of
every kii
is the
what is.
Arion will take care that the great pianist sails smoothly
wherever he goes. Triton will blow his wreathed horn before
his bark ; and, perhaps, some happy day hereafter, ladies of
quality will part his glove among them, for souvenirs of that
dexterous hand— as Tate befel his great rival Lisxt, after a
concert In Germany.
And who knows but that with much patience and many
Thalbcrgs, even we Bueotians may one day attain to a similar
to art and artists.
!irv m nil uc uoes ; uui lu lub grtriitesi, wurxn ui «rL, «l
kind, there is a fragmentary ami incomplete character. It
nimbus of what might be hanging like a halo around
ADVERTISEMENTS.
HOARSENESS, SORE THROAT, LOSS OF VOICE
IRRITATION or tho BRONCHIAL 1UBES, cur d, and a rKn-fecUyCleor
Voice produced by tli« nac of Wilkinson, Rrl l. , »nd Co.oBROXCUIO-TnoRACIC
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LE D U C. A LPHONSE — NEW PIANOFORTE
PIECES:— ]** Dragona do rimperatrce, Qtudr lle hr 1 »nt, 3*. : Souvenir
de Brux- lice. Quadrille br llant, »*. ; L'Btolu ,lu B»l. Po ka M uurka. So. ;
Ducbeaa- do Br.ib.iut, Valoo bnliautu, Sa. C I, ; l.iuwsi le. Roeea atix n oiera.
Fanianie brUlsOU 3a.; Lea Borlede la Mew ; Protiy Polly Quadrillee, »ilo
So . duet, 4*. Lc.iidoo : Robert Ooska and Co , New Bur Ingtun-atrnat, oo l of all
CASKS CONCERTINAS, 4 guineas each, with 48 keys,
and in mahogany oaaea, Theoo are the beet iuetrutneuta of tUo kind manu-
Lctursd. ami will be lent, curriagv frc*. to any i«irt of England. Al», Caae'o Con.
renin* lu*tnicuon% la.; and Caae'e 100 Melo,(|.-« for Conocrtlnn, U. i
KecroatioDO for Ooneortlns and Piano, 12 nuinbere. 1a c.c
Manufacturere and PublUhera, 24 and 2S, llolloo-atroot.
PIANOFORTES.— DEWRANCE'S COMPENSATING
PIANO may now bo aeon ,it ihe do|«t. 53. Soho-aqiiaro. By tho application
of Uila piineiple a heavier ttr ng cu Ik> uaocl. the reoutt of which la, hat the full
l-owvr of a grand la obtain, d from a cottAgo tnatrument, at the same time the
wlroe and the frame on which ttiey are strung expand and contrict with cliango
of temperature equally and tonether, ao that the noooaaity for frecjuent tuning, as
In tbo ordinary iin.truii.tttt, la entirely obviated K.r fnlnooa .ud r.nndneaa of
tone, with extraordinary powom of DMidu atio.., theae inairumctiie are quiie un-
eq .allied, at Uie oune time the price i« no higher thau that of an ordinary ptano.
ASTHMA.
ANOTHER CURE OF 39 YEARS* ASTHMA
DE. LOCOCK'S PULMONIC WAFER8.
Sin, —I have euffered more than I can doarrino from tho
' my day* irksome au.l my nmbta
i vim- the retreat of hlr J hn
Moon. I have i *l the ablest ndvi
i ho Wnellt which I'r l*eo.k-i
Or. nailer Ouarda. (WitMoaa, Mr.
DR. L<XX>CK"H PULMONIC WAFER* give inetant ril ef and a rapM curs
of aau.raa, oo> ighs, aud ,dl 'iiaovl. re uf tiic bruntu nn-1 lung*.
TO SINGERS AND PUBLIC SPEAKERS they aio ii.val iahlo for clearing and
• taste. Price 1». 1J-I . S*. 9d.. and
17, Churoh Line. Hu'l. Sin,-I have »i
lect-of an ssti.nu. which baa f,,r>ear. i
aeute**, It was Mr. ugtit on by cold « hlle aooamjou.yiriK the retreat of Mr .1 hn
Klvico, lap nothing baa given me one-tenth |«rtof
k'a Wafern have. *c -Wairrjl Eoi.iaoToM. late
Mr. J. C. Ileiubar.lt, dniKpuM, Mar.ot Place HulL)
I have a
.tretigthenlng t ie voico. They
lla. H..I.1 by all medicine vetidi
FREDERICK DENT,
maker sf Bjt ©rest €lork far tfje Rousra of JJarUamrnt,
And sole Buoooosnr to E. J, DiKT in all Ids potest light* and hualneoo at
pas* Factory at Boroetset
ijuccn and l^nncc Conaort.
Lsdies' Gold Watcbss
Uentlemcr.4
Strong eihrtr
8
10
I
n
H
Church Clocks, with Compensation Pendulum,
iV* cosnerftoi. 83, Cockipvr-itrttt
Digitized by Google
Feb. 20, 1858.]
THE MUSICAL WORLD.
127
la Cloth Cover, rrice to
HENRY SMARTS CHORAL BOOK,
My Tunea, newly Lannoniard tor Totcwi or
la ft vau-lety of waya
FROM "TUB AT n E N .E U M."
"We Ilk* Ihc larger rcirtl'm if thaw half hundred tune*. Wo like, to>i. the
ftjlr ia wtitrb they liave Ima Icrinoniaeii ; thti mottou and play of lb*
part* being eufRcient to sivo variety without diaturhancc "
FBOJC THE LI V Enroot. It A I L."
Mid well adapted for the
BOOSET AND SONS' MUSICAL LIBRARY. 24 and is,
MADAME OURY'S MARTIAL FAXTAISIE
PRUSSIAN NATIONAL AIRS.
r the <wa*1or. of the Marriage of the Pftixcna Rotau
tV.ndo., : B0O8KT AND 80NH, 24 and 28,
THE QUEEN'S STATE BALL.
The kUowlng Dane** wei* performed by W
occasion :—
1. — LAMOTTE'8 TRAVI ATA OAIOP.
2. — D'ALBKBT'li UN DA QUADRILLE.
».— LAURENT'S MAUD Y'ALBE.
4. — GUNOL'H PETKR1IOF VAL8H
The above art puhllahed for piano and oreheetra by BO08EY AND SONS,
24 and 28. llollea-.trcct, London.
NEW SACRED SONO,
of Got." Worda by the lie*
J. Dtimicr. Fatcnon and Son*, Edinburgh aiid Glasgow.
He has come ! the Christ
Uoratiua Bonar, D.I). Compoaad by
'HE BLIND GIRL'S LAMENT," written and
£*J I'yJJtK Ho.oun.We Mra^Norton, price 2a. dd, Edinburgh :
THE DRIPPING WELL," by Mr. GolUuick, i*rformed
recently by the auUior at tho Reunion d> • Aita, and rnpturoualy
encored. "Tbu la one of the rooat clogant and popular of Mr. Oollmlck'* cuai-
|«aatloo<." Price Sa. B>u*ey and Soua. 28. llulieealrccl.
THE CONCERTINA MISCELLANY for Con-
oertlna and Piano. Edited hy George C.iae. Piibluhod every nMmth. 38
"x-ra are out. price 2m. fld. each. The moat pormlar number* are *e]ec'loiiB
II Trovalue*, Rlgolctto, La Traeiain. Don Paaquale, Btal>at M .tor. Lomlurdl,
lebnohn'. Snag, without Worde, Wedding March. *c Boocy and Soi,*,
E
ASY MUSIC FOR CONCERTINA AND PIANO. —
ur'e
i |WDi me " and " Tu che Dio a ■piogaatl.
nbula: "Ail i> lost now," iuiiI "Still »o gently.' 6. Norma: "Doh!
cin to" «, 8ol»itN«i or the moat imtjular Valaoe, by D'Albart 7, Polka i
"LEiifuit," by D" Albert. 8, Va ae (sung by Madam* Qaaaierl Vcniwo. H.
French Aire: " Partant p<'Ur la Syric." " Im Mar*, lliaiae," ajid "Mounr pour la
pa ne." 10. Irlah Air-: "The II irp that one* throuijb Tu>a'a 11*11*. * '-St.
Patrtck'e Day." and "The Last Rose of Hummer." II, Scotch Aim: "Bonnie
Dnn-lee." "Blue B lla of Re-Hand," "Aui.lo I*nri»," and "Comln' thru' tbo
rye.- i
Hj ioy
a, *>»»■*< ■«-*>*• vi in' <>4tiH| «»**••*»* ><**>ti irr miu wuiiii uiiu tiii:
IS. American Aire: "Minnie, "0-d Folk* at Home," and "Nelly Bty."
CONCERTINA CLASSES. — The increasing popularity
of the Onecrtina induces Mr. Case lo project a Mrk* cf CLASS MKCT-
ISOS Tor tho por|».~o ot Imparting Instruction in tr.ia Inatruuictit 10 person*
auaoiaainted with music, and also a.a a mean, of eupplying agreeable <«rt-
practice to thoae already *omc»hit adrancod. Mr Ci» propose* to bold a claa*
tor ladle* In the alU-raoon. an I one for geutbioeii in the evening, the term* to
each tc be fixed at .uch a rate a. will admit of all penjon. Jninrag Uvcm. Mr.
Caat tniaU that a pernianent eouraa Inatnieiion. at a i
m*aai of iav
that iia many
the prefertnci
, "111 bo the
a atlll more a*i>*rml|y popular. Ml ng aamred
over other inatnimenta will nl'lmateiy gain It
c preieratrfo'with all amateur* anxloua U, excel m n.u*K! with m little trouble
bleu rerec a dtauoua cf iouiliu thcau cla**ca are icnuea'ei to com.
. with Mr. Caaa, to tbt care of BooVy and Son^ 28. Holll.t»el
J^OWITS NEWJJlNCER QU^DRILUES upwa popular
Loudon, all municaellcra.
NEW BALLAD BY BALFE. — " Scenes of homo," by
v the?' W-cot",r*- We U%S^S^'mZ^uS^^J^
ojr Ihu >»ni«? ooiiij-oALT, priL'o 3» Bocwy ana !tou« Mu^c*J Horary, HuHt» ntrv«t.
TVTEW SONG BY MISS FUICKERoompowrof " Fading
1 ' Eiw.-iy." " I «1o Dot watch itafcaV* worda iui 1 mutlc by Aline Frlckcr,
price S». liootwy an l Hodh' Mu«icaJ Lilmiry, Iii>-lcft-«tre«t.
MISS LOUISA VINNING'S NEW SONG, "Too Lite!
too late r by R 8. Pratten. Sung, with a double cnc.ro, at the Hanover-
anuar* Room. - February 10) by Miaa Louiaa Vuinlog, price 2a. Booaey and Bon*'
aftkttel Library, Hollc* atreot.
"rpHE NEEDLE," a distich, by George llodder, the music
1 by Nordmanu. Embtoi.lorod in colour* Priot 2*. AL Booeey and
Bona' Mniica) Ubrary, ilc4lee4tre*t.
M
2a M
ISS DOLBY'S NEW SONG.— "Those dear old times,"
'fjooa W F.iillifHiL^ aung: witii immune auccea* by Miaa Dolby, price
CI MS REEVES' NEW SONG.— " Phoebe dearest^ tell,
ij uh, tell me." btllad. hy J. L. Hattoo enmpoaed <inro*.y for Mr. 8 ma
-uug by him wlifi biiuienae >uc-.*«. price 2*. 6d. Boo*.> aud Bona
KstrK'iiiCiriE'
M'
ISS JULIA ST. GEORGES SONGS. — Suug by her
In "Home and Foreign Lyric*- The moat attractive entertainment of
the . la) -vM« nubile prea«. The alwMiof the ruuan by J. F. Duggau. Uartmaun
and Co , «8, AlUuy^trect, N.W.. and all Mualc^eller.:
pHEAP MUSIC— Tho Verdi Album (112 pages), 6s.
\J Mendelaaobn'aSonga without Word*, edited b, J. W. Dariaon (lol pageal.
7*. M . elotb M»J Lanrenfa Album |ot Dance Muatc (7J page-X to fi
Tr-tvatore and La Trnvlata, complete for the pianoforte, to. each, lu cloth. 100
danoea for the violin, la. Caaea'a 100 melodiea It ciaieertina. 1* Booaey 'a
complete opera* for violin, la each. Balf** new alnglng met'iol (49 page*), to
Any one poet free. Booaey and Son*. IIoKea.fttreeL
RS. rR ATTENDS PERFECTED FLUTES on the
• old eyetrm of Angering with large or small hole*, are noar niado with
German Silver Keya a', t uuincaa, and with ateitlug Hllver Keya from 8 to 17
guinc-n each, complete In Ca*-a, *tc. Emry Inatrnmcnt la tee ted by Mr. Pratten,
' by a certificate from that unrivalled artiat
BOOSET and SONS*. Manufacturer*. 24, Hollca-atroct, Loodou. W.
r\mE PLOT of Uie OPERA U very fully described in each
X volume of B0O8EY and HONS* SERIES of complete OPERAS fur piano
aolo, enabling the iiiaiii.t to appreciate the sentiment and claaracter of every
morqeau in the work. Thirteen operaa are now pubUaln-d In atr>>ng cloUi cover*,
price* from 4a. w 7*. 6d tach, vif. : — 11 Trovabire. to ; I/i Traviata, 5a. ; Lea
V(prea Slclliennra, T». dd. ; Rlgolctto, aa. ; Sonnambu'a, 4«. ; Norma, 4a ; Let)
Hugiienou, 7a. 6d. ; D>.n Juan. ; Fra DUvr.lo, ia ; PurtUDl. to ; Fill* du
Re.im. -it, 4a ; Lucia, to ; Lucre* I a B rgi*. 4* Bcaxwy and Boat, M and 28,
Hollca-atroct, W.
lolo, enabling the iiaaiit-t to appreclat
in the work.
N
EW WORK FOR VIOLIN AND PIANO.— In
. , 24 number*, price One Bhtllliis: each. Popular Ifc-crention* for the Win,
arrango.1 hy George Caae. Content* : I, R..|*ri. toi q-ie J aime. Roi ert le Diablo.
2, OuandJe.piituiB. ditto, a, Nobll aignor, Hugiicn ta 4. No inao cgual, ditto.
5. Va pcu»lejo. Nalnioco. «, Ernftul iuvuluml. Eruanl. 7. Tulto a fprca«o,
ditto, it, I-amla Ictixia, Lombanli ». La donna e mobile, Rignletto. lu, K II
«ol dell' aulwa. (UttaV 11. tjauana o quell*. dlUo. 12. Ball* ligl «, ditto IS.
Intro ucllon ami Galop Rlgolctto, ditto. 14, Mm rere— Ah ! che la meirte.
Trovatorc. IS. II balen del auo, ditto. ID, 81 la etancbezx*, ditto. 17, M<rcl.
jcuno* ajule*. Le-i Vcprcs HlcllUeunea. IS. Ami le cwur d'liileiie, ditto. 10, Jour
d'ivreaac, ditto. 20, Libwnio. Brutdlai, Tra< Uta. 21, Parurl o car* ditto 22,
Di proven aa. ditto. XI. Ah, fra' c lm, ditto, 24, Bcmpra Ubera, ditto. Booaey
and Sone, Hollea.-treet.
EW WORK FOR FLUTE AND PIANO BY
R. R PRATTEN.— In 2t number*, price One Shilhnir each. R a Pratten'a
Rccmatloi'tB for Flute and Piano. Content*: 1, Robert, b l que J'aime, Robert lo
DUble. 3, t^i.nd Je quit tan. ditto. 3, Nihil etgc r, Hugusnet*. 4, No c**o
egual, ditto. A, Va penalcro, Nabucco. d, Rrnai.l Invotanii. Enuuii. 7, Tutto *
«l<w*o ditto. «, U mi* letiiia, LomUrdl 9, La d.auu e mobile, Rlgolctto.
10, E U a I deli' anlina, ditto 11, Wo ata o quell*, ditto 12, It. II* Ugliav diitn.
Ill, Introduction and Oaloj, Riuoletto. ditto 14, Miawrere — Ah I cue la morto,
Tr.)v»tor*. lt\ II balm d*l auo, ditto. 1« 81 U aUncbe.**. dltt -. 17. Merri,
leune* nmiea. Lea V«pre* Stcilliemie*. IB, Ami le otcnir d'Hclcne, ditto \9, Jour
ditto. 29. TLibaamo, Bruidlal, Tr»>n
• hu, ditto. 24,1
N
d'lvre«»«,
lata. It, P.uigi o oar*, ditto. 22, Dl
Digitized by Google
128
THE MUSICAL WORLD.
[Feb. 20, 1858.
NEW PIANOFORTE WORKS.
BRINLEY RICHARDS.
BRINLEY RICHARDS' PIANOFORTE TUTOR.
PRICE 4i.
The best, the newest, and choapeit of all instruction book*, containing CO page* of full-sized
music, all ncccmry
, and cheapest of all
Males, exercises, and a great variety of the most
moat useful work ; also to
BRINLEY RICHARDS' NEW SET OF SHORT PRELUDES.
PBICE 9a.
Intended a* introductions to any piece* ; expressly written for amateurs ; and to the
NEW OCTAVE STUDIES.
PRICE 3a. 6d.
By the (
to thia
Hon of Czerny's Etude* de la Vflocite, preceded by new exercise*, and a new study on
for thia edition by Brinley Richards
Or in two Part*, each 6s.
it
Edition of Ciemy'* 101 preparatory
edition by Brinley Richards ... ... .,. ...
Or in two Parts, each -1*.
" Juanita," popular song by the Hon. Mrs. Norton, arranged for the pianoforte
"Annie," Barker's popular ballad, arranged for the pianoforte
i airs from " Lea Huguenots." (Just published)
for this
G. A. OSBORNE.
s. d.
OSBORNE'S •' Ireland," fantasia on faTOurite Irish airs ... 8 6 OSBORNE'S "Sul eampo della gloria,"
„ "Scotland," fantasia on favourite Scotch airs ... 3 0 „ Schubert's Serenade
„ " II Pirate," fantasia solo or duet 8 0
N.B.— In the press, " France and England," fantasias on English and French airs.
ALBERT LINDAHL.
LINDAHL. India, a lament for the pianoforto
„ Lo chant du captif, nocturne
NAUMANN'S La Dense dm Sirencs ...
We're a' noddin' ...
n' thro' the rye ...
s. d.
2 6 1 LINDAHL. Switzerland
2 6 I „ Ocnnany
••• ...
T, A. NAUMANN.
s. d.
3 0 I NAUMANN'S Tbe Mill
3 0 „ La Bergere
2 C |
s. d.
10 6
8 0
i 8
X 6
3 «
a. d.
8 0
... 3 0
a. d.
8 6
3 0
s. d.
3 6
3 6
D' ALBERT'S ALBUM FOR 1868, 21s.
D'ALBERT'S TROVATORE WALTZES (just published), 4s.
D'ALBERT'S ESPAGNOLE WALTZES, 4s.
D'ALBERT'S SIBYL WALTZES, 4s.
D'ALBERT'S MARINO FALIERO QUADRILLE, 3s.
D'ALBERT'S LE BONHEUR POLKA MAZURKA, 3s.
CHAPPELL AND CO., 50, NEW BOND STREET.
Puli!irf,rt by Job* Bon.srr, nf Can tl char hill, in the Parish of Ealing, In the County of Middlesex, nt the offlw at Doo»kt A 8o»«, M. 1
Rir.i>. IS. Jahu-atiKt. On at H- rttiuxt-stroet; Ai.ux. W»rwick-liuie ; VtouuuL Holyoell-Mnx t ; Kxith. Prows*, iixl Co.. <«, Wimpside; O. Schi
■; U*«Jir Mat, 11, HolUorn-bam. Agent* for 8ootl*n<l, PxTiaso* A Sol's. fcdlubunrh and'
l"'. S*w(r»t*-stn«t ; Joan
tiT IrvUnd, H. Himslu Dublin; and
Printed by Willi** graves*. Joamoa. "Nassau euam
8asard*7, February SO, ISM.
of at.
i-ta-lhe-PleM*, la tbs Oeunt, of
Digitized by Google
(TI) t $\\mki\\
EMINENT IIT MrSIC, BIKCH IT
M" AXD FOWBB, AND IT
for Postage, 20s. per annum— Payable in advance, by
to B00SEY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 9.
SATURDAY, FEBRUARY 27, 1858.
; PRICE M.
1 STAMPED fid.
WANTED. — A GOOD CORNET PLAYER for a
Militia Roglm.nt, Terra.. SS* to SO*, (.or week. Apply to Beoaey and
Bona, 24. Ho,|o»-*ln*t. Ollorl-rtiwl.
SIGNORA FUMAGALLI, SIGNOR DI GIORGI,
and MB. CHARLES BRAHAM (Conductor. Signor Viaueai). AH applua-
tiona to the provinces, or the mctropolia, 10 bo addrc»**d b "
XuiKr,
> Mr,
/'ONCERT SEASON, 1858. — NOTICE. — C. M. SHEE
\J respectfully Intimate* to the Mialcsl Proleulou Urn he ha* removed to
2, Beak * rot, 1! -ic*iit-»tn.H)t. where be commute the
(public or | nutej At bia usual moderate cuergea.
N
EW SACRED SONG, "He has come! tbe Christ
olU^^ W"""^'^ ti.ejfc,^ IWba Bou»r. IX D. Oomiweed by
ORGAN FOR SALE.
THE ORGAN now standing in the Free Trade Hall,
•taiicho-tor.— Moesre. Kittluxt anil Jurdlne b*g to uiti . ate t at tbe i
I'-a'ruuttut will be eold a bargain, as iU unoioillate removal U requ '
p.ir.it»rv to tbe erection or the Grand Organ bu It by t em li» tne Ar. I
Exhibition A to KlrtUnd und Jai Jinc. Organ Bu Mora Mtur .eater
OWFTS NEW LANCER QUADRILLES upon popular
Eu liab id re. Price S* Pat*r»ou owl So as, EiUubur.U and Glasgow ;
M'
MADLLE. FINOLI, Mr. Horace Vernon, Sig. Dragone,
ebg. OabuMi. Big Mattoni, Mr. BrtUjman. and Ohajm (Con mclnr.
Mr. Cuuin). will appear In lu-sgliton, ou M-iwU}. M«cli l»t; Lcnminnbin. 2nd:
Hi n ford. 3rd. fp-vneb. 5th; in recitals fn>m the oik mi ot II Barbiere <ll
fljvigil*, L' Italian* in Alg.rl. H TrovatiT*. li D»n Giovanni. Ac. Per par-
ticular* apply to Xaplvaou aud C •.. Clarence CI amber*. 1J, llayroarxct.
R. AND MRS. GERMAN REED
Ilort.>n)willrp«»tlhilr mtertainmenl rvory i
at g Saturday *'tmio.«i .it 3. , "
without extra < hnrge -I the Royal
at Ciamer. Beale, aud Ou*., 2vi. ."'
MR. BRINLEY RICHARDS7 FIRST PERFORM-
ANCE OP CLASSICAL PIANOFORTE MUSIC, .a t>,« Beethoven ft» m«.
WodDesday evening. March 10, at h.f-paM etgtit. Ptngianime — sonata. P major,
pmi. !.*•« *u4 violla Bee boven. Ana, II .udul ; Unnd Sonata Id O u.iur,
'•DI.Ioiri AbiiaiKl-iiata" ac-ncu-i : Trio. E flat, op. 2. pis of" t*. viol n and
viol ncello B elho.cii ; Saeie-I Sou . Bnnley Rkhirde; Ch.unctarletlc Piece*.
Mendelssohn. Vocal -t, Niu Menf-ut, Planoiurte, Mr Biiuley Riobanb; Violin,
Mr tlonry Sj(jltM| Violoncello, M Fnpie
MR, STEPHEN MASSETT, the celebrated American
Vi-ca let, Composer, Imitator, and Elocutionist, will make 1. a Pint
Appear nice in London, ou Monday Evening. M rcb 8th. HloS. at th HANOVER
SQUARE ROOMS, iu hi- NEW ami ORIGINAL ENTER! AINMENT a* glen
by bim. v.lth moat miirkid auoceaa, in California. Australia, au.l Hie K at Inllc*.
Mr Mnaeeit w 11 in the courau '-I hi* K'.t«rlaHitrj«ii', relate a tdn bug iucnkut
of th> blowing away from tbe itun* of two mut-nou, M|<o>s, .«s rtceutly uiuie-SL-d
by bim at B mb-iy ; with other iijUreatii^f debuU oiuuucieii wlti ifce |i.>ci.t
rebcll-oo In India. D or. |icu at lutlf-p.-t oV-»eu ; io»i.im«i.« at Right o'clock
precisely A ioiiae oa. 2a, ftl. ; K aerv.d -u U. Sa. ; which may bu Mcurvu at
Mr. Mucbell'a Hoy al Library. 3-5. Old B ud--lreeL
PROGRAMME
MISS ARABELLA GODDARD'S
THIRD SOIREE OP
CLASSICAL PIANOFORTE MUSIC,
ST.
HALL.
-FOURTH ORCHESTRAL
he directum of Mr JOriN IIULLAII. na
precisely I art )■ — Overture, "Eury-
MARTIN'S
CONCERT (esrk* of alx , nude
TUESUAY EVENING. M.rvn 2. at <lghl precisely I art I.— Overture.
' antlie." Weber; Ana ■ Oloklcirn ini Tlnle (Euryvithrji Weber— Ml** Kend.le ;
Gr»i I 1 -i i "Mcd.Ti" r.,iri}-.fi :l -x;' fur Miv, Unlliy— II. Hrmirt <!:■',
j t me of p> rf'irmauew); Svmpb ny In 11 flat (No. 4X B-ethoreu. P..rt II — Coti-
' certn, \l4>loiicel i\ Sei v ds — Mr. (ir.'rge Odltt.a Song, "I anac fiacn drean-.s of
tliec," Hull ill — Mr Sautlev (litsi ti i.e of erfornisin-e) ; Andaiit (Mi is-.imu.cr
Nigut'a Dresn
K. uilda and
Gal eriea.
h.df-a-gi lineu.
at li tB na»ir.r..«ci.
47,
CAVENDISH SQDABE.
TUESDAY. MARCH 2»d, 1868,
SAINTON AND M. PAQUB.
To Ctmmnct at Half-paM BiffAl e'efoct prtcm y. *«d
Sltvm. rtctws, /fj^ni-i/ataml, (o or Kad o«ly a/ Hiu
47, WrttiKi ilrert, OlMnifuA jeaarr.
PART I. —Sonata In D M*i r, Plano'orte and Violin (No TX (Moeart) Miss
Arabella God/ lard and M. Sainton: Orand Sonaia in A fl -t <Op 39). (W.berl
Plau.'fi no. Miss Arabella Goddard ; Kutta Ikhettando (first time in publicX —and
rreludli. cou Plaj i. ill A minor, (from Uo k 9 aud Book 4 of F C Gneiieukcrl s
•'Complete G -U>.-cti< <n of the Pianoforte Workaof Bscn'* (J. 8. Bachj, Pianoforte,
Mis. Ar.bUUG.nldard.
PART II.— Grand Souata in E mator (Op 10m, ( uVetl orenl— 1. Vivace, ma
nor. inpio; adagio aapreaaleo; tempo primu; s/tagto caprowivo; tei»|>o prima;
S. Pre-llaeini..; S Aud.u.b. molt. c*utabilo-c n v.it *io..i-pianol..rte, Mias
AraUU. Gt>lda.d; Grand Tr o in C minor (No 2X PlaiKif.^te. \».aiu, aid
Viol oc Uo. (Mcndclaa hn) — I All. gro . o*n<'«>- eon fiioco ; 2 Andante raprtwaivo;
3 8chcn»— mi. to allo^ro, quasi presto; 4. F.njJu-s-lcgro ap,as Wuato— Miaa
AralnUa Godilanl. M. Sainton, and M Paque.
It is reaiieclfully anjiounood— in answer to numcroua ,ppllcatlotia— thai Mia*
Arabella Goldard will nire A SBCOND HERIES 01 ~
, thfldatea and further r
iresm). Mo dels olm. D > tlo, « l aepoli ro" {Akik* X P i t— »l.aa
■d Mr. rintie,. O'crt.m. ™ Dm ZinW.Siie.'' Mou t. Stall.,**.;
U. 01 ; Area, Is For the a.ri.a-Btalla, one guinea; Oalkrha,
LONDON SACRED HARMONIC SOCIETY, Exeter
H*ll.-03 next Monday. March 1st. 185S. in the lxiwcr HalL Haydn'i
CREATION, preoedo.1 by the CaiitaU • n the- birth lay of Uer M.-.1 Graclou*
«y Qu«-u Vict, na, «onii-oecd b. Dr. Kl-ey. OrgnnUt of St George ■ Chapel.
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ao effi i. nl *ca e. Conouctor. Mr Sum an (f -under f ibo Exeter Hall Oratoru-)
Tlcke »— Arcu 2* ; Wist, rn Gallery, a*. ; Ho* rvel Seata, ia. -to be bud by
order of th* principal muak-sa lera. and at the Office. No », Exeter Hall,
cb'-ral socieiiea mil the c may obtatu c--rrect e |dcs of the-"Cic
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three wind |iart», la
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musk- ati- uld apatif, Bunnaua Eseter Ball
editioua. universally admitted to be the lieat and cbrai 4
THE OPENINQ
or i if r
ST. JAMES'S HALL, PICCADILLY,
trvnm Tit K tMMKDIAtB eATanHAQK ov
HER MAJf'STY THE QUEEN.
HIS ROTAL UIU1INEMS THE PRIM K CONSORT.
HF.lt ROY \L HlGllNLiiS tUB DUirllESS OP K I- NT.
hek royal highnk.»s the duchk-* op Cambridge,
his hoy a i highness the duke up cambbidue,
THE FRINi
Will be celebrated by two Gnu
the fir--, on lburads>. Miml.
March 27th, or Mbcrllai^ou
MIDDl.httEX HOSPITAL.
ES.3 MARV OF CAMBRIDGE
d Concert-, under the direction "f Mr. Benedict '
the satid on Erumday
U 24 b. of Sttt r. d M
is Musii, IN All)
Further pattio '
►I
1HK
FUND« Or Till
list of the
Pauvuca-t*, » programme of the music of each concert, tt, lie., will b*
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130
THE MUSICAL WORLD.
[Feb. 27, 1858.
MESSRS. DUNCAN DAVISON and CO.
B4TI PrBLICUMO
THE FOLLOWING NEW VOCAL COMPOSITIONS
■. 4.
MEYERBEER:
... m Entfli* rmia* */ tit wonb u by Juav Oxmroau, Eeo.
THE tORD'8 PRATER, for four trolcca (soprano, alto, teoot, and baas)
with English and Latin text, oiyon ad lib SO
•Evury lo»«r of music will, wo ore lure. M i-urleua to know tbl* Interesting
irk. It U written for four ordinary »oioes(«opnml. nlti Unari, »u l bawiX to be
mur without ■auiuixmini ut. An orgnn put hii*, l.owoeer, bo u a'ldod, 'to bo
UHJ when U»" T..ieo» hire a l«D leito i<> in -nr ' The melody. n» m pr-iicr in cum-
in.ui-us of Mr* nature, i» eimpl-— yet it ia »o otegantly harm -i.iaid that no
tut n»t ner.r lliua for » ni 'i.icnt. iti.il tho rn nitwit and coldn- *. ,0 MM com-
plained of in rcliooue wrtaut with u; atwiipauitmrj-. »« «i.tir ly avoided
"Wed tremmbtru* -ark of a similar k n I, in which tho moduUiona
an raor. beautiful than In tbi. composition of M Meyerb. er Tbo mttt nt tbc
nam m imlu Ion, which oocuta toward, tbo m-ddlo of «i.« Pr.ycr. could not i.»vB
been effected in a mora m»*Ur y rn.ni.rt ; Indead throughout tbo piece tho h.ud
of a o -noiiniinato btrmamuU, and* cotnp"e.:r who boa .tudtvd er.ry rtav-uroeol
hia art. ii eialbie
"M Maye.i««rla Ht'lng of tho "Lnrl1* Prayer" liava already be>n »nng by the
choir of the Bencher's ChiipaL Lincoln! Inn, London, on-ler tlx able dnwton -if
Mr. J. Ptttrn.n : and It will, no di.uid, be » (opted, a* it. • l-s-rve* to bo, Ly all the
principal ntetropo-'itan and prrlnttal ci.oir*." — LiwryvA Xt*at.
THIS HOUSE TO LOVE 18 BOLT |adh*j »ux jenne. niarie»X Serenade a. (I.
for cl.ht Toioc* (i Kipranoa, 2 cuntr.tlt"*. 2 tenors, and 2 bo**.*)
wfittiout ne» om|4nim*nt ., ,. >• ..4 4
NEAR TO THEE (Pre* <'e ml), for roice, i iano, and eloloDcct'o ..4 0
HERE. HEREON THE MOUNTAIN RKt'LININO (La ci.ent du Bcrgerl,
tor voice, piano, and clerinut, orhermuu una 4 0
N.B.-Thc aboro iwd aong^, with French nnd Oennan weed*, aaolt
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"Quarante Mdo.ll<» It un el * ilual.ui* rou." wiib pl.mo
acco.jmidrueul, 12*, may be obtained at Meters L>. Djtriwtw
A*«» Co.
NEW VOCAL MUSIC.
4
Adulfo r'err.irl S
"I LOVE THE OAK." I
"Sweet day- of you lb. f»re«ell, ditto
" Vlenl. ri nl." aerated* ditto
"Come, fairies, coma," chamber trio, fi.r*opran\ ntonio, and contralto, ditto
" Cumo, *l»tcr«. let u* d <nc and »itue," fur dit'o ditbi..
"The formation and eultiwrl'-n of the volee f . r ringing," ditto
" Quick aria* maklen mine." A r H yrleu, by J, L>cs>auer .. ,. ..
" Wban 1 wit* yimti*', " by Kmc. t B ticc
" Wlirn first you ahuna bof m me. ' d tin
"THE TW') SMII.ES."tiiraouutraltoY»ice, by U A ktcnii
"THE COQUETTE " for . oon'raltn roioo. byj. vv. Daruux.
/» Ike Pre**.
.byChaileaJ.
, by ditto
VOICE, PIANO, AND VIOLIN OR FLUTE.
•'MOCRNFCIAT. 8IN0 MOURNrCI.T.T," by 0. CrtiaclL Op. 31 .. 14
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"WHERE 18 TUB SEA." by 0. Cruwell. Op 11 « A
VOICE, PIANO, AND HORN OK VIOLONCELLO.
•byKVltiar So
NEW PIANOFORTE MUSIO.
[Rc^Mrb^ ^ hy * ,A ^ :; ::
In the Pre**.
LIEDER OHNB WORtK for the piano, by C. J. Hartftt
> FOB THE PIANO BY THE
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TWELVE OEEMAN VOLKSLIEIDEE
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Trantcriltd in a popular form /or He pianoforte*
a d.
I. TRECE LIEBE ITRCB IX5VE) I «
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From "THE ILLUSTRATED LONDON NEWS."
id ancceasful
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/ut from the
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biKbiy attractivf, not only from the b-autr i f ihe arm themaelee*.
taate and akUl n itn wbUh ho boa treat.d them.-
"THE DRIPPING WELL."
An original morfeau, accjnd edition, always enoorod when performed by the
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Prom "THE MUSICAL W0BLT)."
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MENDFXSSOHNS
SONGS WITHOUT WORDS.
EDITED BT
J. W. DAVISON,
rFifA P Mail 4> Jons Ltnch, and pre/aft fry fAe Editor.
'THE DAILY NEWS."
"Tlii. che>p, ewnpnet, and moat elcgnnt edition of the thlrly-»lj
■ Licter ohue w -rtc,' will be welcomed a. a boon by emy lor. r of Men
no! excepting audi an already | <.->.»« tlio* •nquisliu plma a. tbey t
air odi pi bbaiiisd: for Indijpeudmtly of tb« bouuty of the Titlum*. and the
c cir.i-e. and arcurucy or the t at. It h ts the further adnauge a pnifaoa by the
acu-oiupli.hel idi or. «lilch evoiy ono who cl.enabe* tho incmury of tho laineuied
»U1 rani wlih inatruction and i Ua.ui\."
an,
boon
i critL, whv baa etirtcl-od the col
From "THE ILLUSTRATED TIMES,"
"Mr. J. W.
aie.'iy ,tna icnugiy, a
i pen. occvtnpaukB lilt Tolumo.
AND SONS' MUSICAL LIBRARY, M A 24, HOI
Digitized by Google
Feb. 27, 1858.] THE MUSICAL WORLD.
REVIEWS.
"The CussiCAL riiSrtr" (used at the Royal Academy of Music)—
s 'election of movements nr.>m the works of the g^'et master* —
edited by Bnnloj ltiolunin (lion-wry Member, Associate, and
Professor of the ltoyal Aevkmy of Music.)
(Continued fi'u:u psge 84.)
If one work would suffice to render a musician immortal, the
sou;Ua (or "&xna Traijica") in G minor, entitled Bidone
Abandonnata, ought to effect that much for dementi. A vast
number of compositions, some great, the majority more or less
admirable, proceeded from his pen ; but this one sonata, — not
only the offering of consummate talent but of inspired
genius — transcends them nil
It baa beeu too much a habit, both with professors and culti-
vated amateurx, to regard dementi in the exclusive light of a
music-master, profound and sagacious, but at the saniu time dry
and pedantic — as the author, in short, of the moat ingenious of
elementary works, the O'radus ad Parnattum, and little else.
Clementi, nevertheless, has another side, which has been over-
looked, or at least only half acknowledged. Ho was a poet, as
well as a contrapuntist and perfector of mechanism. JT>> had
bis dreams — like his more ardent and genial, though h as learned,
contemporary, Dussek ; and in one of these ho gave birth to the
Ditonr. Ahandonnata — which (rmnjilftt, as usual) constitutes one
of the most remarkable features in Mr Brinley Richards'
"Se'ection of tnopemenU from the works of the great masters.'"*
The DiJoi-e Abaiulonnata is a masterpiece ; aun — deep as it is—
that it is not too deep for intelligent amateurs, has been recently
shown by Miss Arabella Goddard. at one of her highly interest-
ing xoirtc*, where it was heard with rapture. Most musician!
know something ot this sonata ; at least we hope so, for their
own aakes and for the sake of art. If such comjwsitions are
ignored, Mojtart and Beethoven must have written just as much
in vain ; and modern " Wolfgang- Amadcc*"t will have fair reason
to point at them, as "poor exploded old antique*." That many
other fine productions besides Didonts Abandonnaia have been
in a great measure neglected, is. we fear, too true ; and it
says little for our pianists that such should be the case. Much,
nevertheless, may be laid to the charge of tho so-styled
" virtvoti;" and it i* some consolation to know that the pernicious
influence of that flashy tribe is gradually diminishing.
Clenieut't s pianoforte-music should be in tho hands of every
ambitions player, and his Didone be treasured as a gem of ines-
timable price. One of tho most remarkable characteristics of
this very fine composition is the prevalence of the key of
G minor, in which each of the four movements commences and
terminates.! But this is in Peeping with the nature of the poetical
theme by which the sonata was suggested; and the general con-
duct of the work is so felicitous, that an impression of monotony
is never once engendered. The Lento Patetieo, which forms the
introduction, is an appropriate preface to what follows ; and more
than one of it* stately progressions may claim a certain affinity
with the earlier style of Beethoven. The allegro con esprtuioM,
one of the moat superb movements ever written for the piano,
is baaed upon a truly pathetic melody : —
The second theme, in the orthodox relative major, is not less
happyj—
• We recommend the e-tilt r, or the publishers, of The Ctaatical Pia-
•ut to invent a new title for their rich and »aried compilation, which
does not contain one niu/U i«Wa»re of a curtailed work.
t Or their equally silly advocates— with oilier inilials.
t Tho Unto aiul adagio lea»e off on ike.Uouunanl of the key— th*
former without, the latter vitK the seventh.
131
This is worked as elaborately as the theme which gene-
rat** it, and ultimately leads to another short subject, in D
minor :—
— in which key the first part of the movement finishes. These
rich materials would seem uot sufficient for the composer, since,
in the second part (or " free fantasia " — to employ an almost
obsolete nomenclature), he brings in yet another phrase :—
—in the development of which some of the most beautiful and ex-
pressive [MM jiw of the sonata are elicited. Of course we have
«n example of two-part canon, on the octave; how, indeed,
could Clementi desist from his favourite expedient, in a work
of such length and magnitude ) But for once this scholaatio
device is right welcome. Fragments from two of the principal
Digitized by Google
132
THE MUSICAL WORLD.
[Feb. 27, 1858.
themes are alternately treated, with the grandest
for example : —
— which latter, sticklers for abstract form mav assert, it would
have liecu better to introduce in any other key than G minor. Hut
dementi's form is peculiar — altogether his own, indeed ; and if
he ia to he criticised alter this fashion, nlmottt the whole of
his sonata, which hangs together so magnificently, might be
taken to pieces — a task for which, were we not deterred by such
evidences of strength aim! beauty, we should have neither time
nor inclination. The first subject of the allegro is once more
approached through a progression of great spirit and vivacity;
aud the themes, already noticed as elements of the first part, re-
appear alternately, in different keys. The second of these,
coming in Q major, affords an agreeable relief to the prevalent
minor mode — which, however, is resumed after a striking transi-
tion from G major to E flat : —
The sime progression that brought us from B flat to D minor,
in the first movement, now leads us from E flat to G
minor. The cliuinx, nevertheless, is suspended by a coda, of which
even M. Lenz, or the editor of the New Philharmonic pro-
grammes, will scarcely deny that lkcthoven knew something :—
Piu Allegro.
)
(!»' •
< dim
m
The movement then terminates, with slight modification, much
in the same manner as the first part.
From tho Adagio Uolenin we can ouly quote the exquisite first
phrase :-
0- 0-
i
trtr-
m
—although the plaintive episode is equally worth communicating.
While not oue-third as long as the allegro, tho slow move-
ment is hardly less remarkable for points of beauty. The grief of
Dido may be presumed to have been exhausted in the allegro anil
adagio, and to have given way to ungovernable passion. The
■Allegro agitato e con ditperazione— breaks out thus
impetuously : —
— and with tho exception of a second theme in the relative major,
which we think hardly worthy of the rest, is sustaiued through-
out in the same impassioucd style. As in the Allegro eon expret-
tione, the first part of this movement does not end in the key of
the second theme, but in that of D minor. We might cite many
fine points, but must refrain, for more reasons than one. The
second part of the finale sets out with a long and elaborate canon
on the octave. This, though less interesting than its com-
panion of the first movement, is occasionally relieved by har-
mony, while in one place second imitation is introduced, on the
interval of the fifth below, — by these means it escapes mono-
tony, full we cannot feel otherwise than nervous during its
progress, lest it should Biicceed in weakening the effect of so
striking a movement aud so glorious a souata. The rest is
carried ou with amazing spirit; but we can only find room for
oue more quotation — an example of contrapuntal ingenuity
that will be at once appreciated l>y the learned: —
n
J— J3 -J :
Such a sonata as the Didone Abandonnata is not to be quitted
without regret A volume might be written ou it ; but we
must be satisfied with having thus briefly called attention to
its merits.
{To be eonelfdrtl in our next.)
" Old Kxolish Dimics," felrctcd from CliappeU's " Popular Moiio
of the Olden Tunc," arranged with •jmplionie* sod accompani-
ments. Hi O. A. Mirfarren. (Psrt V.)
TnK Fifth Part is fully equal in interest to any and all of its
predecessor*. Mr. W. Cliappell really merits tho gratitude, not
merely of every archwologist, properly speaking, but of every
Digitized by Google
Feb. 27, 1858.]
THE MUSICAL WORLD.
133
lover of genuine national melody. His zeal amount* to absolute
enthusiasm, and his materials seem to be inexhaustible. A
more valuable book than his Popular Mtuic of the Olden Time
was never contributed to the musical literature of any country ;
and it was a truly happy idea to allow those who may not have
leisure to follow the intelligent author in his researches, a share
in the ad vantages of his musical discoveries. This is the object of
M Old English Ditties"— excerpts from the body of Mr. Chappell's
great work — which, if they become generally circulated, are
likely to stem the torrent of platitude that of late years has
completely overwhelmed the pure stream of healthy tune which
gives to simple music iu most captivating charm.
Mr. Chapped is moat lucky iu his co-labourers. We do
not believe that England possesses a musician capable of
adorning true English melody in a costume of harmony more
sober and becoming thau Mr. Macfarren ; while, on the other
band, in Mr. Oxenford, we have not only as complete a master
of rhythm in all its varieties as Sebastian Bach of every device
of counterpoint, but a poet as genial and hearty as any of
those racy English hards whose works have shed a lustre on the
lyric reputation of Great Britain.
Part V. of " Old English Ditties" contains (like each of iU
predecessors) twelve songs. Of these, Mr. Oxenford has supplied
original words for six — "I'm called the jovial miller;" "My
dearest love, why wilt thou ask !" " The name of my true love ;"
"A soldier should he jolly;" "Northern Nancy;" and u There
le maiden" — any one of which might have proceeded
rna, or an English Moore. We should like
to quote them all. That, however, is impossible ; and our
readers must be satisfied with two— which, by the way, we have
only selected from the rest on account of their marked
to each other : —
was a
from
simple niaiden"-
an English Bur
(7W— " ril MNP lot* thee more"
" My dearest lore, why wilt thou
If Ism conatsntyet?
Dot think 'tit such on easy I
Thine image to forget t
My soul retains thco atill in sight
VVI.cn tliou art fsr awuy ;
Thou srt my vi»ion in the utght,
My wsking dresm by dsy.
1G10.)
" And when, the time of absence past,
Once more I see thee near,
I atart to 6nd my dream at last
An earthly form cm wear.
When far, thou trein'.t some power aborr,
To guard my soul from harm ;
When prwenl, tliou'rt mr own dear lore,
That gives my life its charm."
1 Tk* buffeoat hath no frllow." Composed about 1610.)
" Drink, boys, drink deep,
For a soldier should be jolly ;
Laugh, boys, lsu^h loud.
For in grief there's nought but folly.
" Life's but a bubble,
Thsfs puffed up with trouble,
A wise man ne'er can doubt it ;
f
i rosy hit u».
And then it will quit u»,
So thick no more about it.
" Here's a buff jerkin.
To frighten a Turk in,
And bravely defy rous>h weather ;
Comrade*, so merry.
Take heed that you bury
My coat and me together.
"Drink, boy*, drink deep,
For a soldier ahoud be jolly;
Laugh, boys, laugh loud,
For in grief there's nought but foUy.
/
"Drain to the bottom
Tour cups, while tou'vo got 'em,
Therr'e no such bath for sorrow,
This day, dear brother,
Mnr ne'er breed another ;
We ad may fall to-inorrow."
It muU be remembered that Mr. Oxenford has to write his
word* to suit the measure of the tunes, which renders his task all
the more difficult — since every body knows that, when music is
wedded to verse, the custom is generally the opposite way. The
verses of the seveuth and eighth songs — " Oh ! the oak, the
ash, an I the bouuy ivy tree," aud "When the king enjoys his
own again" — have been abridged by Mr. Oxenford. who has per-
formed this delicate lalmur with discretion and judgment,
preserving the good, and omitting what is superfluous.
The other lour soni(s are " Love will rind out the way,'-
" Barbara Allen," " Black-eyed Susan," and " Under the green
wood tree" {not Shakespere's)— the bare nieution of which is
sufficient.
"Till Axxm LaTBI'? Or»Nu Mancu," composed by John Fidi-her .
The somewhat mawkish tuue of "Aunie Laurie," with a
somewhat clumsy coda, iu C, forms the first part of tho inarch.
A somewhat commonplace epUode, iu A tl.it follows; and, in its
turn, gives way to the somewhat mawkish tune of " Annie
Laurie," with the somewhat clumsy coda — at tho heels of which
latter is tacked a somewhat insignificant codetta. On the whole
this is a somewhat indifferent march.
"The Miruob or Life," written and composed by Zante.
" Zante" can both write and compose, and when he says :—
„ " For oh ! the future'* s deceiver,
The mirror of the brain —
we like him veil enough, since he deceive* neither himself nor
any one else. But when he composes thus :—
u # _^ I
• sT"
we like him less, since he deceives both himself and his par-
chasers. Our poet-musician is evidently fond of this coquettish
A sharp, which he might just as well have introduced at the
begiuning of the bar, as iu the middle, where, between
the two A's natural, it looks uncommonly
priggish : —
If " Zante" meant A sharp, " Why did he not say so at
wo-o-.mee 1" — as Mr. Honey says (too often) in the sparkliog
dialogue of the Rom of Castille. As it stands, we are reminded
of a singer who, imagining that he is singing out of tunc, u hautte
un peu" and then, finding that he is really out of tuue, ''baiue
un Dev." We recommend the composer iu this iuatnnce, as
M. V ivler's Calabriau bandit recommends his lieutenant, Pietro
— who, in want of a better book, has borrowed a bible to read
for the edification of the robbers— to " gater un peu."
Nevertheless, " The Mirror of Life" £s a very pretty ballad.
"La Flobssce"— Polks Fantaatup.e pour le Piano, par J. B.
" La Florence" possesses all the good qualities which
a polka attractive ; but it is not in the least "
(to
Digit!,
by Google
134
THE MUSICAL WORLD. .
[Feb. 27, 1858.
speak English) ; so much tlie more is it to be admired, since
while there is do reason why a polka should be fnutasftc (much
less " ique") there are many reasons why it should not Mr.
(Mons.1) J. B. Rtche (Rich »") has written a polka the most
fantattic imaginable ; but, in revenge, it is sparkling, rhyth-
mical, pretty, easy, brilliant, and dantant (daneeable 1) No one
who tries it can foil to be pleased with it
MR H. W. A. BE ALE.
To the Editor ofth* Mutical World.
8ir,— In your la*t number you publish a lett-r which you ascribe
tome. The letter in question is eigne.) W. O. P. Benle; my initials
are It. W. A. Surely you mint havo omitted to oh«er»c thin. How-
ever, as you hsro publicly accused me of want of good breeding, I
trust that you will in justice publish this repudiation of the charge.
I should nerpr hsro wrilien to complain of your critique myself, how-
ever unju-t I might hare thought it to be. 1 srut my works to ynu,
and you were justified in rating whatever you thought proper thereon.
I regret that my Pe%tre fkgitirt did not meet your approbation ; .but
I must say that I take it as a high compliment to ho classctl with
such men a* Li.it and Wagner.
7,
I «m. Sir, youn
«,»yo.(ir.),
F*b. 20, 1858.
( W.), liiMiV \V. A. Hkalk.
[Mr. H. W. A. Beak has entirely misunderstood us ; we
dreamed of classing him " with such men as Liszt and
."—Ed. M. If.]
PRESUMED PLAGIARISM.
To the Editor ofikr MMmd World.
SlB, — Should you consider the enclosed specimon of the
wilful and unscrupulous plagiarisms of the " British School of
Music" deserving of exposure, I would furnish with other >u-
ataticcs of the same sort from tlio works of the renowned com-
piler of the Bohtmian Girl. — Your obedient servant,
Motitagv-ttrtct, Feb. 19, 1858. JtrsTCS.
Piano.
1
Come with the (iip-*v bride, and re-pair
3 - I
mm*
T— I \—T
.... to the fair, where . . Hie ma - r.v dance
1 m
6a_
iHEEI^EsS """" M*
will the ta>urs en - trance.
Si
Puna.
LeDicudc* a-uiuursy guette tine I ■
t-to toujours, y guet-te une ft - tat-to toujour*, . .
Itrprat the tame Air
w,lh tWaJ htie.
[First— our correspondent docs not state which opera
written first. Second — on the snnie system, we could prove that
every composer has plagiarised from every (preceding) composer.
Nevertheless, we shall he glad to examine some more of the
presumed jdtiginrisnjs — Ed. M. If,
THE LATE SIR HENRY R. BISHOP.
To tie. Editor of the Mvelcal World.
Sin,— As one of the neaivat relatives of the younger children of the
late Sir Henry K. Bishop, allow DC to bag lint you will hare the good-
ness to give publicity | a the following statement, la ordrr thst the
position and circumstances of the family should be correctly known to
the public
The advertisements which hnve recently eptcured, announcing that
"a concert woulil be giren on the 25lh in»». at the Albambra Palace,
under the pair mage ot the Lor.l Mavor and Lady Mm ores, and uther
bsnevolenl individual*! in behalf or tbe>]c»tiiute f.iraily of the lute Sir
Henry It. Bi-lo|>," would bad the pub ic 'to infer that all the ohildren
I. ml been le t nn i ncrc still in a stale of ca'Vruie want.
Such, hownvrr, is not the fuct ; it is true sthut «t the death of Sir
Henry R. BisllOp, uhijli occurred in April, 18i<>. a public subscription
was commenced u» hchiilf of the Vt-uuyer cliildrvip of a second marriage ;
and the following gentlemen, Sir Cuor;;c SmarS. Pr. Henry Daniel,
Mr. Addisun, of Kcgeut-strcct, nnd Mr. Mitch. II, <>f Bond-street) who
), undertook to
of the sums
I
1 to Maka Uai
proper um>
* announceiajent
and application
hare Vi'oJly null
net ss trustees for the
sub.cnbe.l.
The amount reoeived by th.wo gentlemen,— lirgel
certain sums remitted through my liands from the
children, the present La iy Bishop,— has been expend
their education ..nil maintenance, nor is anything
future position in hie ttmt cannot be supplied by tl
parent.
The member of the family recently deceased was Sir
Bishop's eldest son by his first marriage. lie died at
was Sir; Henry K.
died at • tho age of
DigitizelrJ by G
Google
Feb. 27, 1868.]
THE MUSICAL WORLD.
185
48, leaving a widow and flvo young children, it is feared, toUllj nnpro-
tided lor. Ho had never been connected with the musical profraamti,
bnt for nearly llfteen years had been a confidential clerk in the office
of Sir Robert Cardcn, the present Lnrd Muyor, whn-h may naturally
account for hi* Lordship's sympathy in behalf of liic distressed family.
Far be it from me, Sir, to interfere with llie charitable exertions mat)*
in their behalf, but it is certainly right to state that the benevolent
assistance of the public, ia not required or aaked for by the younger
children of the lute eminent composer, who ore, in all respects, sap-
ported and maintained by their mother, Lody Bishop.
I am. Sir, yours obediently,
Bouert RlVlrKS,
Brother of Lady Bishop.
DR. FOWLS,
To Ik* Editor of Ike JIutical World.
Sib,— Be «o pood, in justice to uijaelf, to lnaert titii letter in the
next number of your journal.
It was not for mr to gratify the cariosity of jour correal ondenla
"Oboe" and "X.Y.Z." as to rrWe I hid obiiiinrd the decree of
Mtts. Doc, but I congratulate them upon receiving llie desired iufor-
■nation from your correspondent "It, A.M." Tbi» letter, however,
from " R. A. M." demand, n ro, ly from inc.
It will naturally be asked bv many persons, " Whv did Dr. Fnw.e
go to Oie;»Oi for bit degree? Why did he not go to Olford or Cam.
bridge?" M» reply ia, that being deorous of taking the do/ree, I
applied for information on the subject to two friends, one of whom wan
a member of the University of Oxford, and the other a distinguished
scholar at Camhridue. Both these gentlemen informed mc that not
hariug krpt roy trrmt at either University, neither Oxford or Cam-
bridge would r infer the decree. 1 huve since found nut that both thee*
grnilcmen were wrong in their information; but. unfortunately, I did
not discover their error until after I had taken the necessary proceed-
ing* at Oiesscn for obtaining the degree, which I win anxious ahould I*
conferred upon me, aa it waa urged that it might help to give me a
good poiition at Torquay, where I had obtained an appointment at
organist and choirmaster at tho lathi nalde clmrch of 81. John'*.
One word with respect to the aai I degree from the University of
Oiessen. If any of jour rca ierB imagine, or y <ur rorreteomlent
" B. A. M." intends to insinuate, that the degree of Shu. Due. war.
botiykt milk mo**fi atonr, I beg dulincth and emphatically to deny the
charje. 1 tent several worae to the I mwr-iiy, and, in n I 111011, I
was required lo write an essay en thorough-base- a procti at out ol
twenty-two folio pages in length, and I am further required to wrde
•t the end of the saw essny, " 1 declare, tij'on the faith of a gentleman,
that no living person lias 'assisted me Hi writing this e-sav." This
declaration, I believe, is nt.t required at either Oxford nr Cambridge, so
that t'.e exercise for either of these Universities may, if necessary,
be bonaht. How often tl.it occurs, of course, I Lima n. t. No doubt
such things sore been done, hut I would hope such Inilerces are fen ami
far between ; and I v-oi.ld eriigest that both Oxf oil ami Cambridge
•would demand fr >m the oaudida'r who applies lor the degree, not onlv
high te-tini n»al< aa to musical ability, but also aa to character and
mprrlalihty. Bash testimonials I wis required to produce at utcsten
before the outhoritu-s would entertain my application.
Whatever valn« jonr readers may >et h|s-mi this degree from the
University of Oiraaen. I really think is of very tilth- con- ipirnce to mc.
I have explained I sent to G lessen instead ol to Oxford or Camhnd*;*,
and I wilt only add, that I obtained the degree fairly anil honourably,
and that, in addition to the usual diploma, au ex'.rj i (final document
wns given to mc for musical merit. I certainly should have preferred
to haragoivato Oxford or Cambridge for the degree, but, having accom-
plished my purpose at Oiesaen, I really regard tho whole affair with a
eeret.ily and satisfaction which it will be quite impossible tor the curiosity
or the uneourtcous remarks of your readers to disturb.
I am, Sir, your obedient servant.
F.reter, Feb. 22, 1S68. Tnoitui LstOTB Kows-E, .Vif«. Do".
[Wc may as well slato hero Unit, Consider-in" llio specimens
there have been of" Must. Bars." ami M Mns. Dom." we entertain
Ten- little respect for the distinction, whether it it Acquired at
Oxford, Cambridge, or Oiessen.— En. M. »'.]
A New Political Poiht— (Front P^nch). — Mr. E. T Smith,
the leasee of Drury Lane Theatre, and the unsuccessful candi-
date for Bedford and Bridport at the laat election, has declared
hia intoution of not again coming forward until Parliament alaall
have passed a meaaare allowing of vote by ballet.
TWO OPINIONS.
The iVeie York Mutiod RtvUic quote* the following antago-
nistic opinions, said (no doubt on good authority) to have been
delivered by two of the greatest operatic composers tho world
haa known : —
" Under any circumstances, in an opera, poetry must be the obedient
daughter of musie."-A«Wl.
" When I compear, before all things, I wish to forget the musician,
I consider a composition (opera) faulty and bad, if it smelts of music."
—Olnet.
Probably our tranaatlnnllc contemporary may be inclined to
draw a deduction from the above exactly opposite to that which
it haa suggested to ourselves. ITe agree entirely with Moiart ;
and can easily understand why the author of Am Giovanni was
a greater operatic composer than Oiuok— to say nothing of
his (Mozart's) immeasurable superiority as an "absolute
musician."
Prauuk. — Jenny Ltnd has given two concerts here. She
is now, it is said, on her way to Russia.
Ukuus. — Hcrr von Billow lias at last given the concert of
" Music of the Future," with which he has for some time past
threatened the good people of this city. In spite, however, of
the aswistanre rendered on the occasion by Hcrr Tnusig— who,
by the wav, is siiid to Ire moat favonrite pupil— and of
Hcrr and Mad. Mildc, reinforced by a legion of free tickets, tho
affair was a failure. Although he lahonred very hard, Herr
von Billow could not succeed in rendering his audience at nil
enthusiastic lor Liszt's nnedifying pianoforte concerto, or hia
" FestkliHie,e." He played alto an overture of his own to
Juliut C\tMr. Although this was disfigured by a great many
exaggerations, it was kept nearer the tonus of classical music
than people would havo expected. Herr Tauaiy poaseaaca great
mechanical skill and strength ; far too much, indeed, (or clit sical
works. — The last concert, given by the mcmlters ol tho Chapel
lioynl, was especially interesting. Mendelssohn's ottet,
which, according to tho composers own directions, ahould
lie played in the symphony style, was executed by all tho
stringed instruments. We did not think the work lout anything
by this, but that, on the contrary, It gained a great deal. The
sound of a number of violins combined is aometliiuj enchanting.
The same phenomenon which haa long been ohwerved in the
chorus was evident here as well, namely, that a number of
organs, which, when alone, are imperfect, compensate, when
combined, for each other's deficiencies, ami produce an effect of
tone which i3 in every respect satisfactory. The masterly
qualities of the Chapel were, on this occasion,' exhibited in their
verv beat light.
Tub M oz a itT- V brki j ix Gotoa.— An official
jnst lieen published by Herr Hanshalter or the state and pro-
spects of this association. He informs us that the directors have
csumeticed operations by assisting a meritorious voting artist,
Herr Julius Laminers, of Osnabrtlck. A series of »on-s by this
gentleman will shortly bo published, and his work, l)i« Srhilf-
linJer von Ltnau, will, at the especial wish of Dr. Louis Spuhr,
find a place in the next Atotart Album. The kin>,'S of Prussia
ami Saxony, and the Prince of Sohwarzburg-Sondershattsen,
have lately sent donations to the Association, and several
managers havo promised to give buuefila for its aid.
Vkboi is beginning to become popular in Germany, as well
as in other places. At Darmstadt, Let Y(pre$ Sici'iennct has
proved very attractive for nearly a year, although uot ao much
on account of the music, as of the s^eiiory aud tho manner in
which the ballet, The Four Seatont, is put on the sta^e. Illyo-
Ut(o was given several times last mouth, aud favourably received.
In Fraukfort-on-tho-Mnine, II Tromtore has produced a ^reat
sensition.
Tuot.'uH Otto Jahn's Moiart is not yet ready, Herr Meidinger,
a publisher of Frankfort-on-the-Maine, ant ounces: ifoiart, an
ArtitCt Life: A Social Hittorical Romance in tix tolnmet, by
Heribert Ila-t. Were Herren Jahn and Hartol to keep back
the last volume of their Mozart a year or two, Herr Ran
would probably find h, ■■: in a fix with hia Social Jlittorieat
Digitized by Google
136
THE MUSICAL WORLD.
[Feb. 27, 1858.
COMPLAINT FROM A BANDMASTER
Thb following has been sent to our office : —
OBSERVATIONS.
Every member of the household
had a portrait of the Princess
Royal excep the l>and An offi-
cious & loyal member asked the
bandmaster. The IA roaster sn'
he would do what he could Mr
Pope Hardy (horn) seconded by
Williams (clarionet) said as it was
not &c &c
11 hours on duty not even a
glass of wine or a bun to eat
PARTI E NON-OFF1CI KLLE
LE KOCVEAD PlFF-IUFF DE MuSSOO.
Preface to the 500'* Edition.
When this great work was first given to the world, the author
(supposed to be M. de Walewski), had little idea of the effect it
would create. Sung in every corner of Mossoodoni, it caused
the Army to push the cries of enthusiasm the most lively ; and
taken up, in an ironical chorus of men voices, bv Mr. Miluer
Gibson's DerbyJixygesangvercin, it actually sang Lord Palmer-
ston's administration out ol the houm-. — Communique".
T
HEATRE
m-uvigcrnci ■
-Under
id nuriog
«. Eaq ).f
ROYAL, HAVMARKET
the m-uvigemei it r*f Mr Hncketniwt, On M<*»dav, M <rch IsL
Ihc week, tn i pitimt<i{4 .it ? willt the p!ai- iljy J id»'M Hlierida" Kiwi
TMR HUKCi.BM'K. In «rt.kb MISS AMY SF.IiGWIrK wll ap.**r at JuUn-
After Irh. e»ery er. ning. a new grand comic Chrict'MM Punt 'inline • lit tied
THE SLEEPING BEAUlY IN THE WuoU; OK, 1IAKI EgUIN AND THE
SPITEFUL FAIRY. T.c-c i>„ry l>. Mr W In .mi al.ci.it Uarlequui, Mr Arthur
l-*vle< C « . Uuu.Miit M •• P i :,: Wrigtit; rantaWa. Mr Mark*)'. C.OWU, Mr.
Cbiirbw Lenteroi: The rrinc n oi* htr trirela Miu Uniu Uclertq
NEW ARRANGEMENT OF PRICE*. -Och mm dull. (which mil be re-
tained ih w o'e of Hi.- evening. i.»l Tor which t'nie wil» bo hoc urge or booklngX
«•.««'.. Pis . P«ic«.-Die«Uoxc».I«.; Upi^rllie*. Pit.".., 0»:ii;rj Is
HKrnMD PRICS I
Prime B<<xc«.
Mr. Ctpix-ndale
-Dre-e ttx^e, 3. ; U||*r B..xc» .«. ; Pit. It ; Gulltry. Bd.
Two Guinea* and On; Guinea and a-haf cacti. Stage- U-uiujer,
THEATRE ROYAL. A DEL PHI —This evening,
A Februar fTlb. THE FAIRY CIRCLE: OR CON OCAROLAN 8 DREAM.
In which MR end MRS. BAiiNKY WILI.IAMH will r After whie , will 1*
p,..ln cd a new o.1.w^iiMlc-iulc!r.m..n.titkd YANKEE CoURTSHIP. OR,
AWxY DOWN B.ST To conclude w!tb the .u.c«.ful ortgmal farce called
LATEST FROM NEW YuRK..-
KOYAL OLYMPIC THEATRE — This evening, the
• irfunn-nc. will commcn,-e with YOU CAN T MARRY YOUR GRAND-
MOTHER. Af vr »bich THE DOGE OF DURAI.T0. T.. conclude with IIOOIS
AT TUC SWAN. Cummence i.t i atl-pu* 7.
ROYAL PRINCESS'S THEATRE.
UNDER THE MANAGEMENT OF MR CHARLES KKt.V.
ON MONDAY and Friday, II A M LET ; Tuesday and
\ U'PSL>1MER NIGHT* DREAM; Wedncadaj and Satur-
day, LOUIS XI. And the Pantomime tr ry Evening.
OT. JAMES'S THEATRE —PROFESSOR WILJ ALBA
K) FK1KELI. — Wcrincadiiy m I Hat.nl.y ill(ti« at 3. Mi l ewy ere. Iiig
lexnept Saturday) »t S S'.U. 4. ; llakony Stall., «.. ; Boxc. S*. ; Pit la,;
Gallery, la Prleate Boxc*. T-o Gulieae. One I.ulii. a and- i-lelf. and One
(Mass. Place* to be secured .t Mr. Mltvhvil'e Royal Library. 33, Old Uood-atrcct
G
RE AT NATIONAL STANDARD THEATRE,
BHOREDITCH — Pr-phrlor. Mr. Jons Dnroi.***
|| happy to
IllliiUd p
•XT Glut ha hi»
Hod, with Mr.
IMPORTANT NOTICE.— Mr. Jo»'ni Dmujli
sucv*1* cd in eota.iiitf into an ei., ace ... nt. r»r
CUARI.ES DIXLOVi tl.o emliwi.l tTirfxI.! i a>ld lenee of the Tl>«atr« Royal
Lvi«.im, »»b ■ will .t> rn)ir li I. wevk in hi* rr .vt .'I lumcter* o( IMpheiror and
Othell ; Kig.theT with Mr T BUStt a d Mr». We»ti>.i. r m.Tnfei.1- lit fur nix
nig ta ly. •»' Mr. G K Diekiiiwai the juvo II traai-<U.in. Ou M tiday
11 A M Ll-T ll».-lt, Mr. li. K. Dllkti,-..,, Oil lii.ad..v end Tlurvhiy.
KICIUHD THE Tlllllli. Richa<il. Mr. O K. Hic.ln^.n, 0 Wslue^iav t..
cxinime. co uith ill rn l .m|: ■„ whleh Mr Ch^rl.a IHIlmi w II ni.ke l i« (Sr t
»pi~«nui,.- ..t tLi tl.atro On Frid.iv. VENICE PRE^EIIVID. IiiflWr Mr.
0. K. D.cklnam. Ou S > ur-Uy Mr. charl.a Dillou will
- " ^.^tb^tlUS^^
argotaqe {Queilr
\ilCa\me. Gdre
TO CORRESPONDENTS.
Corno Primo.— // mange dtt gurigut*. Qud gar
gargametU .') II *t refute au gardon, mats l
qu'il n'y otde.
J — Yet — trailing for tpace.
Mr. Hayds Wilson.— It it contrary to our rvle to return articUt
untvited to our column I. If not given out for insertion, tkey
are destroyed.
W. M. — Apply to the Royal Academy of Music, Ttnterden-strtet,
Hanover-square.
HehR V. P. — Our respected Correspondent, most indefatigable of
agents and retnartable of polyglots, vdl be honorably attended to
in our next.
L. V. (Paris). — The conclusion in our next.
J. D. S. — We were compelled, by press of matter, to curtail our
Correspondent's more than we could have <
C. B. ( Brussels).— A'trt meet.
Mb. Henry Leslie's Cooir next teeei.
THE MUSICAL WORLD.
LONDON, 8ATUBDAY, February 27th, 1858.
We have often had occasion to state, and we have now a
pretext for repeating, that the Parisians axe the greatest
gudgeons (gouj- ns) with respect to tnunic on the face of the
earth. True, France gave birth to M£hul, Boieldieu, and
Auber — three men of whom Germany or Italy might have
been proud ; and yet we have the intimate conviction that
the greatest beauties of these great composers* are least of
all appreciated by the French. The instances in which they
are bewildered in their attempt to adjudicate on the claims
of foreign musicians are number loss. A Paris critic is sure
to set down everything German either as profound or lofty —
as diving into the depths of philosophy, or aspiring to tho
clouds. Innately bored with Gesman music — as French-
men are naturally bored with anything serious (good or bad)
that is not French — they, nevertheless, affect a certain
veneration, which, mingled with a faint reflex of tho critical
and cynical spirit of Voltaire (who — honest and out-spoken
Frenchman — laughed or sneered nt almost everything exotic),
has something akin to the ghastly frolics of the nuns, in the
resuscitation scene of Robert le JHab e. As those wretched
phantoms, called up by the infernal agency of Bertram, aped
the wild licentious dances and motions of living and breath-
ing sensualists, so French critics — just as dead to the impres-
sion of foreign beauty as the mock -animate corpses of the nuns
to the attractions of positive existence — abandon themselves,
under the influence of their Bertram (the fiend of hypocrisy),
to a feigned enthusiasm for Beethoven, Weber, and the kings
of German music. How hollow, or how shallow, is this
enthusiasm, becomes apparent when anything German, not
ratified by the verdict of time, is brought before them. At
such periods the Frcuch connoisseurs and the French "dil/e-
tanli" are at sea, betraying a misapprehension of the actual state
of ai t only surpassed by the ensy nonchalance with which it
is exhibited. J ust now M. Flotow's Martha — an oj>era which
has gone the rounds of the Teutonic cellars for tho last ten
years — is produced in Paris, and apostrophised as if it was
somcthiug altogether new ! Why dont they read M Fecial
His lucubrations arc commonplace enough; but so far as
history goes thev may be relied on; and M. F«tis writes
• Mchul wis
Auber'i fioeet
allorw
makiQK "fiascos ;" «nd
"poohpooh'd"byhis
///.-one of
Digitized b^Gc
Feb. 27, 1858.]
137
French — the only language bond-fide Frenchmen think it
necessary for any inhabitant of this earth to know — passably
welL M. Fdtis could have told them all about Martha, and
thus have saved them from committing themselves in respect
to that well-known production.
A abort time preceding the advent of Martha, the execution
of a fragment of Mendelssohn's FAijah afforded the French
feuillelanutUt an opportunity of explaining to admiring nations
(all nations read French, as a matter of course) the origin and
signification of oratorio. The "admiring nations" might
jiist as well have explained to self-admiring France (Paris)
the origin and signification of whales — which, comparing
nature and art, and allowing for differences, are not much
more mysterious than oratorios. Do Frenchmen (Parisians)
ever look at a map? If so, cannot they picture to their
ardent imaginations that France does not cover the entire
globe, and that tomething may have been going on, time out
of mind, somewhere else than in France, which would have
gone on precisely in the same manner as if there had been
no France at all 1
At this very moment we have a case in point. A new
.Rubinstein has arisen, and driven the old Rubinstein clean
out of the heads of all polite Parisians. Mr. Henry Littolf
(whom, two years since, the French critics knew no better
than they did M. Rubinstein) has appeared on the horizon,
played his " Fourth Concerto-Sy mphonio,ue," and "astonied" all
Paris. " Credat Judaus A p' Klla 1" — many will exclaim, who
remembering Littolf in England, at the Society of British
Musicians, have since, with very small expense of trouble, fol-
lowed his career iu Belgium and Germany, and are aware of
his precise claims and position, just as they are cognizant of
those of Mr. Barnum, or General Tom Thumb. Mr. Littolf
has "astoniod" all Paris — not merely as a composer but, even
more, as a pimi«t.' A short cadaverous' looking gentleman,
with light locks, long and spa rue — who kocps a music-shop,
quietly, in the little town of Brunswick (without ever invoking
the Demon of the Hartz) and officiates as Kapellmeister (on
continual leave of absence) to the very unassuming Duke of
Saxe-Gotha— has arrived at Paris, played a so-called "Cvncerto-
Symphonique," and been immediately ajrastrophised as "lion"
of the first class. He has extinguished M. Rubinstein (the
" lion" of 1857), and set the Boulevards in a ferment. The
papers are mad about Mr. Littolf. The only one we have seen
that ventures upon criticism is a class journal — the it(ne*trti — i
which thus, with true French (Parisian) unconsciousness of
the events of the last few years, apostrophizes the newly
discovered prodigy, or rather the music of the newly dis-
covered prodigy : —
"For u> the real success of thta Coacerlu tymphoniquc (which occu-
pies an hour and • quarter in performance) li<-» in the tcherto and the
adagio religion. Tlie first allegro una finale belong to that vsat cate-
gory of musical conceptions which are glorified at the present time in
certain German and even French high placet, and which comprise all
the elements of the School of the Future, which, under pretext of dia-
covering new horizons, displaces all the points of view of the past—
that scl ool in which the trees prevent ua from seeing the forest, in
which noise predominates, melody is ignored, and rhythm has lost its
compass — in which the hearer is ill at ease, the mind distracted, and
the heart oppressed. Now and then a gleam appear*,* whieh allows
you to take breath for an instant ; bat such glesma are withdrawn pre-
cipitately, ss if in remorse, and you re-enter chaos— unless, indeed,
you are sufficiently lucid to be able to apprehend at a glance the music
of loture age*.
" Assuredly thit school does not proceed from Haydn or Mozart i iU
disciples even avoid it arid arc vain of the fact. Bat does it at any rate
• We should like to tee one.
proceed from Beethoven or Weber ? Not a hit more.* Weber and
Beethoven aing. Beethoven, and still more Weher.t possess clearness
"Beitao. Let the School of fhe Future know, however, that this
concession will n.wavs be impose I upon it i ainco the no-called vulgar
Lite ta metotlg; and melody ia eternal. Without melody there is no
music, past, present, or future."
Is this not strauge J Why, it was only two years since
that the musical press of Europe was filled with anecdotes
about l.ittolt 's contempt for the school of the " Future" — his
defiance of Liszt, at Weimar — his confarreation with
M. Berlioz, after the rehearsal of Lohengrin — his breaking a
walking-stick in two, as a sign of his disallegiaucc, &c. &c.
And now we are admonished that Mr. Littolf is a disciple
of the Zukunftl The Parisian pa^rs themselves related
the anecdote at the time — and, if we are not mistaken, the
Mtoiialrel among the number.
M. Rubinstein will, no doubt, sj>eedily return to Paris and
vindicate his rights. Meantime, between the two, what is
to become of Madame Szarvady-Wilheluiine Clau.ss (the
"lutnnt" of 1852), who has once more launched her fragile
bark on the sea of public competition, and gave her first
concert a few days since ?+; She— poor tender thing !— will
be like an autelope striving to make head agiiust two hungry
tigers.
Here is an aggregate of attraction for the concerts of a
certain " lion"- worshipping director, who shall be nameless.
M. Charles Halltf, with his "classics," will have to sit in the
shade and pine.
• No — it recede! from Mendelssohn.
t Here the Meneetrel might join isauewith the Zulcunft.
The School of the Future ia ob-cure, and when by clisnce s glimpse o
lieht ia »een through the darkneaa, it eecma like s concession to the
vulgar taste.
I When, according to the French correapondent of the Morning
Advertiser, " her exquisite touch and wondroua powers wen' rnani-
fetiled, more especially in that charming aonaiit in aol major in
BrkthOVes's 81st Stmphokt." We leavo the Morning Adtertiter to
explain how a sonata can be in a tgmphong ; but we must protest that
Beethoven only composed nine symphonies.
The gentleman to whom we owe the origin of the proverbia i
expression which warns us against the folly of " teaching our
grandmother to suck eggs" flourished in the time of the hep-
tarchy. That his counsels were regarded as tho tie plat uHra
of folly and presumption is known to everybody, iuasmuch as
they are still employed as the standard by which human con-
ceit may be fairly measured. Less generally known is the
fact that the daring adviser began by recommending his
venerable ancestress to boil her eggs hard — au operation which
would have rendered suction altogether impossible.
Although this gentleman flourished, as we liave said, in the
time of the heptarchy, his family never became extinct. As
the horticulturist, who has once set a sprig of horse radish in
his garden, finds it springing up in places where it was least
expected, now in a flower-bed, now in a gravel-walk, so does
the man of the world, in whatever direction he may wander,
find some descendant of the Saxon counsellor, who still pre-
serves the attributes of his progenitor. Sometimes tho per-
son will be an ingenious arithmetician, who, utterly unable
to fathom the intricacies of his own milk-scoro, will
write you a pamplet on the most facile mode of
paying off the national debt. • Two or throo of the
family have devoted their wholo energies to the abo-
lition of Holborn-hill, though these are divided into two
factions, the party who would cut down the hill to the level
J of the valley, and the party who would fill up tho valley to
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THE MUSICAL WORLD.
[Feb. 27, 1858.
the level of tho hill. Most numerous, however, are those
who, taking advantage of their connection with some maga-
zine or review, favour the world about once a-year or so with
their views of the British drama and things associated there-
with.
The characteristic of the whole family — financiers, hill-
removers, drama-reformers, et ctetera, et artera — is a thorough
dislike for every practical man and practical measure. In
vain did collateral relations tell the Saxon counsellor that a
hard egg could not be sucked ; they wore at once answered
either with metaphysical abstractions, to the effect that an
unboiled egg had not realised its proper ideal — or with broad
hints that they wanted to poison the obi lady with drugged
albumen, and Bhare her property among them".
The modern representatives of the ancient race have
preserved the peculiarity as a sacred heir-loom. When one
of them, for instance, writes his yearly article on the statu of
tho drama, he begins by regarding the subject from a
thoroughly unpractical point of view, lie affects the tone
of a classical scholar, seasons his text with a bit of Latin
and Greek, to make it look showy, awes his readers by his
familiarity with foreign capitals, and having thus ascended
his pedestal, begins to propound some high ideal theory,
which looks marvellously well so long as the oration lasts
but which is of no practical utility whatever. He will
complain that ^Sschylus is not acted at tho Adelphi— he
will contend that Shukspere should be played at Astley's
without the innovation of horses — he will vow th it Widdi-
combe, of tho Surrey, is not a classical comedian, for whom
Aristophanes would have written a new part — hu will reveal,
as a grand discovery, that the Dog '.of ' Daralta is not King Liar;
all which platitudes might be passed over as so mauy harm-
less and amusing follies were not a large amount of malice
couched under the semblance of twaddle. The unpractical
theory of the orator who would reform the abases of which
ho so miserably complains is based on an exceedingly prac-
tical feeling. Ten to one but he ha-i in his pocket a transla-
tion of tho Pfomethtiiu Vinclus of -Ksclivlus, and Li exceedingly
angry that Mr. Wright has no ch ince of being nailed to a
canvas Cancasus ; or he would like to play Macbeth at
Mr. Cooke's, but is not firm in his saddle; or ho has a
funny friend, who amuses hiui with a song after supper, and
longs to take Widdicombe's place at the Surrey ; or he has
written a tragedy called the " Lear of Spitsbergen," through
which Messrs. Krnden and Robson do not see their way.
The Saxon counsellor who recommended the boiling of the
egg was, secretly, a vender of saucepuu*.
Now if sublime ideal views were carried out all these
wounds would be healed, and both banks of the Thames
would ring with the rejoicings of all who loved true genius
and purified Uste. " Then why are not such views carried
outr asks the orator about once a year. "Because,"
answers the orator, also once a year, " the newspaper critics
firevent them. The venal scribes tolerate (rreen Buthe*
ook leniently upon Cooke— laugh at Widdicombe— and
uphold Robson. Who does not know that the London
press causes the decline and fall of the British drama P
The Saxon counsellor's advice was no doubt most elegant ;
he interlarded his discourse with KMJM of Bvz mtine Creek,
and talke<l larg ly of his visit to Constantinople. But his
doctrines were opposed to suction, and that was the art he
professed to teach. So our annual instructors, who would
show us how to become theatrical critics, entertain a
theory by which criticism in daily papers would be
rendered utterly impossible. The great fallacy con-
sists in the assumption that every notice of a dramatic
performance is, in the higher sense of the word, a criticism.
Save in exceptional cases, the wi-iter of newspaper
theatricals is necessarily more of an historian than a
critic, the principal part of his vocation consisting in the
description of a plot, and the lvcord of a success or failure.
The account of a performance in a daily journal is not
merely the utterance of an opinion — it is an article of news,
a statement of a fact. When the sole object of a melodrama
is to startle, and the sole object of a farce is to raise a laugh,
the announcement that these ends are attained is, in truth,
all that can be said ; and we should like to see how long the
modal critic would last, who undertook to review every
theatrical trifle of the day, from any wsthetical position,
true or false. It is all very well to propound one's
views once a year, when one has a choice and can
leave out whatever details are inconvenient. But no such
choice is left to the theatrical critic of the daily
journals. He must record the proceedings of tho theatres,
many of which, if judged by any high rule of art, would be
shut up altogether ; and however trivial the piece produced,
he must describe it at some length, or ho would not fulfil the
duties of his calling. The reviewer or magazine-writer may
depict an ideal region, sure not to be interrupted by any
collision with reality; but the newspaper- writer is perpe-
tually chained to tho world as it is, and though he may try
to soir occasionally, he will constantly be forced to take
things as he finds them. As for charging the London press
with tho decline aud fall of the British drama, we may as
well say that Kdmund Oibbon caused tho decline and fall of
the Roman Empire.
THE "—-I n."
To tht Editor of the Muiiml IForld.
Sir, — Tho polite answer in your ifctiees to Correspondents,
with regard to the article* that appear in an evcoiug paper of
high standing upon the " unique performances" at an institution
which has lately removed from Willis's Itooms to iianover-
sqiinre, has not entirely convinced roe. Nor is the notice which
nppears in the same eveniug papor of to-day calculated to luaks
me share your opinion as to the source whence the article! are
derived. Surely tho director of the institution, if ha prepared
them, would not speak against himself. Now read the following:—
" Mendelssohn's srventren variations on a dVwry tliemp were plirod
by M.illU-. A-inn Mulque. H«t elocution of t'ie difficult Tdriiliom,
ntid tasteful delivery of the mere sim:>l«. proved hrr to b« a very
uflrompli.lied pianist. Willi all due rvqwet to Mr. Ellas judgment,
ne doubt whether -«ucli ioiuic, uur more than Buc ■"» fugues, • muld be
played before a i&r*e au iitory. Ttiev are ii*'fiil sluJie*, and good
exerciss lor the Anger* ; s.-holasito and ingenious, but deiotd of
charm."
This does not look like self-adulation 1
You* obedient servant,
AXATECB.
[" Amaleur" is either a wag or a very shallow fellow
Suppose the criticism to be sincere, the critic who pro-
nounces the beautiful theme of Mendelssohn's Variation!
Scrieaset " dreary," if a musician would be a block he«d, and
if not a musician a coxcomb. But the criticism is by no
means sincere. Its object is not to " let down " Men-
delssohn, but to make the readers of the believe that
the magnificent preludes and fugues of Bach, when played in
public, are ■ brrc. Now the precise contrary has been
successfully established by Miss Arabella (Joddard, who,
to her infinite honour, has had the courage and artistic
enthusiasm to perforin preludes aud fugues of Bach before
very large " auditories" _ which very large "auditories,"
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Feb. 27, 1858.] THE MUSICAL WORLD.
139
moreover, to Ihtir infinite honour, have received them with
enthusiasm. This, of course, is a reproach to the director
who rcjHJrts his owu performances, and who lias never been
sufficiently musical at heart to venture upon the fugues of
Bach, or tie last sonatas of Beethoven. We have no wish to
be pemmu! in this matter ; but if " Amateur'
provide him with all particulars. — Ed. if. W.]
Moht Blanc— The lftSSth representation of Mont Blanc will
take place on Monday next.
Dr. Mark and Btfl LiTTUt Men at Buckingham Palace. —
Dr. Mark, in obedience to a royal command of Her Majesty the
Qn en. proceeded with hia Little Men, on Wednesday, February
10th, to Loudon, to give a performance at Buckingham Palace
in the evening. They were received at the palace at nine
o'clock, and afterwards conducted into the presence of Her
Majesty and a brilliant court. The concert opened with
the National Anthem, in honour of the anniversary of Her
Majcaty's wedding day, followed by a well-selected programme.
At the conclusion of the first part, Her Majesty rose and directed
her steps towards the little men assembled, and put several ques-
tions to them, and also, addressing Dr. Mark, expressed herself
highly delighted both with tho appearance and performance of
the boys, especially with the cornet playing of Master Sturge
and Master Donovan. Miss Mark also shared the honour of
Her Majesty's kind enconiums. His Royal Highness the Priuce
Consort admire I the instrument used by Master Sturge, and
inquired the name of tho maker, who, we are informed, is
Mr. Highani, of this city. The Duke of Cambridge and the
Dnke of Saxe Coburg wore present during the evening. Mr.
Anderson, the director of Her Majesty's private band, addressed
the Little Men, after supper. Ho begged to inform them " that
Her Majesty was very much pleased both with their conduct
and performance, aud he hoped that they would do all they
could for Dr. Mark, who had kindly educated them in such an
admirable way."
Mtddelton Hall, Islington. — Among the suburban musical
entertainments, of which there take place in ouc week more
than in printing the progsjnnimes alone would fill the pages of
our journal, we may mention the concerts of Mr. Frank W.
Force, given at Myddeltou Hall, Islington, as attracting very
large audiences. Sir. Force spares no expense, and when we
state that Mr. Sims Reeves and Mad. t 'lara Novello have sung
at Myddolton Hall, we have said enough to show the principle
upon which tho entertainments are carried out. On Monday
tho eOBCerf WSI of more than usual interest, since Miss
Arabella Goddard made her first appearance before an Islington
audience. To the accomplished and |*>pular pianist were added,
as coadjutors, Miasea Birch. Stabbach, Anne Walker, Wilhel-
mina Freeman, Hawkins, Messrs. Montem Smith and G. A.
Cooper, all of whom sang, leaving to Miss Goddard the
solo responsibility of the instrumental department. In
the vocal music there were four encores, namely, Miss Birch, in
" Casta diva," Miss Hawkins in " II aegieto," and Miss Wilhel-
mina Freeman in "The Convent cell." The "sensations" of the
evening, however, were created by Miss Arabella Goddard,
in her two performances — Handel's '" Harmonious Blacksmith,"
and Thall erg's " Home, sweet home." The applause
after each piece was tremendous, even for tho Isling-
touiana, whoso enthusiasm is proverbial. An encore was
insisted on in both instance*, and for Handel's piece Mi-s
Goddard substituted Fumigalli's Clarice (received with accla-
mation), repenting Thalherg's piece. The |roum was in-
conveniently crowded, but the most perfect order prevailed,
and, judging from the pleasure manifested in every countenance,
a rare treat was conferred on the visitors to Myddleton Hall.
Wakefield. — The collections towards the support of the choir
of Holy Trinity Church were made after sermons preached by
the incumbent, the Rev. W. M. Madden. The amount was
nearly £\B, which, with tho usual annual subscriptions by the
members of the congregation, will raise tho sum total to the
requisite sum.
CRYSTAL PA LACK CONCERTS.
TnE two coucerta which took place on Saturdays, Feb. 13 and
20, were not remarkable. On the contrary, the programmes
declared a retrograde movement, which we were sorry to observe.
Hero is the first : —
1. Overture, " Benvcnulo Cellini," — Berlioi. 2. Ari», "L'Oragcn
Is grande Chartreun.-" H«rr Decs — Maxrl. 8. Conoertino for Violon-
cello, Mr. Daubcrt— Romberg. 4. kt\tt(I Puritani). Mad. Borchardt —
Belhni. 5. Symphony in H ilat-HsTdn. C. Duct ( Valet Je Chambre),
Mad. Borchardt and Herr Deck— Csrsfs. 7. Invitation it la Vul.e—
Weber. ft. Song, " The Spring," Herr Pock— Fi*"l cr. 9. B*llad,
Mad. Borchardt — Bruce. 10. Wedding March— Mendelssohn.
The duet from Carafa's forgotten opera was sung with spirit by
Mad. Borchardt and Herr Deck, and encored. Haydn's sym-
phony pleased very much, and the InviUUion A la I'aUe, ot
Weber, instrumental for the orchestra by M. Berlioz, still more.
M. Daubert was also favourably recoived in Romberg's violon-
cello concertino.
The following was the programme on the 20th iuat. : —
1. Overture, " Je*«on.la"— Spohr. 2. Song, "The Wanderer,"
Mr. Allan Irving— Schubert. 3 Schrrto, from Midsummer .ViyAf'#
Dream - McndeU>ohn. t. Aria, "Juur do raon enfance" (Lc Pre aux
Clem), M«l. B •rchardt — Herold. 6. Svmphonv No. 1, in C —
Beethoven, ti. Scenn and Aria, " Dagl' immortal li vertici" (Altila),
Mr. Allan Irving —Verdi. 7. t'oi certo for Violin, Xo 3, Mr. Van
Heddcghnm— Do Berii>t. ft. Scotch song, "Coming through the T}C,"
Msd. Borchardt. 0. March— Overture (lir»t liuie of performance)—
Kerbii'ch.
There was no encore at this concert. The orchestral pieces
were much more applauded than the vocal, although Mad.
Borchardt had verv great and well deserved success in tho
pretty air from Harold's opera. Herr Van Heddegham, in
the violin Mtiff'Uo to this, and in De Beriot's concerto, dis-
played tolerable executive powers, but a i
fysrrr
SACRED IIARMOXIC SOCIETY.
{Cotntnun iruleJ.)
The Benevolent Fund of the Sacred Harmonic Society held
their second annual meeting in Exeter Hall, on Wednesday
evening, J. N. Harrison, Esq., President, in the chair. The
report, read by the honorary secretary, Mr. J. F. Puttick, fol-
lowed by the I. alone- account aud statement of accounts read by
the treanurer, Mr. O. Hill. It would appear from these docu-
ments that the fund slowly progresses, not only in the accumu-
lation of its invested stock, but iu tho continued accession of
patronage accorded by tho sut«cribera to the parent society.
The report mentioned His Grace the Duke of Northumberland
aB oue of the latest additions to the roll of life-governors. The
proeec-diuga of the eveuing were chiefly confined to the trans-
action of merely formal business. Several suggestions were
offered by subscribers in this society advocating various modes
of benefiting the charity. One of the speakers on this topic,
Mr. C. E Mudie, offered to double his subscription and to use
his best efforts to induce others to follow his example, stating
that the amount of musical gratification he experienced at the
concerts of the Society iu return for his subscriptions still left a
debt of gratitude to its amateur associates unrequited, which he
would gladly seek to dis. harge by aiding their Benevolent Fund.
These remarks were followed by a spirited address to the
meeting by Mr. Bowley, the Sacred Harmouic Society's active
treasurer, who read a liberal proposal to assist the object
himself; nnd, subsequently, various subscriptions were tendered
and promised, amounting iu the course of the evening to more
than £i(M). Mr. Puttick, the honorary secretary, and Mr. Hill,
the treasurer of the Fund, made forcible appeals to the meeting
for continued and liberal support, urging as a special reason,
therefore, the catholic spirit of the institution, embracing as
objects eligible for relief " all who at any time have been
connected with the *»<•«•■« H.-.,,™;* Snri.u »
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THE MUSICAL WORLD.
[Feb. 27, 1858.
MR. OTTLEY'S LECTURES ON ART.
Mr. Hkwrt Ottley, -whose discourses on Painting And
Painters we have Imd occasion to notice when they were given
at the Marylebone Institution, lias changed hi* locality, aud has
given • series of three lectures at the French Gallery, 121, Pnll
Mall, two on Painting and oue on Engraving. The first lecture
on Painting, on Thursday, the 18th instant, was devoted to the
Italian school, and, if we do not err, was a condensation from
two former lectures. The second lecture, on Engraving, was
delivered ou Monday, the 22nd. The subject was new to
Mr. Ottley's audience. Mr. Ottley commenced with the history
and description ot the various methods of engraving on wood,
copper, and other materials ; passed to an account of etching in
line, meizotint, and aquatint ; proceeded to consider the art of
lithography, printing in colours, and nature-printing; ami added
a graphic and interesting sketch of the invention, rise, and pro-
gress of Photography. Mr. Ottley concluded his lecture with
remarks on the importance of cugraviug as a medium of in-
struction in the history of art, and with proposals for establishing
an Exhibition of Engraving.
The third lecture, on Thursday last, was devoted to painting,
comprising a rapid survey of the German, Spauish, French, and
English schools. This, perhaps, was the most interesting dis-
course of the series, since the observations on the state of the
art and its culture in England came more directly within the
appreciation of Mr. Ottley's hearers, and appealed more imme-
diately to their tastes and judgmeut. The course was wound
up with reflections ou art-patronage, and the state and prospects
of art in this country. The attendance was numerous nightly,
and each lecture received with great applause.
ALHAMBRA PALACE.
Mh. E. T. Smith opened the Panopticon, in Leicester Square,
last week, under the name of the Alhambra Palace, as a Concert
Hall. The original objects of the Panopticon were as various
as unsucccsslul. More than oue hundred thousand pounds was
expended, with what aim it is impossible to guess. The Alhambra
now seems to have a special purpose — music. Its adaptability
to sound is first-rate, aud the accommodation enormous, there
being room for nearly seven thousand persons.
The Alhambra Palace was opened on Wednesday week — Ash
Wednesday — with a miscellaneous selection of music.
The concert comprised excerpts from five popular operas,
tana by a number of popular vocalists, presided over by three
conductors, assisted by a baud aud chorus.
On Thursday evening a concert was given for the benefit
of the children of the eldest son A Sir Henry Bishop. It
is to be lamented that the cause of charity did not prove
more attractive, notwithstanding that the programme was
abundantly interesting to the multitude, and that the Lord
Mayor, Lady Mayoress, and a bevy of City dignitaries and their
household, together with a fair sprinkling of the aristocracy,
attended in form, if not in state. About four thousand people
assembled, little more than half the building would contain.
Of the programme we need not speak in detail. It was
divided into two parts — the first miscellaneous, the second de-
voted to a selection from the works of Sir Henry Bishop. The
following is a list of the artists, all of whom gave their services
gratuitously :—
Msdsme Budcrsdorfr, Mrs. Newton Frodsham, Miss Loui»s Vinning.
Mdlle. Finoh. Msdsme Borcliardt. Msdsu.c Poms, Mi-. Poole. Mia*
Fanny Hudnsrt, Mrs. Cliatfleld. Mr. Charles Brahsm, 'Mr. George
Perren, Mr. D. Miranda, Signor Dragons, Mr. Bartlcman, Mr. Bern-
hard, Signor Borrsni, Mr. Winn, Herr Keinensi, and Herr Deck.
To judge from the applause, the concert afforded the highest
Cincatiou. Nearly every other piece was redemanded, and
not some of the artists strenuously resisted these vociferous
appeals, the performances could not have terminated till long
after midnight. The Lord Mayor and his party remained
till the eud, and appeared to take much interest in the
MR. STEPHEN MASSETT IN ENGLAND.
Axotheb aspirant for public favour has arrived in London, in
the pei-son of Mr. Stephen Massctt, a popular American vocalist
and mimic. The entertainment which this gentleman will
present for the first time to an English audience on Monday
next, consists of original and popular ballads, anecdotes, recita-
tions, and comical illustrations. In Bombay and Calcutta Mr.
Masse tt has lately given his entertainment with very great
success, notwithstanding the excitement prevailing in those
cities. Previously to visiting India, Mr. Mossett had spent a
long time in the "diggings'' at Australia aud California, where
he became an unprecedented favourite. Anxious to ohtaiu the
crowning approval of a Loudon audieuce, Mr. Maasett has now
arrived among us, supported by the good opinion of all those
who have met him. As a sample of the favourable criticism
which the entertainment elicited in Calcutta we quote the fol-
lowing from the Bengal Uurkaru : —
"Ml STxrnin MaSstTT.— For two hours on Wednesday evening.
tliU Protean gentleman kept an immensely crowded aulienoe at the
Masonic Hall in roars of laughter and rapt delijtht. Were we, out
of the varied carl* catered by Mr. Ma*sctt, to select at random ttiose
w*/>ryea«x which chiefly suited our own tancy, and seemingly too that
of l lie audience in general, we aliould give the preference to the unut-
terably liutnurcus meeting at Moriev'a ot the London Cockney and the
blulT travelling Yaulee-lhe laughable blundcrmgs of ' Master Stage-
.truck and the Prompter,' the imitation of the elderly female an 1 the
German girl, and one or two others of the proa* pi sees, all replete with
grotesque incidents and uncluou* badinage. The lyric portion, again,
ot Mr. Ms**ett's entertainment wjs touching iu the extreme. Pos-
sesaing a baritone and falsetto ruice, which ho manages with taste snd
•kill, he succeeded in charming hi* audience with s very judicious
selection of delicious tnelodiea, commencing with one of Ins own compo-
sition, and accompanying himself on the piano. Poor old Turn Hood's
heart-rending and immortal 'Song of the Shirt,' «ss given with deep
pathos, and so were alto ' The Old Arm Chair' and the bitter ' Lament
ot the Iriali Emigrant.' Tlio recital, too, ot Tennyson's ecleorated snd
dashing ' Charge of the light Brigade,* elicited the cordial plaudits of
tl io audience, whilst a new version of the popular Mr, ' Vdukins and
his Dinah' kept their risible faculties in almost painful activity. But
in respect ot Mr. Maaaelt we have said uur say, repeating only our coo-
vie! ion that he 'aliould be seen to be appreciated,' — and that bo will
suffer himaeU to be seen again and again before he bids s final adieu to
the arid shores of Iod, we not only ssnguinely hope, but pretty
confidently anticipate."
ELECTION OF AN ORGANIST FOR THE CHURCH
OF SAINT LEONARD, SHOREDITCH.
(From a Correspondent).
Ok Monday, February 15th, Mr. Turle, of Westminster, met
the wardens and committee, at the church, for the purpose of
judging of the abilities, on the organ, of the various candidates.
The number was originally thirty-six, reduced, voluntarily on
the day of trial, to twenty-three competitors, of whom Mr. Turle
made the following selection as the best six :—
No. No.
18. Mr. Besle, as 1
13. Mr.Gardncr, as 2
10. Mr. Simpson, as 3
IIS. Mi-s Bough le ~\
IS. Mr. Longmrod > as equal.
20. Mr. Butler )
It is stated, but I do not repeat it as a fact, that Mr. Turle
was so kind as to give his services for £t> Some of the can-
didates are now at trouble and expense canvassing the ratepayers,
of whom there are about 17,000 In this extensive parish. The
poll and election will take placo next week.
-
Badhn Badkx.— Letters from this town, dated Januarv 29th,
record that Herr Ernst, the renowned violinist, about whose
state of health grave apprehensions had been entertained, is
now convalescent. All musical England will be glad to hear
this news.
Digitized by Google
Feb. 27, 1858.]
THE MUSICAL WORLD.
141
FUNERAL SERVICE OF LABLACHE.
(From th« France Mntieaie.)
The church of the Magdalen was opened thin day (Sunday) for
a tad and pious ceremony. Vast as it was, it was filled in every
part. Dead or living, Lablache had the power to attract a
crowd ; living, his admirers congregated to applaud his excep-
tional talent ; dead, his compatriots and friends united to render
the last honors to him. It was because his moral qualities
rivalled his merits as an artist, and would have eclipsed them if
his merits had not been immense ; his heart was equal to his
brain ; the man marched on a par with the musician.
French by descent, born at Naples, Lablache met his death
in the city where he first saw the light, and where ho com-
menced very modestly that career soon to become so brilliaut.
He returned thither to recruit his Btrength in the pure and
balmy air of those benignant shores where the same suu
makes the rose ami the citron bloom. Alas, it was too late!
The land which gave him his cradle, anil which had been the
theatre of his first, his most splendid triumphs, offered this
time to the illustrious emigrant a tomb only ! .... I am
wrong— it offered him also a treasure of the dearest and
most moving recollections; they encountered him on his arrival,
aa the friends of his infancy j recollections an I frieuds pressed
in crowds upon his heart, and seemed to say to him;—
We knew well that you would return ! Why did you over leave
us 1 Could you have been more loved and admired elsewhere
than here t Have you, in your numerous peregrinatious, beheld
a more beautifal county, a sky more azure, an air more pure
and healthy I You quilted us in the pride and power of
manhood, aud return to us overcome, worn out, and suffering!
And Lablache smiled sadly at these remembrances, so dear at
the time, and so poignant, and pressed with tenderness the hands
which for so long a time awaited his gmsp.
But he did not forget, when dying, that a part of himself was
here ; that he had made a promise to his family, to his children,
to return : that here, at some leagues from Paris, slept under a
cluster of willows, the sweet companion of his life — a wife with
the heart of an angel, who had always blended into one senti-
ment friendship, devotion, and love. He expressed then the
desire, the wish rather, to come and repose beside that excellent
wife, that affectionate mother, in the same vault, under the same
■tone— under the same willows which let fall their nightly
tears.
Naples was stricken with grief at the cruel loss. She be-
stowed on Lablache the most solemn obsequies. She put on, as
it were, a national mourning. All that the city could boast of
artists, musicians, poets, men of heart and talent — with which it
is so richly fnrniahed — assembled round his bier. Discourses
were pronounced over him which sounded like sobs. We sadly
envied the city ita doleful privileges ; but when we learned the
hut wish of the celebrated artist— when we were told that we,
in onr turn, would be permitted to surround his bier, to scatter,
likewise, flowers upon his tomb, a sentiment of bitter satisfaction
was mingled with our sorrow.
All the lyric artists of Paris eagerly responded to the appeal
ado to their affection in the name of their ancient and illus-
de. Ail the managers of the musical theatres
consented to allow their artists to pay a last adieu to Lablache.
If one exception had been found, the singers would have braved
tho strange prohibition, enforced by a high and powerful will.
Five hundred executants, vocalists, aud iustrumeutalists
assisted. After the mass, they performed Mozart's beautifu
Bequ iem, that sad and fatal hymn so mysteriously connected1
with the death aud immortality of the youugGeriunu composer
Wo name no artist ; we speak of all ; there may lie hierarchies
for talent; there are none for the heart; and all fulfilled with
their hearts the pious duty.
The ceremouy finished, the body of Lablache was transported
to Maisou-Lafitte, to be interred in the family vault. An im-
mense crowd followed. The cords of the pall were held by
MM. the Princes Poniatowski aud San Giacomo, M. the Baron
Tay lor, and M. the Commander Carafa. We have lost in Lablache
r, the artist, the friend.
M. FETIS ON THE PRESENT STATE OF MUSIC.
(Comlimurd from page 103 )
Whew a thing is not a part of the national manners, or is so
no longer, can it he made by force to become so by Institutions ?
Not by force ; but with time and the growth of custom, by
which manners are formed — yes. In the question with which
I am now engaged there are two things : the existence of
earnest art, iu which alone are the conditions of life ; and
through it an honourable and honoured career for whomso will
cultivate them lovingly, and a sure and sufficient means of
livelihood. Now, through causes which it would bo too long to
enumerate and to analyse, earnest art no longer enters into
the taste of nations at large ; its culture forms, in the present
day, an exceptional case. I am not only Breaking of music,
but of poesy, of the stage, of painting, of ail in short. The
sense of the beautiful, of the grand, has fallen away ; that of
the pretty and small has succeeded to it. Fashion has part in
everything; she reigns supreme. Well, when matters have
gotten thus fur, governments alone, if they be enlightened and
lack not tho will, can, by mcanB of institutions, prepare tho way
for the return of works of beauty and refinement, through the
habit of seeing and hearing them, sod thereby may exercise the
highest moral influence on nations and their destinies.
A politician, eminent as an economist, whom I fell in with at
the " Exposition Universelle," in Paris, in 1855, and with whom
it chanced that I had a moment's converse, uttered the*e
remarkable words, which arc the expression of public feeling :
Sir, art hat had it* day ; henceforth industry and the pursuit of
man's social and individual well-being will havo their turn."
" If it be so indeed," I replied, "you establish the degenera-
tion of the human species." "You are, perhaps, right in the
point of view of sentiment ; but societies growing old are like
individuals ; they renounce the poetry of their youth to attach
themselves exclusively to the positive side of things, and replace
the vital forces of their exhausted passions by the mechanism
of society, as the insufficient strength of man is supplied with
advantage by the action of machinery. In such a state of things
the arts have no longer any part, unless it be to furnish amuse-
ment iu moments of leisure."
There is, in the argument I have quoted, an appeal to tho
logic of facts to which it is impossible to affect blindness; but
the distinguished economist who thus delivered himself lost
sight of the hidden rock against which his theory and all other
theories of a like kind miiBt inevitably split — a rock overlooked
alike by Malthas, Beutham, and every other apostle of the ruth-
less aud arid doctrine of utilitarianism, namely, the intellectual
aud sentimental organisation of man, which nothing can destroy.
Circumstances may arise by fits, during which it slumbers, and
would seem to have lust ita vital 8|>ring; but the life is still
this same organisation
ranees, imparts the in-
beautiful, brings it into play in the creation
of ai t, preparing for it therein an infiuite multitude of enjoy-
ments, and finally purifies the soul, and raises it to better
wouiu m*uiu 10 nave iusl its vital spn
there, and needs but awakening. It is
which, left to itself, and without hiudr
stiuctivo sense of the beautiful, brings it i
sentiments, as also to conceptions of the highest <
What is required, and what is in tho power of government*
to do, when the triumph of utilitarian doctrines has reached it*
height, aa we see it has done in the present day, and that out of
the whole combination of social elements one uniform result is
produced, namely — interest? Certainly it cannot be sought to
enter into a violent contest with the predilectious of society, or
to make war against a state of manners born out of the nature
of circumstances; but it may be permitted to prepare a state of
things in the future differing from the present, by means of
institutions which, free of any appearance of hostility, will be
favourably received even by those who do not perceive to what
result they will lead in the future. Let us see what institutions
will be necessary in the case of music, tho special object of
these articles. And first let us consider religious music, which,
from its nature and destination, is exempt from the trans-
formation of fashion, aud consequently represents the art in
its most monumental form of conception.
There is no use in disguising the fact, nothing can be done
i rein save with the concurrence of ecclesiastical authority.
Digitized by Google
142
THE MUSICAL WORLD.
[Feb. 27, 1858.
There an fifteen Archbishoprics in France, in the cathedral* of
some of which there exist music chapels, ttie simulacra of what
they formerly have been. All ought to possess these chapels,
and they should be organised on a nuilorm plau worthy of the
object, Government making a sufficient provision for their main-
tenance. Let it be borne in niiud that what we contemplate is
religious music, not opera transplanted into the church ; for, if
it be sought to derive a needful support from the latter, doe
respect must bo paid to the grave character of its traditions.
Moreover a chief object aimed at is to restore to each branch of
art the character which properly answer.! its intention*. We
do not want to find ourselves in church stirred with the emo-
tions peculiar to the drama, and as a natural consequence the
resources of colouring possessed by the latter are not needed by
ua. What we require to promote religious feeling are voices
and the organ. Ad orchestra with its effects proper to
worldly music would be more injurious than useful. Let
it not cither be thought that its absence would be the
cause of monotony, fur that which creates this essential
defect in the music of the present day is precisely the fact that
we find everywhere the same effect produced by the same
means. To those who will take the pains to understand the
subject, there arc always immense resources in the manner of
grouping the voices, of coupling them with the organ or keeping
the two apart, by contrasting th<- varied aud powerful effects of
the majestic instrument with the mysterious influence of the
voices uuaccompauicd. If a deep sealed conviction does not
deceive me, there is here wherewithal to create au entirely new
world of music aud the man of genius will find in it a field lor
great and beautiful discoveries.
[Hie learned professor introduces at this point a proposal for
the composition of a music chau-d suitable to a French cathe-
dral, which we omit as a particular unnecessary to the argument
and of little interest to the English reader.]
The continuous and increasing decay of musical studies since
the last five-and-twenty years has become evident to all capable
of forming a judgment on the matter. The number of good
professors diminishes day by day, not only in the provinces but
in Paris. If some remedy be not applied it is impossible to
assign any limits to the evils which thus threaten the art. Now
I do not think any more efficacious one can bo proposed than
the solid instruction and severe discipline of such chapels as I
have given a plan of.
Tv be condtntrd.
Thea : Mkms. — Mr. James Anderson and Miss Elsworthy
commenced an engagement on Monday Evening at Drnry Lane,
and appeared in Mr. Andersons play, Ctuuas and Sunshine,
which was produced at the Stan, lard Theatre last year, having
previously been played in America,— Miss Amy Sedgwick re-
appeared at the liaymarket on Monday, and performed, for the
first time in London, Beatrice, in Much Ado About Aothiwi.
The fair actress achieved an eminent suoces*. and has repeated
the performance every night during the week. Miss Amy
Sedgwick is announced to appear as Julia, in the hunchbaci, on
Monday.
Ookcsbt at tbb STA!CDA*n TlHATBl - (From a Corrr$pnndnt).—
'« *Tis not in the power of mortal- to command success."— so wrote
Addison, no mean authority, but the proprietor of the Standard Theatre
does all in the power of a mausircr to deserve il. On the evening of
Ash- Wednesday, whrndramstic performance* srebv law forbidden, slid
whou many more qui-Mionabte amusement* sre permitted, Mr. DoUk'Ins*.
by way of trial possibly, provided a concert ot vocsl nd instrumental
music, mudc up from the works of llsydn, Doniirtti, Itotuni, Auber,
Verdi, and Balfe. Mr. Isaacson ws« Hie selector and conductor. The
principal singers were Madame Euders«>lm, Miss Fanny Huddart, Mr.
Millard aud Mr. Ahnn Irving, who nvll maintained their reputation. A
numerous and efficient band, from Exeter Hall and the Italian Opera,
very rfTeotively assisted in the evcniui{"s amusement. The hou-e was
filled in every part, and lovers of harmony mii-t have felt gratified at
finding that the best music was the t admired. Singers and players
went to work eon amort — the nudiem-c at one period rather incon-
siderate in their demands for " encores;" hut the affair went off so well,
on the whole, as possibly to induce the proprietor to repeat the
xpsrimsot of a concert at the Standard Theatre,
Lbeds— (From a Correspondent).— -Two oratorios have been
performed in this town since lust week. On Saturday Judo*
VaeoabttlU was given by the Recreation Society, and on Monday
Haydn's Creation was performed under the direction of Mr.
Burtou. For Judas, the principal singers were, Mrs. Sunderland,
Mis* Walker, Miss Newhound, Mr. Wilbye Cooper, and Mr.
Thomas. Mr. Haddock was first violinist, and Mr. Spark con-
ductor. There were 130 performers, and tho best representation
of Judas liaccabaus ever heard in Leeds was the result. The
Sriucipnl singers engaged for the Creation were, Miss Dobson,
li.iH Hirst, Mr. Westmoreland, Mr. Rumsden, and Mr. Hinch-
clilfe ; Mr. Bowling being the band leader. In many respects
the oratorio was highly successful. Mr. Burton, who has
established a series of Monday Concerts, proved himself well
acquainted with the work.
Akl'.ndel — (From a Corre*pondeiit).—A. musical entertain-
ment was given on Tuesday at the Town Hall, under the
direction of Mr. Furry Cole. The programme consisted entirely
of sacred music, including Rossini's Slabat Mater, selections from
the M'tuah, Flijah, :uid tho Creation. The solo singer* were
Mrs. Alfred Gilbert, Miss Susanna Cole, Mr. W. Curuiniuga, and
Mr. Reilly ; the chorus consisted of sixty performers, principally
pupils of Mr. Cole. Mr. Gilbert anil Miss .Susanna Cole sang
admirably mid with great effect. Mr. Cuuimiugs has a nice
tenor voice, and uses it artistically. His " In native worth" was
encored. Mr. Reilly is a powerful bass singer. Mr. Alfred
Gilbert presided at the pianoforte ; and Mr. Parry Cole con-
ducted. The orchestra was decorated with evergreens aud bung
with Chinese lanterns. The room was full, and everything
passed off well. Wc are indebted to Mr. Parry Cole for the
musical treat, and are pleased to know that bis efforts were
appreciated,
Glasgow— (From a Correspondent). — Tho Glasgow Choral.
Union gave their second concert this season in the City Hall,
on Wednesday 24th February, to a large audience, the perform-
ance consisting of Haydn's Creation, which was given complete
for the first time here. The principal singers wore, soprano,
Mis* Whitham, of Hudderafield, alto, Miss Cule, tenor, Mr. C.
Ashton, of Durham, bass, Mr. Brandon, of Barnard Castle
The chorus (composed of the members of the Union) numbered
upwards of two hundred voices. Mr. Herbert, of St. Ninian's
Cathedral, Perth, organist ; leader, Mr. William Howard, of
Edinburgh ; conductor, Mr. H. A. Lambeth. Miss Whitham'*
rendering of "With verdure clad" and "On mighty wing*"
was a< Imirable, but the duets in the third part, including
" Graceful consort," were tho great successes of the evening.
We may venture to predict a bright future, for this young artist
Mr. Ashton sang his piece* admirably, but labouring under the
effects of severe indisposition, could not give the power required.
Mr. Brandon, another young *inger, ]x»*sessea a rich barytone
voice, which the music of Handel or Mendelssohn would suit
better : he sang the aria ■ Rolling in foaming billows" with
great taste, though his voice wanted weight. The choruses
were sung with a precision which reflected credit on the talented
conductor, Mr. Lambeth. The orchestra, led by Mr. Howard,
was excellent. In fict, wo must congratulate tbe Union on the
most successful performance they have ever given. The audience
remained until the last chorus was finished.
Mdllk. Enrichktta Camilla, daughter of the veteran Chipp,
has just concluded a very successful engagement as prima donna
at the town of Sarsarie, in the island of Sardinia.
M.Littolk, the pianist aud composer, ha* (if we may believe
tho French papers) played his fourth Concerlo-iymphonique with
immense success at a recent concert of the Su«iut6 des Jcunes
Artistes, under the direction of M. Pasdeloup (who had the
artistic audaucity to introduce the first half of Elijah to the
haters of " RosbijT). An opinion delivered by M Paul Smith,
of the Revut et UaieUe Musicale, on one of tho characteristics of
M. Littolf, is singular enough. " The author of tho concerto
tgmphoni'iw" (says M. Smith) " proceeds from Beethoven (!), and
resembles Beethoven inasmuch as, notwithstanding a procoo-
sidered plan, he ha* nothing symmetrical."
Digitized by Google
Fbb. 27, 1858.]
THE MUSICAL WORLD.
143
ADVERTISEMENTS.
"fTUE BLIND GIRL'S LAMENT," written and
X - 1 t>y thfi nom>ur*M« Mr«. Norton, price 2*. Od Cliuburgli :
Fkteftofi uii'l bon*. LoDdoit : aJI tiiusk-ttelk-T*.
MISS JULIA ST. GEORGE'S SONGS.— Sung by her
in "Uotna and Forrini Lyrics," The ninar attractive entertainment of
tlio .lay— rid., public rrw. The »ho oof tli« mua>c by J. P. Dugs mi. nartmaiiu
U,d Co . S8, Alimuy-.trtet. N W , an.i all "
•""PHE DRIPPING WELL" ».y Mr. Gollmick. pcrforme.
I recently by the r.uthor at th- Reinl.m de A't-. and raptiir ua y
encored. " Tbl- la mi,. ..f t> <-• moat elegant o.d popular of Mr. Oolliuick'a com-
joaiti.na." free 3a. II ukj aud Sous. '.!». Ilol ca-s'rwt
"C MILES AND TEARS:" BulLtd. By W. T.
O WniOHTON (coenpnerr of llio tn it popuUr song of the dav "Tho
Pott man a KniK-k"i, Vs. llio 'Positions Knock" i» bocino •
sod," Smilca end Teora" ia every way aorthy of the (lifted composer of ilut
snug. — lamdon : Robc.t Cocks and Co,
NOTICE TO THE MUSICAL PUBLIC. — In eonsc-
quince ol the uiirwrnl clcd sale of HAMILTON h MODERN INSTRUC-
TIONS for the PIANOFORTE (I7«h Kditi-n. pre* is i. Uc**.-s ROBERT
COCKS and Co. have rce| cctfullv to best that th u? fruatda «t'.l kindly obliie tbero
b. lorwar<lii>g t',eu ordeta f.>r Una work ten • r twelve daja lit a Ivance ; by this
njean» dtattpi ointment Mil be obviated, and all cedars executed Itt their turn,
e. New Burlington »treet, W
U IGNOR FERRARI'S NEW WORK
O TIVAtlOX of the VOICE and HINGING >a c
may be tm I at bia reuouce. Devon hue l-odge, P
and at all Um pnueipnl music telle, a "01 all the
&( the voice iU( Uvo npiwe I I.r :uiy jour-. It i> tbo
•ad iiswftal. "-Daily New.. "Tlicr >. .. ore sense In thl.
»»» " « «■» publications of a similar kiud."- Athenaeum. " Forn.a a kind
u( grammar of the vocal a t, aid no a nnrn «.llectu*i of exercise* "— ■ Critic.
" Here la i» redly ». u»lt.:o work."— Musical World.
YEW WORK Fi>R FLUTE AND PIANO BY
B. 8. FRATrKN — Ill '.'« iuiml«re, prioo One ShllllDt each, R S. Praiten's
Rerrcatioita Inr Piute and Piano. Contents : 1, Robert, V i que j'atmo, Robert Is
Diablo. S, l/u.ud je quittaia, ditto. 3, X"bil a|gn< r, llug<irn»ta. 4, No caao
rgual, ditto. 5, Va [wiiaicro, N'bueco. (I, Kinanl Involami, Kmiuil. 7, Tntto •
aj.rrun ditto- 8, Lt> mia lulir.lt, I^mbardi La ■l-i.ua v mobile, Hlgoletbi
l(i. U 11 »' l deb' oulmii, ditto II, <ju-.ata o qqella. ditto li Bella flglia, duto.
IS. Introduction ami Galop Ib^ol«tti>, di'to H. Miaorcro— Ab I dc bi mi'rtc,
Tr.>»«toro. 1ft, U Udeii ue> suo. ditto 18 Hi la attucliejii. ditt •. 17. Mercl,
jminca ntnU a. Lea Viprea HiciUi. n-.iea. IK, Ami la i-aiur d'Helrnc. duto Is, Jwir
d'larca-v. .Jlitn. -D. Libwmo. BrludlaJ. Tru. lata. SI, I'-rl.'i o cam. ditto. V-.'. Di
proT.-na*. dlt^•. S3. Ab, fors t lul, ditlo. it, Hcmprc lllwm, ditio. lk»»cy and
Ooua, UoUca-acreeL
THE QUEEN'S_8TATE BALL.
ly WEIPPERFS BAND oil tbn abore
following D-ncca wcro
l.-LAMOTTE-S TRAVIATA OAIjOP.
^.-D ALBERT H I I N DA QUADRILLK.
a. — LAURENT'S MAUD VaIJJK.
4 -OUN0L8 PETfcRHOP VALSE
The abovo are pubhabed Tor pliuw and oritVea/ra bj B0O8EV AND HONS,
Stand**, Ilo!lca->trcet, Loub it.
RS. PRATPKN'S
• obd ayateni of l^iigenrn
German Hllror Keys a: <
PERFECTED
FLUTES on the
are no-4' made with
German Hllror Keys a: < cuioeaa, and witb ateihug Sll»r.t Kay. from 8 to 17
paiiMwa oicb. ciopUte in CW», tic Enry liltt*MM«« U tcated by Mr. PrutUm,
and ac«.,..IUinlcU by . Mriiac-,(« fr TO that unrivalled ax. ktt
MR. HOWARD, Surgeon-DontiHt, 52, Fleet-street, lias
iutro lu.e.1 an entirely new d.*r p lon i>f ARTIFICIAL TEETH", fixed
■ apring*, ulrva, or Ilgaturva. Ti cy >. poif ctly rvaumlilo tbe n.itural
iol tobvdi.t'i.guiahcdfrom tneorliili ala by the etc* -t otw;r»er Tboy will
colour or dc. ay, aii'l will be ouud anr«nnr to any t< cth o«or Wfi<ra
letbnd <Im» not nquire tlie txiraciloo of ro..ta, or any palufi) opera,
ti n. will aupp.'rt and preaerve teeth that arc looae. an 1 la gnarantce.1 to ivatore
ani, ulation and maetioaU-u. Decayed ttetli atoppol and reudcrvd aouiid and
useful in maaticatkn. 52, Fleet-atrcet. At bomo trom 10 till 5.
PIANOFORTES— DEWRANCE'S COMPENSATING
-a. PIANO n.ar now b* -tu ..t tbo dopoL 33. .Soboaquare By tba applioatjon
'•ftbia pib.elplc a b.aaler atrnif c,n bjnae.1, ibo reaull of which La.tliattbe full
power of a (rr>nd ia obtiln-d Ironi a cottage inatrurocnt, at the aamo tlniaib*
wtTaa and the frame on which t' ey we atru->|r exp«od and <Mtiirict with change
cf temperature equally and together, «o that tbe neeeaaity for frequent tuning, aa
ia the ordinary iuatromnit, la entirely obviated for fulneea und r 'UUdnoaa of
wUu^extraoidlnary po-era of modulation, th<
tofa&«
THIRTY DAYS' GRACE on LIFE INSURANCE
POLICIES -At the Hilf-Tearlr GENERAL MKETINO of tie
of the MUTUAL LIPF. AHWURANCR SO<:iEiY beM at tbe London
Biahopaipue-etrset, on Wednesday, the lTih of February. I8M ;
TnOMAS DAKIN Eaq . In the Chdr ;
The Chair-can, in tbe coiirae oi blaaddroaap. tno Mm-tins. drew the attention of
th, m.tnb. ra to.nout deci.on in the cmae of another Tnaurance OftW. to the
effort tbat. In tbe event of the .U«lh of tbe aaeurcd within the M) daya of
grace allowed by ihe oflioe, tbe pre m ium being unpal l, Hie policy beonmea for-
f.itcti a> d tiie Dir> etor* an^ n*»t l. 'Und to receive the premium and abated tliat
tbe p -iici-a of the Mutual w. re -o framed a- V - put It out of the i«mvr of tit*
Dirt ctin t" raiac audi a queetion, and t»ie Bolieitor »ave to tho Meeting a decided
o.'tniun 'o ti <■ aani" . floei ; uevertholo-a. in oidor to avoid ibe po^ibility of quca-
ti' n, it waa moved a'.d B- condci, and r ■ 'Itw«I ;—
Tbat 'h« fol owing auppletncnLiry addltl' n be made to Law No ft, a< ction No. t,
lu thu D-d of Mltleuieit ol th a !t ciety In < xjil&uat on Iboreof : —
"Audit ia fur, iter providol. t>nit if any lire aaau'el in - hi. Society ahall dte
after the duto on which tbo premium of t> e p"Uey aluul tiecma iiayable. but
within and before Um exclrat on id iO duva thereafter, and the proo mm aha 1 be
pa d wit un an I Wfure the ext<i atlon • f tho am 30 d iya th- n the amount of
•uch i-ol'cy a' 1 1 b pud to tho partie* fnti lo1 to n-.vlvo it, th'- e-uoe aa II the
premium I ad been raid on t' e day aperlfte'l in 'he p'llcy f r th- |>ayineut thcrroC
but tbl» ia not hi limit 'lie [icwera with reaped to the revival of |Kxuclea or tbe
lei.tof clalma already v aUd III the, Dir. .-tore "
Tno Mutual life A>aurancc Ofbca », Kin«-et cet,
Cno.|*|.le. E C,
INQALU Actuary.
FREDERICK DENT,
IthktT ot trjc 6rr«t Clark far Irjt jUausn at tfarltammt,
And ao'e Sucoaaeor to E J DtaT in all Lie pa'eat righta and buslueaa at
61, ?j*r«nd. *nldJnl3.'* "yv!,3*' ofrr"11 ^ui^*vvR.'b "a ' l'i *
Strong : ilver Lever WaUhta
. 8
. 10
- 6
Church Clock*, with Compensation Pendulum.
iVo coHnecliom wit A 33, Cocktpur-Mirttt.
CURE OF A LONG-STANDING COUGH
■T
DR. LOCOCK'S PULMONIC WAFERS.
"GUagow, No S, Tr iiga'* Sir.— M ae J. uil.ua UvutBatoiM, awed
yeaua, residing at the Cal'on-hiil, Edinburgh, vtaa for a long time affllcUd with a
very severe couKb and irrttaUon ol the air paaeagea. Both ex eriud and Internal
medicinea were nasit, but with little elfcct, until, aa a last res urce. Dr. Locock'a
Pulmonic Wafera were tried, an I we are happy to eay with brat reaults We may
mentlou, aa a further rocornmei^latlon, Utat the yreing lady*e lather I" a medkoal
man, and adminiaured t. -e Wafera to her himadf. — Youra, Ac, J. H. and
M. Allen."
DR. IjOCOCK'S PULMONIC WAFERS give tnatant relief and a rapid cure
of aathma, c nauroptl-.n, congl a. and .11 dlaorl ra of the breath and lung..
TO SINOERS AND PUBLIC SPEAKERS they are Invaluable for clearing and
atrcufrtbaning the voice. They have a pleoaaut taatc. Price la. I yd., £a. ftd., and
11a. per box. Bold by all druagl ■'.«.
PERSONAL GRACES,
The Oouii balance la rendered additionally pleoalng by the welt -arranged carl, the
braided plait, or the Sowing trc-a. In dre-alng the hair, nothing can equal tho
e fleet of
ROWLANDS' MACASSAR OIU
Rendering It so admlnibK aof I that It will be in any direction, finxlttctagl
I'towliig curia, and by tbe tranacendant I aire it im|iarta, renderuv: the
tiuiy en.-hantuig.
R O W lands' K A L Y 1
le a preparation of ui.parallc'c.l cincirnryin Itnprov
and complexion, preserving tbcru from eeegj vicu
completely eradicating all Cutaneous EniptioDa, Freckles, i
KOWhAMDI' O DON TO,
OR, PEARL DENTIFRICE,
la alike Invaluable tor Its beautifying' *> d praervattve eflbcts on th* teeth and gum*.
vine and beautlfylnf the akin
laal ude of tbe «eaib.r, and
ckles, and D.acoloratioiia, and
CAUTION.— The wrapper or label of each bears tbo t
preceding that of the viole.
Hold by A. ROW i. a mi a SONS, SO, Hatton -garden, 1
and by Che in I at a and Per fume ra.
Digitized by Google
144
THE MUSICAL WORLD.
[Feb. 27, 1858.
Will be Published next iceek
A GRAND
SELECTION FROM IL TROVATORE,
AlUtAKGH) rOR
LARGE AND SMALL ORCHESTRA
(WITH 8OL03 AD LIB.)
*r
ANTONY LAMOTTE.
A* performed with fmmcnto tuccea* at (be Adclai <• Gallery. Price 7s. 6d. for
CTchdtra ; and 4* lor KptwtU
by L» Trariata ud BigoUuo, amtncod In t
BO08EV AND
MUBICAL LIBRARY. 24 and 28. HOLLEB-BTREET.
mi kuition price j*.
BALFE'S
NEW UNIVERSAL SINGING METHOD,
WITHOUT THE USE OF SOLFEGGI,
And containing sixteen Ballads sad Song*.
NEW MUSIC FOR HARP AND PIANO.
SIX OEMS
VERDI'S OPERAS,
MM avoid ro*
HARP AND PIANO
JOHN THOMAS.
1. — THE MISERERE, and TU VEDRAI CflE AMORE (Troruorel
2. — II. n.\LKN DEI, SUM HORRISO, and Dl 1 ALE AMOR (lroratore)
S.— SI. LA s i A V I i ' // v MXIPFRIH E (Tr- rut r> )
4.- DAM'iR BULL- A LI ROSEE. ad Hi QUELL \ PIRA (Tro.aUm;) ..
i.-VS Ul, 8E BEN RAMt.ENToMI. QUARIETTtr
«._LA SlClHEN.VE. BOLERO (Lea Vcprea
a. d
4 0
4 0
4 0
4 0
4 P
4 0
PHEAP MUSIC— The Venli Album (112 pages), Gs.
V/ Mwidt iMtihn-. 8oins» »llh«ut W..ril-. ed 1*1 bj J. W D.riaonOOl ]^«c«l
7a 6d . cloth and gold. Laurent'a Album ol Daocu Mum.- (74 p'gc-). M II
Tr--m»tur* aiid l.a Tiavlata, coin|>li*te for the pianoforte, 6a. each. In cloth 100
dunce fur the tlollli, N. QaMfl 100 nlgiHn f r c. u. crtina. la Bocae v a
complete operas for «io iti. K each. Balfe -. new alug-tng luctl.pl (45 pagca^ in.
Ally ufcC poat tree. Botecy alid Sons, HoUcs-etrcct-
E
ASY MUSIC FOR CONCERTINA AND PIANO.—
It uumbcra, price !*• c.ch. Popular Rec -eatl< -ne, arrang-d by Gtorge Caae.
(Each MMtUJU 3 or 0 pa.-ea ) 1. Ritrnlrtto ; "La donna fc in -bile, an I "Qina'A
on/clla." S, II Tmrai-'re: 'Ml laden." iuiJ "Ah! die In rnort. '' (Trot badonra
Hong) 3. LulU di Lutn'nerranor: Era i ocor\ me " aud " Tu cbc Din a apiegaatL"
4, *>< tinambula ; "A I i* loat now," mid "Still ao gently/ 6 Norma; * Dth!
nou te " ft, ScU* t on uf tlie m- -St ixiutilar Valac*. by D'AIU-rt. 7, Polka:
" L'Enfaut.'' by D'Albctt a. Va ay (sung by ILuUn.e G.tsaicr). Vcn/ai.o 9.
French Ana: " Partaiit p--ur la Syne," "1.4 Mara tlta!**-." an-l " Monrlr pour la
Pa-rio." I«. Irish Air- : • Th« *ll rp that '-new iliMugh Ta a'a Halta. "81
atricK'a Day." aud "The tatet Ro*. of Summer." II, Scotch Aira; "Ronnie
Dun iee " "Bl-e B la of StiUcd," "Am-lr laiuric," and "Comlir thr»' the
ry ..." 12. A marten* A.ra: • Mmuia." -0.4 Fo aa at Home.- and "NiUy Bly."
Bo. aay aud Bonn, livltea »tMt.
CONCERTINA CLASSES. — The increasing popularity
of the C uortloa indue** Mr. Case to pnj«:t a .*Tica of CLAKS MEET-
INGS f"r the purpow ol lniparti,,|{ inatrutiou in tnia ii atnimcnt lo j.raoii.
unacuuaiiit<»l with niuaic. and itla.. im a mraii» of supplying agrt^-dil* part-
prt tlco to lbi«a air* dy awe. bit advanced. Mr C .»■• |ir. |mac» to held a ctea*
lor Ia4l » in the iifUru»ou, an I one for fcnil o en in the eveiilinr, the tcinta b>
ca,-li t'.l.. Hi.d ..t -i, h i rate a. will admit of all pe kii.« J.^nlng tht-m Mr.
Ciac 'niati Ib.t a iwrmain ul omraa • f Imrec io... a' a m> alt-rate co t, • ill be the
lueai-* «f retidcring 'he Co ccrtm -till n - n.- m ■ era ly papular, f *l tft naa-ucd
that i-a mv.> pucuiUraivaolag a over other lii-tnimcnta will ul iooiU-ly ttaiu It
the ■irtallllM ..th all fllWIl HMrt— I to eao I In Mm* With aa little tumble
Petto • d airoua of joining tiuao claaaca a
i Mr. Caae, to the can of Booaey and Bona, 28.
NEW ENGLISH SONGS,
STEPHEN MASSETT.
when I wft* born ... ...
I renvember the
A Sabbath scene
I'U look for thee, Mary ...
It i* not as it used to be
I would not h
Whim (lie moon on the hike is bmining
The abore Song* will bo published next week, illustrated wkh a
portrait of the mid poser, who is about to appear in a
a. a.
8 0
2 0
2 0
2 0
2 0
2 0
JOHN L. HATTON.
dearest, Hal lad, eompowd for Sim* R
I stood on tho beach, composed for Misa Dolby
How
tho light of lore. Duet,
M. W. BALFE.
• a* a.* S 6
tat •■• S 6
for Mr.
... 3 0
... ... ... ...
MISS FR1CKER.
I do not
•a* ... Of*
W. T. WRIGHTONJ
Speak gently, second edition
NORDMANN.
The Needle, a Distich by H odder, embroidered in colours
C. J. HARGITT.
The last pood night, vnr.]> <M for Sitns Rocvca
• a*
Ml ■••
E. H. PROUT.
Tlie moonlit sea
Too late! too late!
■old
••• ••*
R. S. PRATTEN
E. W. FAITHFUL.
Ballad, .ung by Miss Dolby
2 0
2 0
2 0
2 6
2 6
2 0
... 1 0
2 0
2 r,
BOOSEY AND BONS' MUSICAL LIBRART. J8. HOLLES
Published by Jmix -iv ol Caatlchar-hilL In the paaah ol Rating, In the
County of Middl- sex. at the office of B<k>«kt 4! Six*. 2S, Ho4lc*«trc*t. Bold
alat bv lU*n, li, Johu-atreet, Great PorUan i-»treet : Attas, Warwiclt-
laMBJ TKMVa, H-<lyw<-ll->tie*t; Kkitm. I>.nw»r, * Co, U Oie»|«ide ;
G. Miiii-muj. S«, N. wgato-airwt ; Jomk BiinmcBCi, Newgite-atreet ;
HaMH May. 11. Ho boni-bara. AgraU I
Edlnlmrgb and Ol .agow ; fur Ireland, H.
i, aodall Ml
!>y Wii.i UM Sl'l:*. in Jmivi/is, • Naaaan Steam Preaa." 00. I
laae. in the Partali of Be Martiu-iu-Uw-Fictda, in tha County of f
r«hiu»ry tl, IMA
uigiii.
by Google
FORM AHD FOWsH, AHD IT BAiaSS AXD MSOBLKS WII1TSVKU IT
SUBSCRIPTION.— Stamped for Postage, 20b. per annum— Payable in advance, by Cash or Post Office Order,
to B008EY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 10.
SATURDAY, MARCH fi, 1858.
( PRICE 4d.
I STAMPED Sd.
rpiIE
X in I
BROUSIL FAMILY, being on a Professional Tour
1m prosinore, request that all letter* aod communication! should be
of M
in the .
iddwiued to i ho care
street, W.
(mn. Scbott and Co., Music-wlkra, li», Bu^oni-
M
R. ALBERT SMITH'S MONT BLANC, Naple*.
Pompeii, and Verasiu* cT«ry nUjbt (ncupt Satunlai) at S; and Tuesday,
»y. aiidstaiunUr afternoon* at 3, Places cau b» MM at Ilia Box-oHlce,
m-liall. daily, between II aod 4 without any extra ch.rge.
CONCERT SEASON, 1838. — NOTICE. — C. M. SHEE
respectfully Intimate* to the M»«ical Piulesaimi tb»l he lis* mnvored to
S, Beak-sirr, t. IWo ,t-stroel. where he continues the a.nuigetneut of conccna
(pubbo or prlsato) at bla uaual
WANTED by
who baa Just colt .
in n Loo- loo publishing hi
tuner. Apply by letter,
Hollos-otroct.
WANTED, n young man in a Music Warehouse, one
who la ripabt* ol timing pianoforte* and also to take churire of the
general buslne**. One would be preferred who ha* a knowledge rf uiu»lc, aa
ot er ad'ant-ges would be added to hia situation.— Apply by letter, poet paid,
to Mr. Winner, lluale Warehouse, KeweurUe, StaffcrOahlre.
a young man tweuty-oue years of age,
dated l.ia iirlkles with a country music-seller, asituautra
" u a jjood knowledge of music, and la a noud
a W., care of Messrs. Dooacy and Soi.s,
M1
ISS JULIA ST. GEORGES SONGS. — Sung by her
In "Boms and Foreign Lyrics." The uiost atlractlro entertainment of
the day-rid-i public proa.. The » ho-c of th* music by J. 7.
and Co , SB, Alwuiy-slreet, N, W , and all Music-wilers.
MR. HENRY LESLIE'S CHOIR. — A Prise of Ten
Guinea* i* oflVr d f or a coenpoantioii of alirely character (unreetiictod as to
form^for th
mil Pi lie of Ten Uulnta* ia alio ufftred for a <
Tbo copyright of the prise worka will remain the property of Hie compo»ers.
All pereona competing for the a bore prima muat enclose a score Willi at lesist a
double not of vl«*1 pan* to the Honorary r^cretary on or before tire Suth June,
1*48 ; and oarli cotnpoaitioo loua' hire a motto or ryplier atUd.ed, together with
mg sca'ed letter, at*'
I'iiur i i.i
I, l&W.
1th
ami ailr"
ST AXLES' LUCAS, Flon. Secretary.
R. STEPHEN MASSETT, the celebrate<l American
V oca 1st, Composer, Initiator, and Elocutionist, will make hia Pirat
Appearano* in L<>ndun, on Monday Evening neat. MsrcL etli, 1848. at the
HANOVER f^LAKK ROOMS, in hia NEW and OKIUINAL ENTERTAINMENT.
D or. pen at half-put Beveu ; >o oouiinei.ee at Eight o'clock |<r«ciscly. Ad
S* od. ; R. aenrtd .-Ull* S*. ; which may be secure. ■ M M r. Mitchell * lloj al
3J, Old li.iid-trvrt, and at the doom.
MR. BRINLEY RICHARDS' FIRST PERFORM-
ANCE f'P CLASSICAL PIANOFORTE MUSIC, at the Beetboreii Rooms,
on Wodneadav c.enlng iwxt, March 1Mb. Progtaninte— Sonata. F major, piano,
forte arid violin. B.-«t7>OTeu ; Aria, M Vleui torn*,'' Handel; Grand Sonata in 0
minor, "Didesic abbaiidonatn," Clemen ti : Tth>. E fiat, op. S, [liana, riol n, and
riot-ncoUo. Dicthovcn: Sacred boo.-. " Tie i'lljrriin't Path" <Rrat time) BrUiley
Ruiurda ; I.lcd (No 3 Book) mil Characteristic Piece (Ma 4 In A mater) Mendel*,
aohn. Vocal >•(, Mia* Mcsoeut; Violin. Mr II. Utagr«<e ; Violoncello, M P.i.pie.
Ticket*, for the Iwo evenings, b*lf-a-guine* ; single ticket a. "*., of Mr Briuley
Ricliarda, 4, Torrington.striot, Russell-square, and ut tl>e music-ecller*.
THE VOCAL ASSOCIATION, ST. JAMES'S HALL.
Conductor. M Benedict The Vocal A-aociatkin of 300 eoicea will gilo a
Serica of SIX GRAND SUBSCRilTION CONi ERTS. Vocal and Iriatrumentol,
at the rtt. Jamea'a 1U11. Subacnpilou to tl« Serie*— Coreaereid Scat*, rfl Is.;
lit*.. reed Heal*, it S». ; S.fa maila in Area, oinule Tickota, s*. ■ Uvtibie
Ticket*. ^4 4«. Subscrip loua receiTod at Cramer ami Co, 20], Hegetil-etrcct ;
Lea.l<:r and Cock. M. New D< nd-atreet ; Ctianpell and Co. £4. New Itoiid-stn-et ;
R. W Ulilricr, IS, Old Ikind atrcet ; Keltii, hue*, and C ^ t», CheipaHlu: and
Mr. Mitchells. Royal Ul.r.«ry. J, Old Bon-l etrert Tlie first |«rf rrna- cc w II
pUvcu on W.ilncsday erouiuit, April Trh, ou which <*c«».cu the band >ul
MAPLESON AND CO.'S
mum & nmim mmm> awm.
OrTICES :
CL&BEKCE CHAMBERS, UI, HAYMABKFT, LONDOH.
Tuts Agency has boon established for the purpose of supplying what ha« been
so long reaurred both by Mmsgers »nd U.e Musl^l Profeesioi, generally rlx. :— a
medium of communication, and greater facilities for the trmuaacOoH of all business
connected uith Muse.
T' l* Agency Is In a p- sltlon to arrange, with the utmost vromptucss complete
Operatic or Concert Cuin|auui«, ami supply all lbeWior.il. Ore cstral, «nd other
. • ol ability and
. both Tocnl and ln>:niiueuial, nhicli c
remoTal . f obstacle* and dimcuH'ce which have hitherto |
adTiincerneiit of ilie Krwart in th a country.
Retjiiitcr. are kept for tl.n gmtuttous lu-pcctiwo of ]
of the names of recal and I
Mtmcst
BLrmw tkhira, 17. Pniuns-street, Maoorer-a^uaie ; Jules
cheater-square.
Mxuical Itcrcsr.*.— John Hi 'lines Esq . M D . II. Albemarle-alrcet
HoLMTron — t.-harles Maldock, Esq.. 14, berjeai.t Him, Temple,
of Loodon.
rX|., 7, GlouoMb
0PF1CR HOUHt) FROM ELEVEN TO FOUR
PIANOFORTES. — DEYv*RANCE*S COMPENSATING
PIANO m*y now be seen >>t the >loior. SS. Sohosquaro. By the application
of this piiticiplc a heavier itrnn en be used, the result of which ia, ibat the flail
{■owor of a grand ia obtain, d front a cottage instrument, at the same time the
wires ami the frame on wldeh ti ey are strung expand and eontr.iet » Kb change
ol temperature equally and tonrtlter. so that the necessity for Irexjtletit tuning, as
in the ordinary instrument, U entirely obviated ior fulness -rid roundness of
tone, wit
equalled,
with cxtraotdiiiary powers of mudu'ation, these insrrumeuis are quite nn-
• at th* same time the price is no higher thau that of an c "
pHEAP MUSIC.
\J Msndrlasobn's Songs <
7s «d , cloth and gold. 1
Tr ratrtreand La Traviata,
danera for the vulln, is.
. la.
Any i.ue jxwt Iree.
Tbo Verdi Album (112 pages), 6a
Words, edited by J. W. Davison (101 pages).
-ilolln.'l
]'.. ^* y
rds.
•» Album ol Dunce Mudc (74 poges)
ite lor the pianoforte, is each, iu do
* 100 melodies f r oou -ertina. la.
1)
Km
mctboi (14 pa.ee).
■Bocopy's
EASY sMUSIC FOR CONCERTINA AND PIANO.—
12 uuwbcT*. |»rtc« la. «mc)i, roj-iilar RrcnstiUout, amuigrrd by Oi*o*gD Cam.
(Eavch CaTntiUitB !> or t p*wesv ) 1, R.#irtvtto: "Ia donn* h wr-bile, «o * "QucMl'a
oq>i«IU." '2, II TroTat'*c: "11 bal^n," nu<i "Ah! cli« U roort*.-" (Tronbadsxir'ti
Song) 3, IjUci* d( l>unM*ermrtcr; " Frn. ,-oco* m« *' anri "Tu che Dio ■■plflflMtL*'
4. Scnnarnlxiila : "All in lo«t now." "Still bo jtuotiy." fi. Nonn«\: "LHh.
i on te." ti Sduct'oii of th« m< «t i«opiiliir VsUm, by D' Albert. 7, l\ilk«t
*' L'&tfj-Qt.** by D'Albeii. A, Vu a * (*ung by MadAmo OAMaerl Vetmiio. 9,
FnucU Art: "PftTUnt p>>ur U ^yrio," "I*n M«r» lllftlw,M aixl "Mourir pour U
pa-ric." 10, Irtah Air*: "Tbo H-»rp tlmt oncu (lm>u«h T* u» KalU." "Hit.
Patrick'* Dnv," aod "Tbe I*uc Rom.- of Summer.'* 11, Soatch Air»: ''Doania
Ihm1 Joa." "Bl»i* &Jta of Rc'-tlai-d,'* "Anxlu Iautip,'* a. ml "Oomln' thiV Hie
rye- 12, Atmir.caii Aira: "MlnnM," ' 0 d Poika« at Homo/' and -Nelly Biy/*
Dooeeyi "
CONCERTINA CLASSES
V7 of tl:e Concertina iuduoaa Mr. C*m
1 I r L I
10
ING8, for the purpoae of itopartitifl
ttiiarau:UJ.tcd wltli muaic, and alai
prn< tloe to tbo*« a'rc-'dy ao«n«*tv*t tu
lur ladi- » in the nAtrti«H>u, as
each to 1m.' fixt d nt *uch • rat
Catae i met* thitt a permanent conr*e ■ f v letruc; ioi
mcsiii* i.f midcrthK -1»« Cnwtc
l bat i<a mnoy |n.ctiilar a-lvat tii« a
Tho increaaing popularity
project a series of CLASS MEET-
Lum in tida Inatrument (o peraonti
■ a* a n iran* of aupplyiitg npocnble port-
dvajic*:*.! Mr C *« pnipoa«a to hotd a cVau
for kuuMl-o uii iu tlte cvvnlutr, the lerma t"
ill n/lmit of all peracua ji^niot? them Mr.
, at a moderate co t, »tll be tbe
I more ir* * cra ty pitputar. f* el ne; niamed
otlar In^tnimciita will uliiniAtety gain It
tbe preference with all ame'cme mixifus to e\c« 1 n. n.uai. with a* liltlo tiotiblo
Peiwa a uro-ii tf joii.ii.g tl.tae c.iv*aes arc .
» witb Mr. Oaae, to tbe care . f Bowy and So.**, % "
Digitized by Google
146
THE MUSICAL WORLD
[March 6, 1858.
STEPHEN MASSETT'S SONGS,
AS SUNG BY THE AUTHOR IN HIS ENTERTAINMENT.
SEN THE MOON ON THE LAKE IS
When the moon on the lake U beaming,
And the night a calm and itill,
And the star* in their bright light gleaming,
Shine forth on some distant hill-
Wilt thou conic, love, ooino ?
Oh, come with uie.
And I'll give thee a happy home,
Where n true heart wait* for the*!
When the veapcr bells ure ringing
Their evening melody,
Or maideni sweet a
Wilt thou come, love, come ?
Oh, come with me,
And I'll give thee a happy home,
Where a true heart wait* for thco !
"I REMEMBER THE HOUSE WHERE I WAS
I remember. I remember,
The house where I was born,
The little window where the sun
Came creeping in at morn.
He never ram* n wink too soon.
Or brought too long a day,
.wish the '
the lily cups,
made of ligltt !
the robin built,
Yet now I almost I
Had borne my breath away.
I remember, I remember.
The roan red and white,
The violets and the lily cap
Those flowers
The liUic where I
And where my brotlier set
The laburnum on his birthday —
The tree is living yet !
I remember, I remember,
Where I wa* used to swing,
I thought the air would rush as fresh,
To swallows on the wing I
My spirit flew on feathers then,
That is so heavy now,
And summer pools will hardly cool
The fever on my brow.
I remember, I remember,
The fir trees dark and high—
I used to think their slender tops
Were close ngaiiut the sky !
It was a childish ignorance,
But now 'tis little joy
To know I'm further oft' from I
Than when I was a boy !
MUSICAL.,
"A SABBATH SCENE."
An old man leaned on his friendly staff,
With tottering step* and slow,
As he picked his way, of a Sunday mom,
To the church where he loved to go.
His hair was white, and he scarcely knew
A friend as ho ]si»*cd him by ;
So feeble ami frail was his memory now,
•• : . his 1 1> uded i ye.
-made chair at church,
e preacher's stand,
Ai«I VsVi . 'I, us it", in a pleasant dream,
- ^b t5r\woril« of a I "
The sunlight fell on his silver locks,
And his white hair turned to gold,
And I fancied a sunlight shone from I
On tho Itcart of that pilgrim old.
Hut the autumn leaves have fall'n no1
And tho old man sleeps below,
We shall never see him pass again
With tottcriug steps and »low.
"IT IS NOT AS IT US!
It is not as it used to be,
When you and I wore ]
When round each elm i
Tho honeysuckles clung.
Hut still I love the cottage,
Where I passed my early years j
Though not a single face is there
It is not as it used to lie—
Tho voices loved of yore,
The forms that we were wont to
We see and hear no more,
No more, alas ! we look in vain
For those to whom we
As we can love but once,
hi and I
" TIL LOOK FOE THEE, MART."
PI! look for thee, Mary, when the pale moon hath shed
Her soft silver beam o'er the hill-top and dell ;
For full well I know— by thy thoaghU I've oft read-
That thy casement will open at love's magic spell.
My Mary, my Mary, I'll watch at that hour.
For silence and beauty will hallow the scene,
And then in thine ear, impassioned I'll pour.
Vows constant as llcav'n's own unchanging sheen.
Nor will I forget thee, my own Mary dear.
If the night be all moonless, and starless the sky :
For full writ I know that love's list'ning car.
Will tell thy fond heart that thy lover is nigh.
Tho' darkness may veil thy fair face from me,
Ita image f ir ever illumine* my heart,
And whisper* of love will tell truthfully,
My Mary, my Mary, we'll meet ne'er to part.
'I WOULD NOT HAVE
I would not have thee young again,
Since I myself am old,
Not tliat my youth was ever vain.
Or tliat my age is cold
But when upon thy gentle face
I see the shades of time,
A thousand memories replace
The beauties of thy prime.
Though from thine eye* of softest bine
Some light hath passed away,
Love looketb forth as warm and true
As on our bridal day.
I hear thy song, and tho', in part,
'Tis fainter in ita tone,
I heed it not, for still thv heart
Is singing to mi
ONS' Musical Library, 24 and 28, Holloa-street, Cavendish-square, London.
advdSAv:LM
Digitized by Google
March 6, 1858.]
THE MUSICAL WORLD.
147
PRESUMED PLAGIARISMS.
To th, Ed.tor oftht Musical World.
-When I stated last week that the melody which Mr.
Balfe nan imitated so successfully was taken from Herold's opera
of the Pre anx Cltrc*, I supposed you were aware that the com-
poser of that charming work died iu the year 1»3;2— abou'.
fourteen years belore the appearance of the Bohemian Oirl.
Harold's death was accelerated (as was said at the time) by over
fatigue from superintending the rehearsals of this opera, and
by vexation of mind caused by the cabals of the ttohemian* of
that day.
To attack music so trilling and ephemeral as that of the
Jiohetuinn G'iri, is like breaking a butterfly on the wheel. It
must, however, be borne in mind that tho works of Mr. Unite
are brought prumiucntly forward, while the compositions of
many gifted, conscientious, and laborious artitU — more deserving
of the name — arc studiously kept in the back-ground. It there-
fore become* necessary to iuquire what are his claims to be so
preferred.
1 inclose two more elegant extracts,* iu the hope that you may
find space to insert them in your next number.
Your obedient servant, Jistus.
■
[" Justus" evidently does not understand irony. We kuow,
perhaps, as much about the J'rt aux Clares as hiiuK-lf. and can
add to his information (so kindly proffered) that Hcruld's last
opera whs produced at Drury Lune Theatre iu 1S35. or there-
abouts, under the titlo of The Chaiknye. Hcruld did nut die
in consequence of tho reasons alleged by "Justus:"' other
cnust s destroyed his health, and shortened the term of his
existence, which it would be out of place to mention here.
We should like to know, by the way, xrho are the "gifted,
conscientious, and laborious artists" that are " studiously
kept in tho back-ground," on Mr. Bnlfe's account ?— Ed.]
THE NATIONAL ANTHEM.
To lie Editor of the Musical World.
Usast Sin.— Il oppcars that the vrrses lately written in Prussia in
honour of the royal nuptial* were let to a national tune very much
lik- our National Anthem. Are not these tunes the time ? or ii the
composer of the former known ?
Little further ia known of Dr. John Dull, tho composer of "God
Save the King," after he left Englsnd in 1013 than that he went to the
Netherlands. Even tho place of his decease ia not known. Hawkins'
history ?«v« he diisl at Hamburgh or I.ubec. Ia it not probable he
travelled over the roatiuctit, as he had done before, and made hit music
known there? Now, perhaps, Mr. Kditor, some of your foreign cor-
respondents can throw li^ht on this subject, which would be peculiarly
interesting now the two nations are drawn »o closely into alliance.
I am yonrt, etc.,
J1tlf<ut, Feb. 20/A. 1858. Oioboe & Allex.
[The tunes of the British and Prussian National Anthems arc
identical. — En.]
HOBSONS CHOICE.
OIMBKM OB NOXK,
To the Editor cf the M World.
Duo Sih,— If Mr. Fowlo had tnken a few lessons on Harmony from
one of the junior (Indents at the Royal Academy of Music, or any
advanced cathedral choir-b-y, instead of writ ing "an essay on thorough
bast— a practical one of twenty-two folio pages in length," for the
University of Uiessen, 1 must admit ho would have saved himself the
unenviable position into which he has rushed, by endeavouring to
assume that ttatut iu musical society which tie has not the innate
merit to command.
Mr. Eowle. has stated what he knows to be a positive untruth,
namely, that musical degree* can be, or ever bare been, bought at
cither of our unirersities.
sir, in trying
enormities ol an im
It will be apparent to any of your readers, that Mr. Fo«
to exculpate hi* " fiAhs," "octave.," and other euorniiti
See lending article. — En.
perfect musical education, abuses tho English universities in the m
uticdled-for manner ; in f«c.t, 1 begin to suspect that something like a
disappointed candidate is thus v. nti. g his spleen.
I fnney the ■ extra-official document for musical merit" was awarded
solely lor thai pr digious inspiration, " England's Prayer." If this ks
the "ca»e, 1 would a.ivi«o the composer to scud without delay the
companion piece tn it, "The Hymn of all Nations," in onler that the
learned men of Giets.cn may have iu fond remembrance the genius
which they hnvc just acknowledged in such a handsome manner.
Delicto nic ever to be, Mr. Editor,
lours very truly,
Marti 2nd, 1858. Ono«.
MR. H. W. A. W. G. F. BEALE IN RE HIMSELF.
To Mr Editor of the Musical World.
8ir
In your number of this day van introduce a remark in your
rhapsodical critique on Cleuienti'a " Di lone Abandot.nata," (a price of
t»adole by lbs) wuy, that should have been thclred long ago, or better
still, have found its way to the back i f the tire beforo it fell into the
hands of the publisher,) to the effect that " modern Wolfgang Amadee*
"4c" to which remark yon append the following note "or their tonally
silly advocates Ac" now as 1 presume tint this is meant to apply tome,
I should leel obliged if y«u »i I ki idly acquaint tlx public with any act
or acts of mine which entitle me to the epithet "siily", perhaps you
eomuder that it was sillv or me to publish » certain " lVn-ce Fugitive",
beeau-eit h»picns to "contain two or three harmonic combinations
which *>ar a little above the limited comprrhen.ion of your talented!!
critic, who when he sits d..»n to pen Ins critiques, evidently gets lost
in a mental fog, and elas-rs a certain person with certain other )>crsons,
without so much as dreaming that he is doing so, and then accuses his
readers of misunderstanding him !, upon my word I should like to
know what he ready dors mean. And now Mr. Editor aa you have
been graciously pleased lo drag my name before I lie public in several
editorial remarks, perhaps you will not take it aiuisa if I give yon a ,
word or two of advice, do not be too anxious t • auuilnlate the mtuie
of Me future, beliete me Lisxl and Wagner are more tlian a match
for the "Musical World," and your violent and ridiculous philippics
against them only serve lo fill I lie minds of all rtal musicians with m
fci ling of tl a most pr found ci nti i pi an I si m for I ieir author.
Von may publish this letter or not as you think fit, and I give you
full liberty to make any eommeuta on it, or me, for your praise or
blamo are alike despicable, and never yet exalted or degraded any one
I Dm Sir
Yours obediently
lUjiar W A BsUlb.
7 InJcermann Terrace
Kem.ngto* (If) Feb 27, 1858.
[We have no " comments" to make, cither on the letter of
Mr. H. W. A. W. O. F. Beale, or upon himself. We leave such
of our readers as may belong to the " School of the Future" —
trusting their number may not bu considerable — to judge what
a tiue bargain the cause of the Znkunjt has obtained iu such aa
advocate. At the same time we may be allowed to offer Up
prayers for the Into dementi, whose greatest work, according
to our many-initialed correspondent, "should have found iU
way to the back of thu fire before it fell into the hands of the
publisher*'— a proposition, by the way, as difficult to understand
as the music aud the opiatolary style of Mr. H. W. A. W. G. F.
Bcale. Meantime, we have not dismissed our reviewer.— Ed.
Jf\ W.) _
Liverpool. — At the Inst last Saturday evening concert, the
artists were Signora Fiimagnlli, Sigtior di Giorgi, Signer A.
Vianesi, and Mr. Charles Itrnlirxm. The programme consisted
chiefly of Italian music. Signora Futnngalli displayed great
energy, taste, mid expression. Siguor di tiiorgi was loudly en-
cored iu several of his songs. Mr. Charles Branatu received the
moat enthusiastic applause — the stylo of his father being easily
recognised by many of the audience. He sang "The Rover's
bride" with hno feeling, and in answer to an encore, substituted
a new recitative song in memory of Havelock, which was warmly
applauded. Thu " Death of Nelson" and the " Bay of Biscay
wcru Me songs of the evening. The enthusiasm of the audience
recalled the/ urorc created by the elder Brabant in these national
songs. — Lirerjiool Mail.
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148
THE MUSICAL WORLD.
[March 6, 1858.
M. FETI8 ON THE PRESENT STATE OF MUSIC.
(Continued from pageWi)
A mother ad vantage of the highest importance in the present
state of things wouT<l he, that among the hundred and eighty
chorister children brought up in the fifteen archicpi*copal
chattels those who recovered a goo I quality of voice after the
period of breaking would become good singers and excellent
musicians, having beeu well trained in childhood, aud would
thus make tip the deplorable lack of voices an! skilful vocalists
so generally experienced, and to which no other plan can put
a stop.
The school of organists, so poor in France, would not be long
ere it improved so soou as a suitable remuneration were offered
for this *|iecies of talent, which, in this country, has never been
appreciated an it deserved. A few men of merit have, in Paris,
commenced opening the new path ; the art of playing the pedal
key-board is as yet new there ; constant efforts must be devoted
to bringing it to perfection, and the fingering of the organ, very
different from that of the piano, must be made an object of pecu-
liar study. The works of Sebastian Bach must become the cons-
taut study of young organists. Not that I wish to limit the
organUt's'taluiiU to the execution of fugues, for no portion of the
ait should ever become a mere formula. A field is open to the
organist, as to all other artists, for the discovery of the new and
unforeseen, provided he never 1 j«c sight of the fact that reli-
giotu character is a necessary attribute of thu tnatrumeut he
perform on. The pursuit of effects of sound, which too frequently
becomes the principal aim of French organists, should only be an
accessory resource, temperatelycmployed. I entertain a conviction
that there is •oniuthiu^' new,grand,nn<J original, yet to be achieved
in organ music, without faltitig into what put takes of a worldly
character, or borrowing dramatic effects. A glorious renown
awaits the artist who shall Miccced in solving the problem.
I have set down for all the artists composing a chapel,
organised in the manner I have explained, salaries which may
probably nppcar extremely high. But this condition is one
absolutely necessary to render these places worthy the ambition
of the most distinguished nrtists. To attain the desired end,
admission to them should bo the result of extremely severe
examination, of an eagerly maintained competition. The kureate
of the institu'e is invited to fill the place of master in any vacant
chapel, but not as a matter of privilege. To obtain it he must
exhibit an incontestable superiority over his rivals. The subjects
on which the candidates should be invited to compete are the
composition of an important piece in the sacred style, and the
direction or the execution of I ionic work by a great master. For
the best l>f Composition, a psalm, the words of which should bo
set forth, might be required, or a motet on a given text, a mag-
nificat, some portion of a muss, or a To Deuru. A sufficient
time should be granted, that the candidates may write their
compositions with care. The manuscripts should be given in on
a day fixed, according to the usnal forms in competitions. The
jury should conduct their examination by a method of exclusion,
for it is beyond a doubt that among the "great number of works
sent in, many will show forth the incapacity of their answers.
The best works being selected, a second best should be imposed,
i anielv, that of execution, and in order to this, the composers
would be invited to declare themselves, and would themselves
direct the study ami rxecution of their works. I will state in
another article by what improvements in the system of study
arti*ls may be formed capable of writing good works in this
style, whereiu, without having recourse to the colour derived
from instrumcuUtioB, mm must be found to interest by the
diameter ol the idea*, the parity of the style, ami the beauty of
the farm.
Wo must not pcrMride ourselves that good voices, associated
with the qualities of skilful readers, will be found all at once
ft r the formation of Niifliccut choirs in the fifteen archiepisoopal
cathedral* I hive mentioned. 1 am proposing means for the
regeneration of music of every style. If the ruling authorities
Miovlll Mont iho idea, complete results can only lie produced in
con roc of time ami through the entire devotion of chapel masters
to the art, nor will it be enough that those should pwsess all
, the qualities of distinguished artists, but they moat be endowed
with the energy of soul and tbe will to attain the end aimed at
i Their own reputations, the successful effect of their works, and
the future destinies of music, will be at stake. I am willing to
believe, therefore, that they will answer to the call which w
made on them. The early results will be feeble, ami coot much
toil, as in all undertakings ; but having sufficient to live at easr,
. the chapel masters, entirely absorbed in the duties of their
I position, will hasten the rate of progress by constant studies,
| whether of a parti.il or collective character. The beat elements
of the future would no doubt spring from the school of chorister
children, which can only be the work of time ; but after tea
! years of the existence of chnpei masterships, the whole face of
| things would have changed, and there would be a superabundance
of means.
I have said nothing of literary instruction and of the geogra-
phical and historical knowledge which the young choristers
would require to lie something more than mere choristers, as I
I have supposed that the necessary resources for supplying their
instruction would be found in the seminaries.
Hie expense of organising a chapel on the basis I have jort
pointed out would be in round numbers thirty-three thousand
francs (.£1,320). Multiplying this by fifteen, we have four hun-
dred and ninety-five thousand francs (£19,£00) for all the chapels
of the archbishoprics. I<et it not be forgotten, however, that
not only is the regeneration of church music iu question one of
the most important departments of music, but also the moral
influence it is to exercise over the nation. The grants in aid of
the large theatres of the capital are more than thrice this
amount; certainly I am not disposed to censure this expendi-
ture, though I think it ill employed under the existing system,
and the result is far from being the splendoov of dra'uatic
music; but I cannot admit that religious music and the solid
basis I propose to give it are not of equal importance. More-
over—and this is a point worthv of atteution— there is no donht
that if mastership* of cathedrals were established according to
the plan I propose, thence would come the vocal resources which
are now wanting, ami which are vainly looked for from the
ordinary means of education. It should not be forgotten that
the admirable voices of opera singers were formerly sup-
plied by the cathedral chapels, and, moreover, these singers
were excellent musicians. Among these were Jeliotte. Le^rot,
Charding, Rou.sse.ni, Chcron, and Lays, who were sufficient to
supply the needs of the opera for a space of nearly seventy ye
ftTis, Seuior.
Maschister. — Though the inclement weother reduced last
night the usual numbers who are in the habit of attending the
Monday Evening Concerts, the concert wai one of tho most
gratifying of the season, the encores being more numerous than
we remember on anv similar occasion. The vocalists were
Siguora Fumagalli, Signor Oiorgi, Mr. Charlea Brahatn, and
Mr. Theodore Distin, who also played a couple ol solo* on the
flugol horn. Siguora Fumagalli took the audience quite by sur-
prise. She possesses a sil very, penetrating soprano, of «i x. tensive
range, reaching D in alt with facility, anil in perfejbt tune;
whilst her execution is of the most brilliatit character! There
was an expression, and even an imagination, in what anttsang,
which seemed to touch the audience, calling forth a coiit^noed
peal of applause whenever she appeared. Signora FutixM*JI
made a decided hit, and we hope to hear her again at thesJe con-
certs lielore the close of the season. Signor <ii ;i l.;i«fc -v
baritone voice, and sings like a musician ; he also inr^Bt with a
nio»>. flattering reception and tho most genuine ofJl encores.
Pieces*, psr-
'lon, entitled
paused the
Mr. Charles Brahsra did not fail to win his usual I™
tieulaily in a new song of his own composii
" Ilavelock," set to cleverly written verses. lie ab
people by that good old favourite ballad, " Sall_V^
A duct on harp and concertina, by Messrs. Lookwo*.
Walker, aud some pianoforte playing by Siguor Via',
compaiiist), who, with the left hand alone, executed aor
variations, completed the programme, — M<inc!tcittr V
and Timet. \
in our adc
„1 and Uenry
ncsi (the ac-
ne brilliant
ioi
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March 6, 1858.]
THE MUSICAL WORLD.
149
MICHAEL VON GLINKA AND MUSIC IN
RUSSIA."
(Continued from page lift.)
Whek I said, at the conclusion of my first article, that we
must not expect in Glinka's mimic the dramatic effects of
Italian, French, or German opera, the assertion was, with
respect to these three varieties, properly speaking, an ana-
chronism. Now-a-days, tiere is, in reality, no longer an Italian,
French, or German opera. Italy no longer laughs at " French
howling," for singers howl in Vienna, Home, and Naples, just
as they do in Paris. Rugged German harmony, as it wan once
called, is now popular in Italy ; nay. (he Italians do not eveu
start back in affright at the barbarous want of harmony dis-
tinguishing the School of the Future. Even the horror felt by
the old Italians at the employment of a large number of instru-
ments in their scanty orchestras has changed into an unreason-
able love of noise. The French, at prcaeut, on the contrary,
allow the progressive action of a drama to be interrupted by an
air which is snng merely for the sake of ringing, or, to speak
more correctly, which is played on the voice, as it formerly
would have been played on the flute, while they permit the art
of singing, that is the art of exhibiting a proper embouchure, of
phrasing, of managing the breath, and of pronouncing plainly, to
be forgotten.
We have no longer aught to do with what waa formerly called
the Italian, French, or German method. Method only exists at
present for the sake of appearances j our music has become cos-
mopolitan, and, more or less, socialistic. Everywhere arc tho
same things sung; everywhere do singers shriek", till they make
our ears ache, and everywhere, under the names of ■ Introduc-
tion," "Concerted Piece," and "Finale," do people produce the
same noise by tho same means. The present generation, in
music as well as in political and social life, has fallen a victim to
the sway of a nervous paroxyism : the few who have remained
faithful to the cultivation of true art, are not sufficiently
numerous and strong to oppose a dam to the errors of the
many.
In this state of things, it is a difficult task for moat men, even
for artists, rightly to appreciate such compositions as those
which Glinka produced, for he did not consider himself bound
down to the traditional forms of operatic music ; to anything
which is now considered necessary to produce an effect, or to the
requirements of dramatic action.
1 will endeavour to give a short analysis of his opera Life for
the Ctar.
Eveu in the introduction wo feel ourselves transported into a
completely unknown musical region. The text begins with
something like the following words: "When the heavens
become storniy, tho falcon
breaks upon F
have I learcd
Czar." These words are suug by a male chorus without
accompaniment ; tho clxrus is only interrupted, from time to
time, by violoncellos, viols, and double-basses. Then begun a
solo, also without accompaniment. The melody is a national
song of eight bars : thi n comes the chorus, now in three, now
in two, and lastly in four parts, followed by the ritorneUo for
the violoncellos. This is repeated three times in exactly the
same manner, without the slightest change in the harmony, or
the least addition to the voices or instruments.
After the third strophe, the baaaes modulate from G to F.
The wind instruments now join in with the melody of a national
dance, at the end of which they modulate back again to F, and
the motive of the chorus recommences in the minor, first with a
solo voice, and then with the male chorus, all once more without
accompaniment. Instead of the basses, the wind instruments
now give utterance to the ritorneUo, constructed from national
melodies harmonised in an original fashion. The ritorneUo
serves to introduce another national melody, sung by a female
chorus, sccompanied by horns and oboes, and interrupted by
flutes, which leads na back again to the first male chorus, the
motive Of which is taken up by the basses. The female voices
orniy, tho falcon rises above the clouds ; when a storm
on Russia, the Russian sings his national songs. Never
ired death ; I am ready to lay down my life for the
These words are suhk by a male chorus without
• Translated from the Wiedtrrheinitche
then join in with their own chorus. Gradually all the voices
unite ; the motives are developed with modulations, and, after
these have returned to the principal key, the first theme is
treated like a fugue with the second as its counter subject. The
voices stop in turns, and the orchestra gradually comes in, the
whole mass of sound attaining its greatest height in one homo-
phonous syllabic song. The last chord of the choros is followed
by a long coda — pianitrimo, in which tho motive of the first
chorus is employed, and this forms the introduction to a cavatina
and rondo of Anlouida, one of the four principal personages in
the opera.
Let the reader imagine this introduction at a theatre in Paris !
Not only would it not produce any effect, but we are justified in
believing ir would weary a public whose national feelings were
not roused by the Russian natiounl melodies, itt which they
would only find too many repetitions, while the contrapuutal
skill exhibited would not interest but tire them. Yet the
couceptiouaudcxecution of the piece are extraordinarily original ;
no model for it was to bo found in operatic music j the local
colouring is everywhere predominant, aud the couuoisseur dis-
covers in it the hand of au intelligent aud aesthetically accom-
plished master.
In the cavatina which follows, the solo part again commences.
The key oscillates between F minor and A flat major, the period
always concluding in the key we least expect. Tho motive ot
the rondo in A flat is pleasing and clear; but it concludes three
times in E flat, aud only on its fourth return in A flat. The
strange maimer of deceiving expectation in the final cadence
pervades the entire opera, aud produces a very strange effect.
The two following pieces, which are rather long, belong so
little to any kind of our own ojieratic music, that it is difficult
to give an exact description ot them. On the stage there aro
three choruses: a chorus of male peasants, another of sailors,
and a third mixed oue of wonun and men. These choruses come
forward as actual personages, aud converse with Sussaniu and
her daughter Ai.tonida. Mere, too, Glinka introduces imita-
tions in the solo parts and in the orchestra, for a love of contra-
pui tnl furms is one of the |*-culiarittea of his talent. After this,
we hear, at a distauce, a national son", iu unison, accompanied,
also in unison, by a clarinet. The phrases of tho song are in-
terrupted by pauses, by the personages on the stage, or by
ritornelloa, pianimmo, in the, orchestra. At last, the chorus ot
singers (the fourth in the scene) enter. At their head are lunvi-
cians playing the Balalaika (a kind of guiiar). The national
song assumes n more decided character, while the stringed in-
struments in the orchestra accompany pizzicato, all the choruses
and tho entire orchestra uniting, at last, in a gcueral/orfe.
The next scene contains recitative, some Mantlet arioso
passages, and a trio for soprano, teuor and bass, in B minor, of a
rather ordinary character, but well written. The chorus, also,
here plays its part.
The fifth piece is a grand, magnificently scored Polonaise,
truly national iu its character. It introduces some ballet music,
the first piece of which is a long Krakowiak, worked out at
length, and full of spirit and fire. A pleasing Mazurka is
interrupted by the arrival of a mesienger, and the exclamation
of the chorus : " What is the mailer 1" It is not until now that
the action of the piece really commences. After the story of
the messenger, the chorus resumes the rhythm of the Mazurka.
The composer again neglects the actiou, and works out, in his
own way, a long chorus in tempo moderato. This chorus, which
is nothing more than a pure piece of vocal music, without the
least connection with dramatic action, constitutes the finale of
the first act ! Such a thing would be impossible in any but a
Russiau theatre.
The second act contains a pretty song (2-4 time, the first
movement in a rhythm of three, ami the other of four bars),
then a duet for alio and bass, also with final cadences in other
keys, a practice which, at last, becomes monotonous and
fatiguing ; although otcssioually it appears effective.
Wo have now a chorus for male voices (" To work in the
Forest ! '), in which the composer has given the reius to his par-
tiality for imitations, compact form, and elaborate work in the
orchestral accompaniment. The piece is well worked oat, but
Digitized by Google
THE MUSICAL WORLD. [March; 6, 1858.
150
much too long. The action, which, as a general rule advances
so slowly, again cease* altogether. The same mu.it he said of a
quartet, concluding with a prayer for the Czar. This quartet,
for soprano, alto, tenor, and bass, begins with a short 4-4 tempo,
followed by an andante quasi allegretto in 3-8 time, the theme of
which forms a movement of seven bars, and concludes in the
minor of the corresponding major key. The composer here
abases his favourite modulation in tbe most striking way,
for the tenor sings the same movemeut three times in the same
manner, alter which the four voters take tip the part in canonic
imitation, always with the same modulation. The prayer offers
nothing remarkable, but the following allegro is marked by a
lively rhythm and energy, though, in the ensemble, we hove the
imitations over again.
The scene, with chorus, which follows, is one of the most
dramatic of the work. The principal personages engage in
muaical dialogue ; the verbal expression is deficient in truth, as
a general rule, declamatory song and recitative being the weak
aide of Glinka'B talent. The subject is Antonida's marriage.
The day for the festivity has been named before anything is
known of the inroad of the Poles, and the misfortune of 'the Czar
and the whole country. The guest* arrive to the sounds of the
Polonaise j with great difficulty Antonida's parents succeed in
stopping thee* sounds, which come from the enemy. They com-
municate the melancholy news, and it is necessary to put off the
festivity. A song of lament for the Cr-ar's misfortune is very
beautiful. This is followed by repetitions of the choral motives
from the introduction, ami from the finale of the first act,
Mazurka and chorus, which motives, however, are spun out and
laboured far too much— especially for the point which the action
Lob reached.
The fifth piece is a pretty chorus of female voices, in five part
time, a tender soug with a chorus of young maidens then in-
troduces and merges into the final>: of the second act.
In the finale to the second act, Glinka remains true to his
adopted system ; national songs predominate hero again. It
contains vocal dialogue between Antonida, her future husband,
and the choruB, without any determined key, or any arioso or
recitative. Theu comes a duet (larghetto In A minor), inter-
rupted and continued by choruses partly of male and partly ol
female voices, and sometimes of all together.
In the introduction of the third act, we again have the usual
finales and modulations of the minor keys into the major, and of
the major keys into the minor, which at last becomes very
monotonous. A tenor air of the bridegroom (Sobinin by name)
is more developed and regular in form than any of the other airs
in the opera ; the thylhlu of the theme is original, the first hall
of the period having six, and the second only three, bars. This
is followed by a grand air for the alto (Waiija) and chorus, one
of the best pieces in tho work as far as form is concerned, but
both iu the recitative — if we may so call it — and in the andante
tnoderato, not free from some strange points, especially in regard
to periodical rhythms. The more lively final movemeut and
chorus is very energetic and cffictive. Ffens.
After this interesting analysis of Glinka's principal woik,
M. Fetis enters also into a detailed account of the second opera :
Rutlan and Ludmi/la. This is a fairy opera, the subject of
which is taken from a poem, by Piisehkin. According to Fetis,
tho music is not so national in it! character as that of the
first opera, and the chorus dots not play so important a part ;
but we have here again, in various places, national melodies,
not only Russian, but Finlandish, Ci iui-T.irtar, and even Persian,
as well as rhythmical eccentricities, such, for instance, as five-
part bars, &c. Some of the pieces, such as the finale of the
first act, are considered by Fetis superior to anything in tho
former opera. On the whole, however, the music* of this fairy
opera appears to be wanting in unity of character, much of it
being said to resemble the style of" Rossini and Meyerbeer.
There is one thing certain, and that is, that in Russin'itself—
according to a communication on Glinka, forwarded ns from
St. Petersburg, by H. J?, von Fngelhardt, whose intimate friend
be was — tho opera was given with great magnificence at the
theatres of St Pctereburg and Moscow, and was at first ex-
tremely successful, but was far from obtaining the popularity of
Life for the Cuir, which was played several hundred times, and
still appears in the bills every year.
Willi regard to the national melodies in the last-named opera,
M. Fetis — if we lay any weight on an opinion of OulibischefT
(who died on the fith lebruary at Niachnei Nowgorod) about
Glinka — appears to he in error when he supposes all these songs
to be Russian, and fails to observe the contrast between those)
which are Russian and those which are Polish. The passage of
OulibischetTs work (Beethoven, ses Critiques et ses Glossateitrs)
to which we refer, page 3-1, runs thus: —
" Iu this work (Life for lite t'^xr) the question was not merely
to combine dramatic with national soug, as Weber has done iu
Der Freischktz, without blending the one iu the other, but to
characterise two nationalities by preserving, from beginning to
end, even in the most moving tragic situations, the Russian and
Polish colour of the melodies. This is something which, at the
time I wrote tnyhiography of Mozart, I considered impossible,
and yet Gliuka has accomplished it— his talent and success being
the more extraordinary, as there were no models to guide him
in any one point,"
Since Oulibischeff, as a Russian, is, in this case, the more
reliable authority of the two, because the difference between
the Sclavonic melodies of the Poles and Russians cau be scarcely
perceptible to a foreigner, we must believe his assertion con-
cerning the essential peculiarity of Glinka's music iu the above
• •pern, and this will lessen our astouishmeiit at the great moss
of national melodies (in the analysis of M. Fetis), since they
represent two different and hostile nations, and, therefore, do
not appear so monotonous to the initiated as to those persons
who are unacquainted with them.
Resides these two operas, Glinka. — according to llerr ron
Kugelhardt's communication — has written "music for the tra-
gedy, Prince Kholmsly, namely, an overture, pieces to be played
between the acts and songs ; La Tarantella, a prologue, with
chorus and declamation ; a great many orchcstrnl pieces, with
and without chorus ; about seventy songs and romances ; a
quartet for stringed instruments, and a number of pieces both
for piano alone aud with other instruments. In his weak slate
of health, he was, at any rate, productive enough. He played
the piano very well, aud extemporised admirably. He distin-
guished himself as a singer, also. He possessed a fine strong
tenor, aud sang songs in an incomparably fine style.
" He spent the last few months of bis life in Berlin, where he
died on the 3rd February, \K>1. His mortal remains were con-
veyed to St. Petersburg, and laid in the monastery of St. Alex-
ander Newsky, which is within the cilv wails. The Chorus ol
Imperial singers, whose ma'Ure-de-:ha^lUhii was for some years,
got up a solemn ceremony iu rcmcmbrauce of hiiu. A few weeks
later, the Philharmonic Society of St. Petersburg gave a concert
in commemoration of him, at which only his compositions were
performed. The stage was graced with his bust, surrounded
and crownedwith flowers."
Iu Germany, and generally in all countries but Russia, no-
thing of Glinka's has been printed up to the present lime, prin-
cipally for the reason ti nt all his vocal compositions were
composed to Russiau words. Rut Herr B. hngclhardt, an
intimate friend of the deceased, and Mad. L. Seheslakoll, Glinka's
sister, have now commenced an edition of his works, published
by C. F. W. Siegel, Lci[»ic (Bernard and Slellowsky, St.
Petersburg).
Of this edition, there are now lying before us : The First Col-
lection of Sonus, seventeen iu number, with German, French, and
Italian words, translated Irom the Russian; edited by B. Rngel-
hardt. Further: Four Orchesteul Works, in score; 1. Overture
to Life for tU tear, price one thaler aud a half ; the orcluslral
parts, three thaler*. 2. Overture to lltulan and Lulmilla, iu
score only (one thaler and a half). 3. Capricciu trillant en
Forme d'bnrerture sur le Thime de l,i Jota Ara.jonua, price one
thaler aud live-sixths. 4. Souvenirs d'une Suit d'hti a Madrid.
Fantaisie ikiuc Orchestre sur de* Tht-nes Espagnol*, score, one
thaler aud ouo-thinl.
We are thus enabled to pronounce an opinion fouuded on our
own judgment of Glinka's Russian music, to which wo sliall
shortly revert. L. B.
f
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March 6, 1858.]
THE MUSICAL WORLD.
151
MUSIC AT TURIN.
(From our own Correspondent,)
Feb. 24.— In England, tin delights of the jovial season of
Christmas — Harlequin and Columbine — the roguish freaks of
the Clown, and the bewildered sufferings of the Pantaloon — are
carried on through the greater part of Lent. Not so in Turin.
Here. Lent puts the extinguisher on balls and soi
March is far advanced, the principal theatres arc
a man has to live on his wits, or ou tho enjoymct
indiffeient music slovenly performed. As I have no wits to
live upon, and can't say that I have any particular predilection
for second-rats operas, I intend packing up mv goods and
chattels and returning to England; hut, as it wfll iierhups be
some little time beforo I nm fairly under way, I will send you
a short account of what has been going on in the musical world
here since I last wrote.
The production of Moti for the inauguration of the season at
the Vittorio Eramanuele was a step in the right direction ou
the part of the impreuario, M. Meistreillet, and proved him to
bo one of those wise men who lay their foundations on a firm
and solid basis. After Moti had had a run of upwards of
six weeks, the subscribers naturally considered themselves
entitled to something new, before the close of the seas in ; so
the director, knowing that his patron* — who, hy-the-bye, are anti-
Verdi-ites — would welcome nothing in exchange for Moti, mora
tbau an opera by the same composer, had recourse to the extensive
rfpertoire of the Swan of Pesaro, and produced Matilda di
SAabran. The selection of an opera by Rossi ui was to bo com-
mended, but I question whether (Jnillanme Tell would not have
been more judicious, and more suitable to the principal artists
of the troupe — indeed, with such a tenor as Carrion, its non-
production was an oversight that I consider should be pointed
out to tho directors However, M idi la contains some of the
best and most charming music that Rossini ever wrote, and as
the performance at the Vittorio Enituauuele is little short of :
perfect, we should not grumble. The prima donna, Mdlle. I
Marchisio, is MM b«ona eantntrice of the Rossinian school, but 1
she is so totally eclipsed by the admirable tenor, Carriou, i
that she becomes but a snbject of minor importance. In this
opera, Carrion has many more occasions of displaying the
softness aud suavity of his voice than in Moti. Those who have
heard this gentleman only in such parts as Moti, Trovaiore,
Ernani, &c, where force and energy are the prevailing points,
can have but little idea of the wonderful sweetness of his voice,
and the delicacy with winch he can sing. Ilia rendering of the
finale aria was extraordinary ; his voice was as perfect and free
from harshness as if he had not sung tor nights In addition to
his many qualities which I hare meutioned in my previous
letters, he possesses one which deserves recording. His voice is
of such a peculiar searching timbre, that without any visible
effort his piercing notes soar above the harmonious tumult of
the orchestra and chorus, thereby producing an effect which
cannot be understrod, unless heard. Some of his notes are
Suite as mellifluous as those of Ginglini, and, 1 really think, if
bere was not a Oiuglini in the world, Sig. Carrion would be the
legitimate successor of llubini. Sig. Atrv, though having but
little to do, showed hiuiseif a consummate artist, aud possessed
of untiring energy. He exerted himself as strenuously iu
the long and trying concerted pieces as in his solos, aud after
his teena in the first art was recalled to receive the applause
due to his talents and efforts to give satisfaction. In my last
I forgot to mention that Swift is at the Nationale, having re-
placed Caatellani, who is gone no one seems to know where or
wherefore. If his singiug was a little more refined, and if he
took greater pains to modulate his voice, which seems to me to
be as ungovernable as when he first appeared iu public, I should
be inclined to think that he might become a good singer; but at
present I cannot agree with the Pira'a and other musical
journals, that write in ecstaciea alwmt his lovely timpatica voice,
his fine figure, his noble carnage, and other innumerable quali-
ties, which, as yet, I cannot say that / have discovered. Of the
operss in which he has sung — Traviala, Lucia, and A
last I think is the most suited to his vigorous and
style. Attila has had a great success this season ; but though I am
a ''fanatico per la musica di Verdi," I do uot greatly admire it.
It is decidedly one of Verdi's weakest, and not likely to increase
his reputation; but we should remember that it was one of his
earliest, and must have been written when he was a very young
nm:: — when his genius was not fully developed — aud before he
had gained that knowledge of evoking and describing the deepest
emotions of the human breast, which render most of his
so surpassingly beautiful. Mdlle. Scotti, who made her dibit at
the commencement of the season in La Trariata, looked well in
the garb of Odabella, and showed a decided improvement in her
singing, but I must protest against the exaggerated accounts of
the musical press, that make her at least a second Pasta.
At the Regio, whieh.by the bye. holds its head uncommonly low
at present, Macbeth has b«eu produced, with a prxma donna,
Mdlle. Alaimo, who is supposed— of course only by the directors
—equal to fill up the void caused in the troup? by the secession
of Mesdaiues Moreau -Saiuti, Lancia and Sanchioli. Mdlle.
Alaimo sang here for a few nights some years ago, with Baucharde,
in 11 Trovaiore, aud having then made a somewhat unusually
favourable impression, was greeted on her entrance, the first
night of Macbtth, with the highest enthusiasm, and the most un-
bounded tokens of ecstatic "admiration, which were renewed
fr quently during the performance, and nt the fall of the curtain
with the "oUigato aecmnp. of no ovation of bouquets. Everyone
here declares that her voice is unimpaired, aud as Iresh now as it
w.ib five years ago. If this be true, how she managed to make
a furor* \ cannot underMaml, for it seems to me that her voice
has departed this life. However, she is gifted witli much histri-
onic ability, and is undoubtedly a tragic actress of the highest
order. She does not imitate — she spurns (stereotyped models of
dramatic action and vocal artifice — which displays that individu-
ality that characterises tr ue and genuine talent, With the ex-
ception of au honorable mention of Signor Massimiliani, the
less snid of the performance <>f Macbeth the better, for it was
little short of disgraceful ; but notwithstanding this drawback,
I coufess, that 1 have attended several performances with
pleasure.
Si uco I last wrote I have had the pleasure of hearing Madame
Lancin. As she makes her .<VM? on the 27ih, in the Barbiere,
in the course of next week, if I am (still hero, I will scud you a
detailed account of her first appearance, and so until the public
has pronounced iu verdict on her talents I will not give you my
private opinion.
A few nights ago "our" prima cfeiHM in high life was present
at a grand ball at one of the principal elule, and won the admi-
ration of all present by her |>ersonal attractions and her extremely
la ly-like deportment. I ought to mention that a social excep-
tion to the general rule w;»s made iu her favour, as ladies iu any
way connected with the stago arc usually considered undesirable
society to the noblette who attend these balls. Iu this the master
ol ceremonies showed his good taste, as there cannot be a doubt,
but that it w.-s due to her station in life to receive au iuvitation.
Pkb. 2t>.— On Friday evening Madame Lancia made her dibiU
iu the Barbiere with most sigual success
I must content mysell now with sending you an extract from
the two principal musical papers, but shall hope iu a few days to
give you a detailed account of her dtbut.
The Virata says : —
"La Mrs di Venmli esordna con gran mmi «1 Teatro Umini nel
Barbiere di Siriglia It prims doims, M.irin biuieia, giovsue e svvenvute*
flglis il' Albion*, scgisi soolani del Madame Mirci, che ojlierii sensa
dulrio, ricehe corone sidle scene Italiane."
Iu another paper the event is alluded to thus : —
" Ven.rdi sera si Teatro Rossini ando in iseena la Signora Luick,
Inglese, ctordicnte col la purte di Rosins nel Barbiere. Ha una belliatiina
voce, cunts cou g,irl» e fu apfilaudttittimn,"
Siosott PtRCtrri received from tho Philharmonic Society of
Bologna the academical diploma, with the title of Prolessor
of Singing, after the examination of his new Treatise on the
Art of:"
• ^v/ice-cliariuiiig.
Digitized by Google
152
THE MUSICAL WOULD.
[Maech 6, 1858.
London Sacred Harmonic Socinr.— On Monday evening
Haydn's Creation, preceded by Dr. Elvey's royal birthday
Cantata, was performed at Exeter Hall by the members of the
London Sail ed Harmonic Society. The principal vocalists were
Miss E. Hughes, Miss Galloway, Mr. F. Dyson, and Mr. Iawler,
all of whom were well acquainted with the oratorio. M.
Tolbecqne, led the band. Mr. Pettit, aa principal violoncello, in
the recitation*, was of great assistance to the
HER MAJESTY'S THEATRE.— In consequence of tho
triumphant bitom of the cl<wlng rcvn^cnUtiiHii, a .d in order to aceoni-
module ih« uuniiwre who h*yo be,n unable to obtain iiUuc*. TIIHKE CON-
CLUDING F E UFO R M A N C ES will be given ou TuoxUy, Murvli IS; Thur dav,
March 1* ; «nd sntard.iT. March 20 Tbor will Im> arranged aa fbllowa:
Tueeday March lii, LA ! R.WI ATA.— VI. lotla. Piccolomlul ; Alfredo, Gluglinl.
Thuraday, March IS, IL THuVATORK. — Leonora spana; Aiuoaua. Hauularj
Manilai, Gluglinl
Saturday. March SO, LA F10LIA DEL UEiXilMENTO.— Marie. Pkwilomliii.
Laat Scene of I M VHTIIU, compri.ing Ibe Co ebrattd duo by Mdllc. Plccolorolni
and Ki i <jt OiuirHni
Prie-a— Ill Htal a, !2». 64. : Boxca (to hoM bur par- <n»). Pit and Oua I'.ir,
* J ta ; Grand Tier. £9 3a ; Two Pair. £l it. ; Three Pair. lia. ; Gallery Bast*. 10a. ;
Oallcry_8talK a«. Sd.; Hit, Sa. 6d , OaJUr.. 4*
1. Plane, lu the meantime
, lit Hajsat** Ttieatra.
I ba poeatbly gi.tu before tin cmnac men-, ol tbe
Buti.mcr Bcuaon.
TIIKATRE ROYAL, H AYMARK ET. — Under
tlte rmuiagaineiit of Mr. Bockatoo*. On Mmidav. Tueeday. and Weduea-
M.reh 8th. »f,, ».,d loth to commei-M at 7. with THE LOVE CHASE, In
lallcry Stall-. S«. Sd. : Pit, Sa. 6d , OaJUr.. S*.
The li..x-t,m . anil be opened on Tl.nraday. Murch 11.
Bay ba aaruiad by application to Mr. F>.h. ata* -do r, I
No other rvprcaaatatior. can be poeatbly gl».u before I
*. ich \1 Hut AMY 8EDOW1CK will appear aa Co.iai.mca . <he Widow Gree.. by
Mr.. WlUlua (her firet appair-nee at tile theatre); l.y lla. M a. Bulmcr ( i.«r
firet aijir.uanie at tin. -beatre) Af-er widen ti c c-wedyof PRESENTED AT
CODRf, Oeoffrey »V <klW .- {hi. original ch .r.i.1cr), Mr. Bucaetone. Cm-
ati. g with SHOCKING EVEN 8 On Thund y. rndav. andsnturd.y. March
11, 14. and IS. THE HUNC.BACK. In wl.leb Mist* AM V SEDGWICK w.U
tiTe'
of JulU. And, foi th.. I.A<*T THREE NIGHTS, lha e< ■*
Chn.t.i.a, Pant roluia. .nttWd THB HLLEPIMJ BEAD 1 Y IN
E »<K)D; OB. HARLEQUIN AND THB SPITEFUL FAIRY. Tnetouery
b. Mr. W lliam. alien Harlaqum. Mr Arthur Leeleroj . lb un.blnc, Mia. F.nny
Wright; Pa.,ulo..n. Mr Mackay . Clown. Mr. Cburlaa liclcrcq ; ThoPrtucMOu
lur imaeli. Mm Uclerco
NEW ARRANGEMENT OF PBICE3.-0r<li-atra Stalk (which our ba re-
tained iht w ole of the cretiUig, and for which tbeie will he no charge 'or booklngX
•a. each. Fta<r Paioc-Dtoa Boxea. Sa. ; UptKr ft xca, Sa. ; Pit, ; Gidlcrr, la.
Banian Pat. r - l. Bx^a. S. ; Vfpar Boxea la.; Pit, la; Gallery", «d.
Prleata Boxa*. Two Q.iineu and On. 6umoa and .-half each. Stage-aLmager.
Mr. Oiiippendale.
ROYAL PRINCESS'S THEATRE
UNDER THE MANAGEMENT OF MR CHARLES KEAJf.
ON MONDAY mid Friday, HAMLET; Tuesday and
Thunvlar. A "IDSL'MMKR NIGHTS DREAM ; Wcdncada; and Satur-
day. LoDI "
»u.-. A MIDSL'MMER NIGHTS DREAM ;
S XI And tbe rikntominu ev. ry F.vcntut;.
ROYAL OLYMPIC THEATRE— This evening, the
Mrfcrm.ncu w.ll common.-* with TOD CANT MARRY TOUR GRAND-
MOTHER. Af.ar »hlc«THE DOOE OF DURALTO. To couclude with i*OUIS
AT THE SWAN Comniel.ee at lalljuai 7.
THEATRE ROYAL, A DEL PHI. — This evening,
March «'h. BORT O'MORE. with new acrncr , draaara, and dro>rati<«ia
After whki. will be pr'.lucod a i.ew >n'l original c. mlc dnuna ctitulcd YANKEE
CODRThlllP; OR, AWAY DOWN EtSC. To couclu le with the aui-ceaaful
original farce callwl LATEST FROM NEW YORK.
G
REAT NATIONAL
SIloRKDITCH — i'ri ]
STANDARD THEATRE,
inr, Mr. Jo»im IVh . h
of the b.lmltiibla tragcdUi MR. CHARLES
rum. Uit-at cXcltetnci t On We-lneaLiy la.(,on 111.
K* will hit*' tbe h<«our<if ieia*tlugi eifaaractcr
li.otio In THE LADY OF LYONS. On Mo.iduy,
lo roinmei.ee w th [lie orig nal reraion of ELIZA
FENNINO. aupiiortid by the company . OnTiioHay and Sa-urday. BH.PHEOoR
In which Mr. Cli rlea Dillon »l l appear «illi Mr. Ilumtl, Ou Pti <ar. THE
LADY OF LYONS. Claude MelDMte, Mr. Cuailca Dillon. To conoln le iTlth on
Monday. WoWday. ami Tiiuraday, TnE ISLAND OF SILVER HTORR. with
IU iu.» and beautiful acencry ; ou Frld iy aud Sat'irlay wlih Till RATS OP
RAT CASTLE On Tue-d.iy tli« eniatulimicnta for THE BEN B KIT OF MRS R.
UoNNEIL No advance lu the p<loaa during Mr. Ch.ir.ea Dillon's
Sacnd we k of the
DILLON. Luaacyi of the
ri I e—a itatloa of Belph
thla wa k, with Claud
W. dm-* lay. and Thurw
QT. JAMES'S THEATRE -PROFESSOR WIUALBA
L&3S
uai lery.
FlilKELL — Wailucaday and Saturday afttti
Satar lay) ,t S Su la, &a
dvata Boxoa. Two I
to beaconed at Mr.
t a au la, H ; HnJcny Stall
^alMr.Mi&aV^
•Mil at 3. IM crory erm ivg
■p, ; Pit, 4a;
and On*
»J,Old
TO CORRESPONDENTS.
J, D. S. (Glasgow).— 1859, being >M IOWA
Handttt death.
Flacto. — La Revue et Gazette Jfuticaie.
Hesin mutt tend hie name and addrett.
H. F. (Nottingham). — Communication only ju*t come to hand.
THE MUSICAL WORLD.
"Justus" has addressed us another letter, containing two
more instances of alleged plagiarism on the ]>art of Mr. Balfe.
We produce them for no other reason than to protest altogether
against the theory which our eager correspondent appears to
entertain. We have a theory of our own about plagiarism,
and with a little pains and research might apply it in such a
manner as to prove the majority of com|ioaersi thieves and
the most celebrated (Handel and Rossini for example) the
greatest thieves of the community. But we should be sorry
to lose time so unprofitably, and, we may add, so prejudicially
to the interests of art Every tune in the world has
been made out of seven tones and six "accidentals;"
and all the tunes that remain to be concocted must
proceed from the same scanty materials. An entirely
fresh and original melody is rare, now that the art
hus bo far advanced, and that so many thousand melodies
have been either ingeniously manufactured, or spontaneously
created. Rut, in sober truth, while music without melody
is impossible, melody without artistic arrangement can
scarcely be regarded in the light of music. The greatest
composers have no doubt been the most prolific of melodists;
but this only proves that the gift of melody is inseparable
from musical genius. There have been melodists who could
lay no claim to be regarded as musicians ; but, on the other
hand, no great musician has ever existed who was not primA
facie endowed with melodic invention.
Thus, it will be seen that we consider melody rather as a
faculty of the human mind than as anything else. Nout)
will deny that Bellini wrote beautiful melodies — and yet, at
the same time, none would think of comparing Bellini to
Mozart — not because Mozart excelled Bellini as a melodist
(which is indisputable), but because Mozart was a perfect
artist, who, out of the melody that existed in his own time,
created artistic works that are imperishable. Who
knows where Handel got his melody ?— and who cares I
The Messiah and Israel are living now, a century
since the death of their composer, not by any means on
account of their melodies, but on account of their enormous
merit as artistic creations. There is hardly a question but
that the most renowned composers have looked upon the
melody that prevailed in their day as common property,
to which whoever might haudlc it best would give the
best chance of immortality.
I^t it uot be thought that we are placing the author of
The Bohemian Girl on a level with the renowned com-
posers, or that we are attempting to make him the pivot
upon which to turn any aesthetic argument with reference
to art. We simply wish to insist that Mr. Balfe does
neither more nor less than his superiors, availing himself to
the best of his ability of the current melody of the hour. The
charge of plagiarism levelled against him by "Justus" is
hardly tenable. Leaving theory altogether, and appealing
than Signor
tility no
to naked facts, why should Mr. Balfe, any
Rossini (whose extraordinary genius and -
Digitized by Google
March 6, 1858.]
THE MUSICAL WORLD.
153
will diHpute), bo accused of borrowing from Haydn, with
reference to the first example of presumed plagiarism put
forth by our correspondent I It is true that the opening
bars of the song from The Creation and the chorus from
The Bohemian Oirl are very much alike : —
With
gg|f|
ck - gcr-tu-ta the hus-bandman
Girt.
A aoMicr'a lite h*i
— but from this point to the end the two compositions resemble
each other in nothing. Signor Rossini is just as open to the
accusation of pilfering as the Irish composer, and from the
same source— witness the commencement of one of his most
admired trios : —
Barber of '.
lit. :
Zit-ti, Zit - ti, pis - no, pia - "J no
Penetrating further into the womb of time, we may dig
Girls and
begins
up a very ancieut tune — known to us English as " I
boys come out to play" — of which the primitive versi
thus :—
Gid* and boy* como out to play,
Change the 6-8 measure into 4-8, or 4-4, and we shall be
able to fix the plagiarism upon " Papa Haydn," who probably
never heard the ancient tune in question, but who had a
perfect right to make use of it, if it fell in his way. We are
inclined to think, however, that Haydn did not know it.
As for Rossini— one of the most careless and apathetic, as well
as one of the most gifted of men — it may be accepted as a fact
that, at the time of composing the Barbiere di Siviglia, he
had never seen a score of The Creation;* and with regard to
Mr. Balfe, who shares more than one of Rossini's peculiari-
ties, it may be accepted as equally a fact that, at the time of
composing The Bohemian Girl, he no more thought of The
Creation than of the Pre Aux Clerce.
To the second quotation of " Justus" even greater excep-
tions may be taken. Do, reader, contemplate curiously, and
" with anxious polyscopity," the subjoined :—
MM
Zampa.
What i* the »pell hath yet if - fae'd Tlx
4-
mm
first fond line* that lore hath trao'd.
m
• Such work* were utterly ignored by the Italian*, at the epoch
alluded to, who are not much better acquainted with Uhjw now.
What matters the beginning of a tunel We forget the
remainder, both of Harold's and of Mr. Balfe's melody;
but we adventure to guess that the two are wholly unlike
after the first four bars.
When one has been for a long time iu a company where
nothing but absurdity is uttered, how refreshing is it to
stumble upon a person, who makes something like a sensible
remark !
Within the last few weeks we have been compelled to
gulp down rubbish by the pageful on the subject of the
drama, and were beginning to vow that we would never
again cast eyes on any dissertation whatever written on a
theme now become so utterly detestable. However, about
a couple of days ago, we took in our hands the last number of
Mr. Dickens's " Household Words," and there, under the head
" Dramatic Grub Street," we found so extremely seusibl* a
I>apcr, that the vow, which we can hardly call rash, died
away on our lips, and the truth was revealed to us that it is
possible for a man to write a paper on the decline of the
drama, without being an insufferable "bore."
The paper in question consists of two letters. Of these
the first is from Mr. Reader to Mr. Author. Mr. Reader,
in good round terms, complains that the English drama of
the present day is far inferior to every other species of
literary produce, and asks Mr. Author why the same amount
of intellect is not expended on the composition of plays as
on the composition of novels. At the theatres of Paris Mr.
Reader sees dramatic works written by the same men who
have delighted him in his study. In London, if he stops in
his library*, he holds intercourse with the minds of Dickens,
Thackeray, Bronte' ; but if he goes to the theatre, he merely
witnesses the productions of Tom Plagiary and Charley
Construe, which are by no means exponents of the intellect
of the nineteenth century. Mr. Reader is puzzled as well as
vexed, and he asks Mr. Author, as an experienced man, to
state the cause of this " great social evil"
So far there is nothing wonderful; but tho fact that iu tho
second letter, addressed to Mr. Reader by Mr. Author, the
latter speaks like a sensible man is truly marvellous. He
does not say that the play produced on a given evening is
bad on account of the criticisms contained in the newspapers
of the day following. He does not declare that comedy has
gone to the dogs because some brilliant lady, poor in talent,
is wealthy in point-lace. Ho docs not consider scenic deco-
ration the ruin of tragedy; nay, he leaves unanswered
Mr. Reader's assertion that he has a "great respect" for
" gorgeous scenic revivals of old plays, because they offer to
sensible people the only decent substitute for genuine
dramatic novelty to bo met with at the present time." He
docs not even attribute the sickly state of dramatic Literature
to the non-production of his own tragedy. Various as are
the forma of nonsense and vanity, he does not avail himself
of one. He admits that the drama has declined, and he
assigns a cause. Now, what cause doe* ho assign?
The smallness of the remuneration that even a successful
author could obtain if he devoted his energies to the pro-
duction of works for tho stage. There is the reason given
by Mr. Author for the state of things that has excited the
grief of Mr. Reader ! It is a very prosaic reason, and,
strange to aay, it is correct. Nearly the whole letter of
Mr. Author is devoted to the establishment of the fact, that
the dramatic author is infinitely worse paid than tho
novelist* and tho consequent fact that the man of inventive
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THE MUSICAL WORLD.
genius will rather work for a publisher than a manager. In
1803, when an exceptional success brought £22,000 to the
theatre, the successful author received £1,200. In 18M>
when a success, similarly exceptional, brings £1 1,000 to the
theatre, the successful author gets £300, whereas, according
to the " Rule of Three," he ought to have £600.
Here, then, is a proximate cause of the wretched state of
our dramatic literature. But what further cause lies in the
background I Why is the t u hi of remuneration so low )
Why is not the manager compelled by the failure of rubbish
to give high prices for the production of something good I
To this question Mr. Author has his answer : " The increase
of wealth and population, aud the railway connection between
London and the country, more than supply in quantity,
what audiences have lost in quality. Not only due* the
manager lose nothing in the way of profit — he absolutely
gains by getting a vast nightly majority into his theatre,
whose ignorant insensibility nothing can shock,'*
The whole thing lies in a nutshell. The best men will not
write for the theatres because the managers will not pay them
enough, and the managers will not pay enough because the
theatrical public is just as well satisfied with inferior fare as
it would be with more costly viands. In a word, a certain
state of the popular mind, to be accounted for in different
ways, is the cause of the decline of the drama.
Really, Mr. Author, you are a terrible foe to those of your
craft who write laborious essays in magazines and reviews.
What will become of the luckless scribes who cover sheet
after sheet with twaddle, if you state the whole truth of a
case within the limits of half a dozen pages I Properly
whipped up iuto froth, anil adorned with a score or two of
fallacies, the matter of your brief letter would have procured
many an honest gentleman a life annuity. Live and let live,
Mr. Author.
MISS ARABELLA OODDARD'S SOIREES.
of the present series was of the same
interesting
M. OuuRicHKrr, the celebrated author of tha Life and Work*
of Mount, the History of iliuic up to the /ViW of Mosart, and
Beethoven, set Oritimm tt *et Wouateuri, died on February 3rd,
at Nijui Novgorod, in Russia, where ho for mauv years resided.
Another CoNsriitAcr-TO-MrRrtKit Bn.u — The recent per-
formance of Macbeth at Her Majesty's Theatre.
8TALETBKIDOB — The Philharmonic Society gave a concert, on
Wednesday evening, and engaged Siguora Fumagalli and Mr.
Charles lirahaiu as vocalists. The band played the overtures
to // Darbiere and La Hirine. Tho chorus sang several glees aud
part-songs, aud, except in one or two instances, were steady and
correct. The performance* of the solo vocalists may bo cha-
racterised as a series of "encores." Signora Fumagalli com-
menced with Wallace's M Gipsy Maid," and, being encored, gave
" Ah furs' a lui." She was also encored in the " Convent Cell,"
and saog in its place, " La Zingara," couqjosed for her by Signor
Wwe - i. Mr. Charles Braham was called upon to repeat "The
Death of Nelson," when ho introduced his now song, " HaveloL-k."
He was honoured with a similar compliment in the duet, " All's
well," with Signor De Oiorgi, aud also in the duel, " Parigi, o
cara," with Signora Fumagalli. The attendance was numerous,
and the gratification universal.
Leeds.— On Saturday last, Mr. Dolavauti, the popular buffo
singer, gave bis annual benefit in the Leeds Music Hall, before
a full audience. Tho porformers, beside Mr Delavanti, were
Mrs. Suuderland, Miss Newbound, and Mr. Wilson ; Mr. Spark
was the accompanist. Mrs. Sunderland was encored in Bellini's
" Why my harp," Miss Newbound in " .Tuanita" and " Come o'er
the stream, Charlie," and Mr. Dtdavanti, in " Alonzn the
brave." — Mr. and Mrs. Henri Drayton, gave a "People's Night"
at the Stock Exchange Hall on Saturday, when a large number
of persons were unable to gain admission. In consequence of
this success, another cheap performance will be given to-night
Mozart.
Weber.
J. 8.
Boetlioien.
The third and last
calibre as its predecesiors, exhibiting the
variety, and the same admirable perfection of
programme was as follows: —
Taut I.
Sonata in D major, pianoforte anil violin (No, 7)
-Mm Arabella Goddard and M. Sainton
Grand Souats in A flat (Op. 30)— pianoforte, MU§
Arabella Ood.lnrd
Futa Schro-ando (fir»t time in public), and I're-
ludi" con Fuc*, in A miuor (from Ho nit U and
Bx>k l of K. C. Qt'lepeakavi'i " Complete Col-
lection of tho Pianoforte Work* of Bach")—
pianoforte, Mist Arabella Goddard
Paut It.
Grand Sonata ia K major (Op. 109)— pianoforte,
Mim Arabella 0 uldard ...
Grand Tr:o in C iu;nur (>"o. 2), pi motoric, riulin,
and violoncello — JIim Arabella Goddard,
M. Sainton, and M. l'ai|uc.
The sonata in D major is another genuine inspiration of
Mozart, which Miss Arabella Goddard, whoso library of classi-
cal music seems inexhaustible, may claim the merit of rescuing
from undeserved neglect. Ordinary pianists seem to imagine
that the great composer of Don Oiovanni only wrote three
sonatas for piano and violin (tho well-known B flat, E flat, and
A) ; but Miss Goddard is better informed. Unlike those many
who, satisfied with the mere possession of a valuable library,
know nothing of its contents, she not merely owns the books, but
reads them, ami makes herself thoroughly acquainted with all
tho information they contain. Here, for example, is a sonata
by Mozart, which forms a part of every complete edition of his
works, which is worthy of the master, and ia, nevertheless,
scarcely ever looked at. This is not a mere articU de vertu, curious
on account of its binding, and interesting on account of its date,
but a work of art for all time, just as beautiful now as when it
was first produced, and just as fresh and genial. Like iU
equally slighted companion (iu Fl of the previous coucert,
the sonata in T> (played by Miss Goddard and M. Sainton with
a kindred feeling for the author which imparted to his divine
music it* amplest charm) enraptured the audience. The source
is not by any means exhausted, as Miss Goddard is well aware ;
and her admirers will look tut- ward to other sonatas of Mozart
for piano and violin, which deserve no less tho consideration
that of later days they have failed to encounter.
Weber's sonata in A flat is by many degrees the finest of the
four great works of the same class which the gifted author of
l)er Freuckiiti dedicated to tho pianoforte. Genius breathes in
every bar of this truly enchanting work, which, while as cha-
racteristic of Wrt>er as anything that ever proceeded from his
pen, unites the luxuriant melody of the South to the deeply-
coloured harmony, ingenious contrivance, and romantic expres-
sion of the veritable Teutonic music. Tho first and last move-
ments aro chef-iTirnxrei ; while the awluntt aud tcherto, If not
remarkable for the same amount of artistic finish, bear the
stamp of an originality that is indisputable, and tho evidences
of a stylo that cannot be mistaken. This sonata taxes severely
the powers of the moat accomplished performer; bat like nil tho
rest of her bibliothtqut, Miss Goddard had got it so completely
fingers, that she deliverei
natural grace aud sp
an improvisation.
in her head, iu her heart, and in her
it with as much natural grace aud sponi
ogers, tl
itaueity
delivered
as if it bad been
To John Sebastian Bach was again awarded the place of
honour, and again was the placeof honour occupied with a dignity
which only the Lcipsic patriarch can assume. Notwithstandiug
this attribute, so inseparable from Bach, there is in the fuga
t:hcrzando (another gem long buried in oblivion), an air of
romance which might rather have been anticipated in Beethoven
than iu the author of the Pastiont and the ( lacier bien Tempfri.
But in spite of the conventional trammels to which it was sub-
jected, the genius of Bach was universal, and his imagination
the tchtnando aud tho famous fuguo in
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March 6, 1858.]
THE MUSICAL WORLD.
155
the same key (A minor)— which all learned musicians acknow-
ledge to be the moat masterly as well aa the moat difficult that
ever proceeded from his pen— there is a whole world j ami too
lofty an estimate can hardly be entertained of the man who
could contrive and accomplish both. Of Miss Goddard's playing
in Bach's music there is but one opinion. It never was and
never can be surpassed for neatness, fluency, energy, and
point — to aay nothing of a certain primitive simplicity (" innate
and to the manner born" — to use an over-used quotatiou), which
confers a grace and youth on the oldest masters not less charming
than indefinable.
Of Beethoven's truly marvellous sonata (Op. 109), one of the
moat individual of all the latest efforts of the most essentially
poetical of musicians, and of Miss Goddard's incomparable per-
formance, we spoke more than once last year in appropriate
terms of eulogy. If possible, both the work and it* interpreta-
tion by the young pianist gained by a fresh hearing. The
unapproachable Beethoven stood in no need of the compliment ;
but we are gratified in heing able so conscientiously to award
it to his gifted interpreters.
The fiery and impetuous trio of Mendelssohn, played to
perfection, brought tho third concert and the first series (a
second is announced) to an end iu a triumphant manner. The
9 enthusiastic about all the pieces, the fugues of
; nothing short of a "furore."
AMATEUR MUSICAL SOCIETY.
The second concert of the regular season took place on
Monday evening, at the Hanover-square Rooms. The following
"~\ the programme : —
PART L
Symphony in B flat, No. 9
Duet, " Bi conforto " (Iji Ycstale), Miss Griffith and )
Mis* E. Griffith j
Selection (La Tratiats), with solos for oboe and)
eornet-ii-pislon, Mr. A. A. Pollock and Mr. H. E. [
Tath.m )
Lied, "Griiner FrOhling kekr'eio," Mr. E. Gordon >
Cleather )
Overture (Ginctfrs, or the Plague of Florence))
M.S. Opera j
pabt n.
Concerto in A, No. 2, pianoforte, Mr. S. W. Waley ...
Cantata, " Adelaide," Mr. K. Gordon Cleather
' Le Zingare," Miat Griffith and Mus E. Griffith
> (Kuler of the Spirit*)
Conduct ur
Haydn.
Verdi.
II. Ester.
Frank Mori.
Mosart.
Beethoven.
Uabiusi.
Weber.
luetor— Mr. Henry Leslie.
The Symphony, one of Ilnydn'a brightest, is just the kind
suited to the amateurs, for, nlthough it is occasionally tripping,
there ore no passages in it that tho band ought not to overcome,
if they pay proper attention to their conductor. Besides it is
well known, and must have been played by all the niemltera in
quintet arrangement. We were, therefore, not unprepared to
find a far better performance than could possibly be given by
the 8ociety of Beethoven's Eighth Symphony, which, as our
I are aware, was the orchestral giant at the first concert,
Oh, yo amateurs, why will ye attempt mimic beyond the reach of
any orchestra save one of first-rate character, when there are so
many works well adapted to your calibre 1 nnd why force your-
selves into comparisons which cannot but prove, unpleasant !
True, that you can say behind your desks, "Oh, we are not
professors; we only play for our own amusement." But you
well know how proud you are of fiddling away in the presence
of so many bright specimens of the fair sex, and how fine you
deem your own performances. Now, do take advice from those
who have always been your supporters, — who have looked on
with the greatest interest to your proceedings as conducive to a
better and more extended knowledge of that sweet ait which
occupies so many of your spare momcuts, and do select works
the difficulties of which you have some chance of overcoming.
We wish you well, for you can bo of much use in your
generation.
In the selection, Messrs. A. A. Pollock and Tat ham acquitted
1 to the unbounded satisfaction of the audience, play-
ing in excellent style the solos allotted to them. An unfortunate
slip in the last movement of tho selection marred a really
creditable performance.
Never have wo heard Mr. S. W. Waloy to greater advantage
than in the charming concerto of Mozart. He played in a
manner far more steady than we ever remember to have heard
him on any previous occasion, aud fairly deserved the loud
applause which greeted him at the end of the concerto.
The band took every pains to assist their talented eonfrirt,
and accompanied exceedingly well. We must not, however,
omit to mention the brilliant cadenza Mr. Waloy introduced in
the first movement.
The overtures could not go so well aa tho other orchestral
pieces, being full of complicated and difficult passages, and re-
quiring many more rehearsals than could be given. Suffice it
to sav, that wo hear Mr. Mori was well pleased with tho way in
which his overture was played, and that the audience were
pleased with it.
The vocal music was good. Two young ladies, the Miases
Griffith, sang duets in a style simple, mustcianly, and effective.
In " Hi conforto " they were loudly encored ; but in conse-
quence of tho sudden indisposition of Mr. Cleatber, they had
kindly consented to sing a third duet, as some one in authority
explained to the audience, and the encore was not insisted upon.
In order more completely to fill up the gap consequent upon
Mr. Clcather's absence, Mr. Leslie laid violent hands upon four
of his choir, who were in tho room, and they sang Hatton's
"When evening's twilight," which so well pleased that they
gave Cooke's glee, " Strike, strike the lyre."
In spite of the inclement weather, the room was filled with a
brilliant company.
ST. MARTIN'S HALL,
Mr. Htn.i.Ait has been more than usually industrious of late.
At his last oratorio performance (Feb. 24) we had reason to
note a considerable advance iu the general execution of Elijah,
and especially with regard to some of the more delicate of the
choruses. Mr. Santley gave us no occasion to modify tho
opinion we have already expressed of his Elijah. Mrs. Street
(a debutante) is not yet equal to " Hear ye Israel ;" but, both
here and elsewhere, in the second part of the oratorio, she
evinced confidence, ami a voice which requires strengthening,
but may bo made serviceable if put to good uses. Miss Palmer
was the contralto; and Miss Fanny Rowland undertook the
eoprano music of the first part. Mr. Sims Reeves was in
splendid voice, and his admirable execution of the air, "Then
shall the righteous," was the most enthusiastic of the three
" encores" of the evening (the other two being awarded, as
usual, to " Lia thine eyes," and " O rest in the Lord"). Mr. E.
J. Hopkins was at the organ. The hall was crammed.
Two more " Orchestral Concerts" have also taken place. At
the third concert (Feb. 23), the Jupiter symphony was very well
played on the whole; and contrary to precedent (but consis-
tently with Moz irt'a indications^, the second part of the finale
was gone through twice, as well as the first. The overtures
were Melxtsina and I*e Chccal de Jirvnie. Auber's sparkling
prelude went well, of course ; but Mendelssohn's more difficult
composition left much to desire. Mr. Blagrovo played Kalli-
woda's fourth concertino admirably ; and a so-called Trio
EeiMignale (which might be appropriately denominated
"Twaddle") was effectively performed by Messrs. George
Russell (pianoforte), Nicholson (oboe), and Hausser (bassoon).
1'he vocal music was entrusted to Misses Banks aud Fauny
Rowlaud, who sang one of the duets of Clari ; Miss Palmer, who
treated the audience to Zingarelli's "Ombra adorata" (of which
the merits have always eluded our observations), besides joining
the other ladies in n very pretty trio — "Le Spagnole" — by
Sig. Piusuti ; and Heir Deck, who sang " In dissvu hciligen
llnllen " cnpilnllv, but the grand air ot Mephistophiles, from
Spohr's Faint, somewhat tamely. The hail was by no means
full.
At the fourth concert (March 2), the
follows ; —
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THE MUSICAL WORLD.
[March 6, 1858.
Past I. — Orerturo (Kuryanthe) — Weber. Aria, " GlCltlcim im
Thala" (Euryantbe)— Weber. Grand Scena, "Aledora"— H. Smart.
Symphony in li flat, No. 4 — Beethoven.
Paiit II. — Concerto, violoncello — Scrrais. Sonir, "I nri»e from
dreamt of thee "— Hullah. Andante (Midsummer Night's Dream " —
Mendelisohn. Duetto, "Quel eepoloro " (Agnc»)— Paer. Orerturo
(Die Zauberflote)— Moaurt.
The symphony would have been irreproachable bat for the
finale, which was taken so quick that many passages become
simply impouibie to the violoncellos and double-basses ; white
the ttaccato of the famous bassoon point was uot even hinted
at (how could it be X) by Mr. Il.tuaser. The overtures both
weut well, but the Zauberfiou would have been better a little
slower. In Mendelssohn's notturuo the horn-playing of Mr.
Standen elicited general praise. M. Sarvais' concerto is absolute
rubbish ; but Mr. Collins played it very skilfully. As, however,
Mr. Horatio Cbipp was principal violoncello at the first con-
cert, we think Mr. Hullah should have given that gentleman
the chance of displaying his powers as a soloist before the public.
Many amateurs am very anxious to hear Mr. Chipp in Uerr
Molinue's concerto, which he is said to have mastered com-
pletely. We are quite sure that Signor Piatti would not
object
Mr. Henry Smart conducted his own scena, which Miss
Dolby, for whom it was expressly written, sang very finely. It
is a composition of great merit, and was enthusiastically ap-
plauded by the audience, who, long as it is, were anxious to
hear it again. Mr. Mullah's setting of Shelley's beautiful
stanzas was done every justice to by Mr. Santley, and met with
unanimous favour. Paer's duet was extremely well sung by
Miss Kemble and Mr. Santley ; but in the air from Euryanthe,
the intonation of the lady was not always satisfactory. Miss
Kemble must labour hard to get rid of the tendency to
■ sharpen" on the higher notes, which so much damages' the
effect of her singing.
Mr. Hullah directed both concerts with his accustomed zeal
and discretion.
MR. HENRY LESLIES CHOIR.
The fifth concert, with one or two exceptions, was admirable.
AH the important pieces were given to the first part, of which
the Psalm of Mendelssohn, "Hear my prayer, O God," and
Mozart's Motet ("Ave Merum") were the principal features.
The Anthem of Farrant, " Lord, for thy tender mercy's sake,"
and the Anthem of Reynolds, " My God, my God, look upon me,"
were unworthy of such fellowship, the latter more especially.
Mendelssohn's Psalm is that in which Jenny Lind sang some two
years ago at Exeter Hall. Miss Hemming, who took the soprano
solos, has a good voice and promises well. Mozart's Motet,
though short, is difficult, but was sung on the whole exceedingly
well. The above four pieces, with Mr. Henry Smart's lovely
part-song "Ave Maria," constituted the first part of the
selection — all sacred. The " Ave Maria" was delightfully given,
and encored with acclamations.
The second part presented some novelties, These were Mr.
G. Lake's part song, "Dream the dream that'asweetest" — a pretty
composition, modelled on Mendelssohn's serenade, "O hills, O
vales ;" a four-part song, " I love my love in the morning," by
Mr.G.B. Allen— tuneful and sparkling, though somewhat difficult
for the voices ; and Mr. Henry Leslie's choral song, " O gentle
sleep"— one of his best contributions to the choir, and which will
be heard to greater advantage when more perfectly executed.
The first two were encored amid some opposition. Among the
best performances we may mention Waelrvnt'a fine madrigal,
** Hard by a fountain," which has a crust on it like old port :
Webbe's hearty glee, "The mighty couqucror of hearts 5" and
Mendelssohn's serenade, " Slumber, dearest," and part-song,
" All those whom Providence," both for male voices, and both
exquisite specimens of their kind, Mr. Leslie's " Bridal song "
was repeated. The concert ended cheerfully with Pearsafl's
" Who shall win my lady fair," which was encored.
St. Martin's Hall— where Mr. Henry Leslie now seems to have
pitched his tent definitively— was crowded in every part, and the
HER MAJESTY'S THEATRE
Toe cheap season was brought to a termination on Saturday
with // Troralore and tho ballct-divcrtisseraent V f/gmetOe. So
great, however, has been the success of the extra nights— more
espec'ally of the last four, when crowds were turned away from
the doors — that yet another three extraordinary performances
are announced to take place on the 16th, 18th, and £Oth instant.
Tho events of the past brief and unexpected season were the
revival of La Sonnambula, and the introduction on the Italian
stage, for tho first timo in England, of Mr. Balfe's Bohemian
Girl. Both were received favorably, and the singing of Signor
Giuglini, in the last-named opera, universally lauded. Neither
of these works, however, superseded the popularity of the old
repertory of the favorite prima donna and tenor, and consequently
La, Traviata, II Trovatort, Lucia di Lammermoor, and the Figlia
held their places to the last. That the old operas were preferred
may be gathered from the fact, that the three performances
newly announced comprise La Traviata, II Trovatore, and Figlia
del nggimen'o.
Mr. Lumlcy is in Italy making arrangements for the ensuing
campaign — the legitimate season— which will in all probability
commence on Easter Tuesday. Engagements of "great interest,"
we are told, are pending. Certainly somethiug more than usually
striking and novel is to be anticipated, when the high prices are
demanded. Those who did not hesitate to pay half-a-gninea to
hear Mdllo. Pireolomini and Sig. Giuglini, will assuredly look for
something additional to the late performances, if uot somethiug
better, when the charges are double. If Mr. l.umley had no
consideration beyond that of putting money in his purse, he
would keep the theatre open at reduced prices all the year
round. Perhaps the aristocratic subscribers would not be
pleased at the admission of the " rabble" into their high temple ;
but the exchequer would be benefited, and the manager might
laugh at all opposition.
PRINCESS'S THEATRE.
The revival of Louie XI. at the Princess's Theatre is tho
important theatrical event of the day. In vain shall we seek
among other establishments for a character more thoroughly con-
ceived and more admirably finished than tho Lmis of Mr. Charles
Kean. On this especial impersonation has the actor clearly set
his whole heart ; he revels in the dtemouiac "fun," he allows
his own soul to thrill with the cravon fear that is the monarch's
weakest aide ; ho submits himself to alt the detail- of corporeal
dissolution. Never was reality in art more completely alUiued.
The complicated emotions by which the king is swayed — (and
never was web more intricate) — are not merely depicted, they
are actually brought into play before the eyes of the spectator,
and Louis XL, alter the model designed by Cnsimir Delavigne,
is once more a living man. Nor should we omit to mention the
care with which alt the minor parts are sustained, and the
judgment with which they are employed for the production of
the general effect. This excellence of eneenxbU is to be attributed
not to the merit of the individual artists, but to the strict discipline
that is always maintained at the Princess's Theatre. Nothiug
is more fatal to dramatic art than a lax system of government,
and this truth is thoroughly understood by Mr. Charles Kean.
Hence, of whatever elements his company is composed, it is sure
to make a good figure at night, when he himself is on the apex
of the pyramid.
Theatrical Mem*.— Miss Amy Sedgwick appeared as Julia
in tho Hunchback, on Monday night, at the Haymarket Theatre,
for the first timo in London. This young lady, with unusual
aspiration, has alternated the parts of Miss Helen Faucit and Mrs.
Nisbett— the tragic and comic muse, in shorthand has found
staunch and ardent admirers in both. We remember no actress
besides Miss Amy Sedgwick who has personated Beatrice and
Julia with equal success. The Love Chate will be performed on
Monday, with Mrs. Wilkins as the Widow Green, for the first time.
The lady, we believe, is the relict of the late eminent Queen's
Counsel.— Miss Helen Faucit performed her popular part,
Paulino Deschappelles, in The lady of Lyons, on Thursday night
Digitized by Google
Maech 6, 1858.] THE MUSICAL WORLD.
157
At the Lyceum, Mr. Charles Dillon being Claude Melnotte. The I
lady was overwhelmed with plaudits, and played, to our think-
ing, as finely as ever. No actress has been able to approach
Miss Helen Paucit in this character, any more than any actor
lias been able to approach Mac ready in Claude Melnotte —
although tho active manager of the Great National Standard
Theatre triumphantly announces Mr. Charles Dillon as the
"eminent tragedian who has been universally acknowledged to
be the most natural and powerful actor that has appeared since
the days of Edmund Kean." What will Mr. James Anderson's
reply to this be 1 Mr. .Douglass should not forget that he may
once more require the services of Mr. James Anderson, and that
he cannot then with decency transfer tho Dillon encouium to
another tragedian, whereby he will be non-pluaaed in his adver-
tising. Mr. Charles Dillon has accepted an engagement at the
National Standard to play twico a week. — Miss Goddard — the
" celebrated tragedienne," as announced in the bills — appeared
at the Surrey Theatre on Monday night, as Lucrezia in an Eugliah
version of Victor Hugo's Luerniia flortjia. The piece is almost
identical with the libretto of Donizetti's popular opera, Lwresia
Borgia, Two or three scenes of the original play, however, are
introduced, the most striking of which is the last scene, in the
Negroni palace, where the young Venetian noblemen are feasting,
when, after the lights go out, as in the opera, a file of black-
gowned monks enter, each monk bearing a taper, ami after
Lucrezia announces to the revellers that they are all poisoned,
the doors of the saloon open, and a dimly lighted room covered
with black cloth is seen within, and coffins to the number of the
condemned are ranged round a huge crucifix. This scene, we
believe,(irst retained iu the opera,was prohibited on the Continent,
and was never restored in this country. Miss Goddard has a
good deal of talent, but the grandeur, power and demoniac spirit
of Lucrezia Borgia is immeasurably beyond ber means. She wan
most happy in the scenes with Gennnro, in which her acting was
really natural and touching. Of the ambition, boldness, and
daring of Lucrezia Borgia, however, she gave no indication, and
should turn her attention to more feminine characters, in which
we have little doubt of her success.
Mr.. Henrt K. Morlkt has been appointed organist of the
parish church of St Alphage, Greenwich. There were thirty-
six applicants for the situation. Mr. Morley is at present
organist of St John's Church, Blackheath, and was formerly of
St Germain's Chapel.,
Notonoham. — The first of the series of Gentlemen's Sub-
scription Concerts of Chamber Music took plao on Friday
evening the 23rd of January, and the second and third on the
5th and 10th tilt., nt the Assembly Booms. Thu programmes of
the first and second concerts have reached us, and we print them
in cxteiuo, as showing that good music is not confined to the
metropolis and some of the great provincial cities, but that every-
where an appreciation for the works of the great masters is
manifesting itself, and that Nottingham is not behind-hand. The
programmes ware as follows : —
Fiiisx Concebt. — Part L — Quartet in G (Emperor), two violins,
tenor, and violoncello — Haydn. 8<>rui'n in V, for violin mid pianoforte —
Beethoven.— P«rt 2.— Quartet in C minor (No. 4, Op. 18), two violins,
ISSSOT, snd violoncello — Heelliotcn. Grand Trii>, in O minor, for piano-
forte, violin, slid violoncello -Weber.
8nco>n Coscbrt.— Pari 1.— Qusrtet, No. 2. in I) minor, for two
Tiohns, trtior. and violoncello — Mozart. Qrswl SOOSts, in A, Op. t"
(KreutiL-r), for violin and pianoforte — Beclhoven.— Purt 2.— Quartet,
in 1), Op. 14, No. 1. for two violin*, tenor, and violoncello— Mendel-
ssohn. Grand trio, in 11 minor (Op. fi>): for pianoforte, violin, and
violoncello — Mendelssohn.
At the third concert Beethoven's Quintet in F was performed,
mid a sonata for piano and violoncello. The performer* were
Mr. Henry Farmer, first violin ; Mr. Prneger, second ditto; Mr.
Sliitnmclls, viola; Mr. Thomas Selby, violoncello ; and Mr. Slrel-
merdinc, piano. The features of the first two concerts were the
C minor quartet of Beethoven, ami the D minor quartet (No. 4-1)
of Mendelssohn, both of which were finely played. The meetings,
including a series of six, take place every alternate Friday.
MAD. VIARDOT AT BERLIN.
(Continued from pagt 108.)
Tiie OasetU Xationale writes as follows J—
" In the matttria of technics! skid, Mad. Yisrdot iurpaascs
sll vocal artist* we hare ever heard."
(Ilere follow a number of instsnces proving the correctness, the
purity, the flexibility, the expressiveness, the fancy, the musical
knowledge, and the perfect srt of the fair singer.)
In the columns of the OautUt de Vou, February 2nd, Herr
Relistab is again enthusiastic :—
" Meyerbeer's Propkite, and, wc must add, the great artist 'whose
arrival we have warmly welcomed, had filled the theatre, to the very
la»t place, at double prices. It is a very groat and very unusual pleasure
to follow an artist not only in a pait generally, hut syllable by syllable,
wheu her certainly, delicacy and, in a word, her mereiguty are not inter-
rupted for n moment, and not I ho smsllest particle of the composer's
intentions escapes her or anyone else. Criticism clings to this con-
tinuous thread of interest. On her appearance. Mad. Viardot received
n salute of honour from the public, and merited it directly afterwards.
The irWrVi'ao which brings out the two characters of Fides ond Bertha
w as a splendid gem of exeeution, for the presence of a great artist always
raUes others s cegrce. Our guest was herself rai»ed much higher in tho
arioto, 'Ah! mon fil»!' Everywhere she proved she was as great
a painter on a large scale as we have formerly asserted her to be of
delicate miniature*. Hera is the true, grandiose historical style. The
singer frequently touches your heart's core by s noble and simple trait,
by a natural and feeling gesture, by a stroke of genius. The
culminating point of the part is in (he scene of the church ; the male-
diction was given with the greatest muesfVia, both vocal and dramatic.
Hero especially the artist painted in a historical atyle; she exhibited in
every passage incomparable freedom, precision and force, with a mimic
sod plastic pow*r full of burning life. The grand air of the fifth set was
the triumph of her extraordinary singing. Her success wss as great si
the talent displayed."
To It eoxtinutd.
Paris.— "The dibut of Mdlle. Artot," savs M. Berlios, in the
Journal da Dibatt, " was very successful, and everything leads
us to believe that her engagement at the opera will prove one
of the most sensible acta of tho management. The young Ltd*
possesses a MM soprano of exquisite beauty, strong and soft at
the same time, extremely sympathetic, and flexible ; well trained
in all the difficulties of vocalisation, and distinguished by a
quality which, in my eyes, is inestimable — unvarying and irre-
proachable coriectness. The character of Fides contains certain
parts written for a contralto, and necessarily too low for the
debutante, but everything that lies above thiB register (a register
so powerful in the case of Mad. Viardot, who created the part)
is admirably adapted to the voice of Mdlle. Artot. The florid
divisions of the first duet, between Bertha and Fides, were dashed
off by the two artists with a vigour and certainty of intonation
such as we have seldom an opportunity of applauding. Mdlle. Artot
possesses, for we must mention everything, a faculty, or natural
gift highly esteemed by a great many persona : she executes a
shake with provoking perfection, no apparent effort or tremu-
lousness interfering with its effect. Her* is a real pearly shake.
May she never abuse tho gift ! Moreover, she enjoys the ad-
vantage, much despised by other people, of being a good musi-
cian— of being a i irtuota fW the piano — of knowing how to
read ! The daughter of »t of the moat distinguished musical
artists of Brussels, Mdllk Artot, has breathed a musical atmo-
sphere from her birth ' This is apparent in the certainty of her
execution on the stage ; there is never any incertitude in her
manner of attacking tho phrrsi, never auy rhythmical vague-
ness ; her voice is aflways developed without effort, and always
accordiug to the /rue conditions of art ; in addition to this,
there arc never Vany exaggerated tries or accentuation. Hera
is a niezzo-soprr/iio, which does not aspire to descend, that is all ;
it will, on the r .trary, wo think, soou gain an extent in the upper
notes which > jst infallibly place it among the finest soprauos of
the day. M .He. Artot acted without embarrassment, and in a
discreet, rc^-rved manner, the scene iu the temple. Her success
became s> mething brilliant In the air: "Commo un eclair,"
where si Te was enabled to give a spirited sample of her vocal
Digitized by Goc
158
THE MUSICAL WORLD.
[March 6, 1858.
skill. Throe or four rounds at applause greeted tho conclusion
of the air, and thus ataiupcd the success of the dilmtantt.
Bkrun. — "To speak frankly, we were uneasy shout Madame
Viardot's Rosina; uneasy from the recollections of fifteen yearn.
Tho heart of an old critic is a stone pyramid, filled with the
mummies of tho Pharaohs of art Imagine our surprise on
beholding a Rosina that appeared to step out from the fountain
of youth ; a Rosina of sixteen. Ought wo not to attribute to
genius the virtues of this same fountain ? Not only has the
great artist's singing remained as fine and charming as it was in
her younger days, but it has become more beautiful, younger,
and more charming. Yes, singing, acting, and appearance —
miraculous to say — have become more charming and moro
beautiful. If over there was an opportunity of admiring the
triumph of art over nature it was certainly on this occasion.
An artist placed so high by her genius and her maatria can
only receive from our great admiratiou the praise of equalling
the Greek sculptor. In fact, she ennobles and renders divine
the features even of the Fates and the Gorgon. It is thus she
has created, by the genius ot her art, the most admirable Rosina
we ever saw ; a Rosina who would have aroused the painter
Zenxis fron the death inflicted by his Heculra."
With reference to Xorma, tho same journal goes on to say : —
" Scarcely had we heard the 'Casta Diva,' before we recognised
the greatest, tho most complete, and tho must glorious of Mad.
Pauline Viardot's creations. Not one of tho other Normas we
ever heard rose to such grandeur in her acting, or such
maMtria in her singing ; not Grisi, who did not possess tho same
amount of dramatic genius ; nor Jenny Lind, who appeared not to
understand that this priestess of the moon could become a terrible
Hecate. Jenny Lind had but one kind of passiou, that of a
smiling girl's song. Grisi's and Jenny Lind's Norma melted
down into one would not reach the level of Mad. Viardot's
Norma. She alone impatts to the character the consecration of
tragedy — she alone sings like a druidess, and exhales the spirit
of hatred and vengeance felt by hor pcoplo against Rome, their
oppressor ." — (Translated from " Die Zeit" of Feb. 20M.)
LOWE'S NEW LANCER QUADRILLES upon popular
Eu.llsh air*. Pric* 3a. Palersoii and Son*. Edinburgh and Uim^ow,
London, All miudceellcre.
HAMILTON'S .MODERN INSTRUCTIONS FOR
THE PIANOFORTE Revised. cnUtved, Improved and fins' red by
Charles Ciemy ll 7Mh edition), printed from large folio j bites, fli iwgea, price 4a.
H May bo receaum*nd*d, in abort, iis.no ol i lie moat compute clrrncniary com-
bination* of haei.llo.-k. grammar, and guide over tinwut"! to the student."—
Vide WiiHt, March 3rd. 184%. London : Robert Oik. an I Co.. New Bur l..«t«ti-
atwet. N.B.-All Uairdlb n'l ataiKtard cbrncntary wnrke we published L,y lid.
firm.
KINGSBURY ON THE VOICE — Just Published,
"THE VOICE AND THK 81RUCTURF. AND MANAGEMENT OF
THE VOCAL OR^AN." By Frederick Kingsbury. With numerous Excret**.
Pep 4 to., 4a. "Tbu novel work will bo found extremely useful to Tocahata."
w.
VINCENT WALLACE'S NEWEST PIANO-
br! laute,
my night
la gatherii.g ' >"'. and tlie liiu o' Gowrle, Ha. ; Auld li«btu Gray, iil Tim bo..tl*
rows, S* ; llotuo, ewoot u.'tnv, 3a.
FORTE PIECES.— Fantaau, on Roy"* wife, and We're nuddiu '.
I .'A tHM-i.cc, roDiai.ee. Sa ; Lc Retour, i'olka I
OaJop brillant de (Won, 3«
S*. ; Kin'uch of Kiuloc", and 1
m o'er jr-jung lc marry yet, 3a. ; The
V Cowrie, Sa. ; Auld lb.blu Oray.
.ARANK
ROMER'S LAST SONG'S, "Dear Mary,
,t*r£ "My Fairy Bride;- and "La»t night I woke from
DINNA
by AN!
Written and Composed
NE FRICKER, eompearrof "• Failing away," 4c. 2a .M,
BRINLEY RICHARDS' LATEST PIANOFORTE
MUSIC — Net cor ptti n<in in. aento, with variationa, sa ; The- Ni
;« at eve, s» ; Tbc Echo
c.p. 04. Sa.; The Fare* ell.
id CO..
VICTORIA and tie
to (heir MAJESTIES
P0LE0N III.
\
BALFE'S
NEW UNIVERSAL SINGING METHOD,
WITHOUT TUE USB OF BOLFKOOI.
BOOSEY AND BONIV MUSICAL LIBRARY, Z4 * is,
ROSSINI'S CHARITY," arranged for the Pianoforte by
KvrdOMUiD, 3s. Ikxmy _nd H-.oa, IMles-strcet.
"rpHE DRIPPING WELL" h' Mr- Gollmick, performed
JL recently by tin. ..utlior at the R4mlon dts Aits, and raptur.*ialy
CO cored. " Tl.u la oue of ti o most elegant and p pular of Mr. OolUaMk'e oor*.
|D*itii'n»." Price Us. B . vj and fttms, iS, Uel es street.
RS. PRATT EN'S PERFECTED FLUTES on the
• old ayst-m of fingering with Urge or small holes, are no* made with
German Sil.er Keys at 4 kumr-w, and with ateihug silver Keys from S
gnlncie each, con plcto in Coats, Ac. Bury l<«U>i.m»t U loetod by Mr.
>»l ae«Hi.|suiled by a certificate fr m th.it unrivalled aniat.
IT
VEW WORK FOR FLUTE AND PIANO BY
i\ R. 8. FRATIEN — In 24 numbers. |»icc fa* Snllling each. R 8 Prat ten '<
Reer*atl..u§ for Unto and Piano. Q ntents I L Robert, b i que j'uune, Robert le
lll.Ue. 2, g.i .l.d Je qlii'tais. ditto. 3. K*Ml Slgu-r. llugi.oiista. 4, N.. case
enu.il, ditto, i, Va penaicru, Nubuce-o. 6. Eruuiil luvuUmi. Eruaul. T, Tut to a
eprosse. ditto. S. La mia letiiin, Lombardi », La d .nna e mobUe RUjnletto
lu. K il s I dd.' aniraa, ditto II. QdsSU t quella. ditto IS, Bdl* ftglls. ditto.
13. Introduction and Galop Hi.olc'.t... dnlo U, Miaerere— All ! cbe U m' tte,
Tr..vatore 15. II b.den i!«i su.v ditto 1(1. St la aUnclseais, dilt ■. 17, eter.i.
ee amlee. Lea Vf p>c* Sicillnrilifa. IS. Ami, le eflrur d'Uelea*.r4itto 1», Jeer
o. 20. LibUmo, Bnudisl. Tra^iatL il. P..rlKi. o oara, ditto. Si, Ot
I... T3, All. furs' * Kit, ditto 24, Sempre libera, dit:o. Booecy and
vree-o, dlito
evens*, dtt
ua, IloUee-atreot.
BLAIR'S GOUT AND RHEUMATIC PILLS. — Price
la. Ifd, and 2a. Dd. per b>.x. Thie prepaiajtion la one of the br&eflt* which
the aciuuew or m«detu eho.t.istry l.as couf. rrwl upon mauaiud; lor during the
first twenty years i.f the presei.t ccut' ry b. srio.ik e<f a cure f-r the G"Ut we*
i-ontMered » r m-im-e : but now the etfi uey and a»fo y of this medicine I* so ftilly
dimoi>«tr»'e.l by uiim.II. red t.stlu oulals from pvreeH.s la every rank In llle, that
public opinion proclaims this as oue of tbc nice important di ouvenee of the
present age. Thcac pi la rcqu.re neither attenll n nor coufinetrsent, and are
certain to prevent the dl*>*ec from atbakln.- any vital part.
Strand, Loudon
I by Prunt and liaraant, ir
and all
FREDERICK DENT,
fftasfr of tlit (SttJt Cloth for thf JJousrs of {SarliamrBt,
And eo!e 8ucce*mr to E. J. Dcmt in all Lis patent right* and busfueae at
61, Strand, and 34 Stid 36, Koval Exchange, and the Clock and Cetn-
paaa FacU.ry at Sometstt Wlurf, LhrvtiutneUt, Wiileh, and Clock Maker to the
Queen and Pnuec Consort.
Ladies' Cold Watches
Gentlemen's -
8trong : tlvcr Lever Watches
8 Guineas.
- 10 „
- 6 „
PERSONAL GRACES.
Tho Countenance la rendered ad litkioallv pleaaing by the well-arranged carl, the
braided plait, or tlie flowing trc-a, lu dre-alng ti« hair, notluiaj can equal the
effect of
ROWLANDS' MACASSAR Otts.
Rendering it so admirably ecft ti.at it will lie In any directtjo. I
flowing curia, and by the truuscvn.iant 1. atrv it iu.pe.tt*. icudcnug- the ]
truly cnL'haut'r^.
ROWLAND 8' RALYDOR
I* a preparation of un paral'dod cflicifiuy in m.j nvin? nnd beautifying the akin
and ii.niplexU.ti, i^raerving them from every vidasliude of the weather, aad
completely eradicating all CuUneoua Erup'ions, Freckle*, and Diecotoratlona, nod
ROWLANDS' ODONTO,
OR, PEARL DENTIFRICE.
Is alike invaluable fur its beautifying ai d pre*enattvo effect* cn tl e teeth and |
CAUTION — Tho wmppcr 0* label of enel. bears the
prive-lnw that ol tho artlel.
Sold by A. ROWLAND * SONS, BO, Hat ton
and by Chemist* and "
• s
name of • ROWLAKI*'
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March 6, 1858.]
THE .MUSICAL WORLD.
159
MMYoiumo. haudoOT
iwl In
I gold, prtoc Ta. M.
MENDELSSOHN'S
SONGS WITHOUT WORDS.
rj : ] KB 1, V
J. W. DAVISON,
WitA Portrait ly Joint Lynch, and preface by the Editor.
From i 'THE DAILT HEWS,"
"This eheip, cocnpiist, ai.d n'oat elegant edition of the thirty-six famous
"Licler ohoo worto,' will be welcomed »» .» boon by etery )or<r of Mendelssohn,
not •icrjitiiig such as already (>-M thee ■ cnquisito pieces o« tliey have been
s!nsd> published: for ^ Independently of the bcautjr of tbo volume, aud the
c «jrun» and accirracy of the V. xt. It hie the further
" editor, which every oin- '
From "THE SPECTATOR."
"They are edited with giv>t care ami cornel now, by an *
u.l critic, who ha* enriched the collection with an able and
muskian
"Kr.J.W.
From "THE ILLUSTRATED TIKES."
hu studied Mendelssohn deeply aud lovingly. A Tury
i hie pen, accumpauii 8 114.
BOOSE Y AND SONS' MUSICAL I.I 1 lit. Ml V, ii * 28, noLLES-bTHEET.
JuM Published.
A GRAND
SELECTION FROM IL TROVATORE,
AlUtANGKU TOR
LARGE AND SMALL ORCHESTRA
(WITH SOLOS At) UK)
ANTONY LAMOTTE.
success at the Adelaide Gallery,
orchestra ; and 4a. for septet t.
^ VJI Trovalore will bo followed by La Trariata and
To, for
BOOSEY AND SONS' MUSICAL LIBRABT. 24 aud 28,
THE QUEEN'S STATE BALL.
Dance* were performed by WEIPPERTS BAND on the above-
occasion : —
1.— LAMOTTET4 TltAVlATA OAI.OP.
2 — D'ALBERT'S LINDA QUADRILLE.
3. — LAURENT'S MAUD VALSE.
4. — GUNGL'S PETERHOF VALSE.
aro published for l>uuvo and orcbeaira by BOOSEY AND SONS,
24 and 28, lloUoa-ntrwt, Ixindon.
NEW MUSIC FOR HARP AND PIANO.
SIX GEMS
run*
"VERDI'S OPERAS,
AKR1SUD) rOK
HARP AND PIANO
av
JOHN THOMAS.
L— THE MISER ERE. and TU VKDRAI CHE AMORE (Trovatoro) ., 4
2.— II. 1ULKM DEL SCO SOItniHO; and Dl TALK AMUR (Trovatore) 4
».— 81. LA STANCHKZZt M' OPPRIME (TWat/vre) 4
i. — D' AMOR SULL' ALI ROSEE, aod 1>I QUELL* FIKA (Trovatore). . 4
5. -TJN 1)1. SE UKN RAMMENTOMI. QUARTETT (Riitolctto) .. ..4
6. — LA SICILIENNB, BOLERO (l<a Veprca rMciHenne.) 4
MESSRS. DUNCAN DAVISON and CO.
HATE PrVLlSHXP
THE FOLLOWING NEW VOCAL COMPOSITIONS
OF
MEYERBEER:
Tkt EnglM rtrtitm 0/ On u«rrf< u by Jons OxiNroan, Esq.
a. 4.
THE LORD'S PRAYER, for four volcca (sopnuio, alto, tenor, and baaa)
with English and Latin text, orj;an nd lib SO
" En r y lover of niuaic will, we are sure, feel furious to know thla interesting
work. It la written for four ordinary rolcca (soprani, alti tenori, and boiail to be
sal..' without accompaniment. An organ part has, howoTer. berrj added, "to be
used when the v..i«» have a Uiutcucy to lo« er. ' The melody, as It proper in ma-
i«j-.itious of th'« nature, is slnipl — yet It !« so elegantly harnwiisod that tl.o
inb rot never flags for a ruimeut, ana the m .notour and coldness so olWocon-
plaliud of In relLtiou* mmu. without accompaniment, arc entirely avoided
"WcJ'i not p member any »ork of a aiuiilar km I. in which tlio tnodubitloua
are more beautiful than in this composition of M. Mcrerbrer. The cnrre« oi the
parts In ItoSunmi. which occurs towards the middle of the Prayer, could not l.are
bef^n effected in a more masterly manner ; Indeed, throughout the piece the baud
of a consummate harmonist, and a composer who has studied every resource ot
.. d.
hartnonist,
bis art, Ii visible.
"M Meyerbeer's aetiingof the " Lord's Praver" has already been sung by the
cliolrof the Bencher's ObapA Lincoln's Inn. (xmdon, under the able dlrectiou of
Mr. J. Piltmsn ; aud it will, no doubt, bo adotfted, as it dia-rvea to be, by all the
principal metropolitan and prorincial clioira."— iiirrywl Stall.
THIS HOUSE TO LOVB 18 HOLY K Adl<u a>ix Joune» martesX Stmole
for dvbt voicea, (S ao|>ruuoa, S cuntrsltoa, 2 tenor*, and 2 '
without accompaniment .. .. .. .. .. ..
NEAR TO THEE (Prfa -l« t.d). for voloe. i lano, and violoncello
HERE HEREON THE MOUNTAIN RECL1NINU (Le chout du Bergerl,
for voioe, pinno, aud clarinet, or harmonium
N.B. — The shore two songs, with French and Oermon words, each
4».. as wull aa the 00 lection, in 8ro forrn. of Meyerbeer'*
"Quarair.e MiI:oilius a una et a pluaieura toIx." with piano
wo-, panlnunt, tSe., maybe obtained of Messrs. D. Davitox
ASM OO.
NEW VOCAL MUSIC.
4 0
" IsCUd by Adolfo Ferrari
f.irewcll,'1 dltbi
e ditto
chamber trio, for soprano,
d'ttci.- and .ing," for ditto
" I LOVB THE OAK,
"Sweet day. of youth
" Vionl, rit nl," aerenai
"Come, f sines, come.'
" Come, waters, let us
"The formation and cultlra'lon of the 1
" Quick arise, maiden mine," Air S'yrieu, by J.
" When I was young." by Ernest Bruce
" Wbeu first you shone before me. " ditto ..
THE TWO SMILES," for a ooutnlto roioe. by O. A Maoraajuw .
Davimin..
•THE COQUETTE," for a coii'ralb> roice, by J. W. Dav
•AT EARLY DAYS DAWNINO." by 8. Uuernos ..
»IW Tl, DOMINE, SPKRAVI." anthem for roloe. and t
I organ, by ditto ..
In tht Pr*$t.
"TO-MORROW," ballad for rolce and piano, by Charles J. Hargttt
VOICE PIANO, AND VIOLIN OR FLUTE.
"MOURNFULLY, SING MOURNTCLLY," by 0. CruwelL Op. SI .. I I
VOICE, PIANO, AND VIOLONCELLO OR VIOLA.
" WHERE IS THE SEA," by G. Cruwell, Op. 33 SO
VOICE, PIANO, AND HORN OR VIOLONCELLO.
" by E. Virier .. „
8 0
NEW PIANOFORTE MUSIC.
"CLARICE," Morceau de Concert, (played by Mis* Arabella Ooddard)
A HUMMER'S DAY." Romance, by Eugeae Moulot
" EL1SK." Homance Ian elecant teaching picccl Iry E. A. Oomiou . .
TRIUMrnAL MARCn, "T>y M ochclc*
In the I'rets.
THREE LIEDER OnNE WORTE for Oie i-lano. by C.J. Hargitt.
COMPOSITIONS FOR THE IPIANO BY THE HON. MH8. OREVILLE.
«. d.
"GRAND MARCH," Dedicated to H UH. the Duke uf Cambridge.. ..5 0
" LA COHTANZA," Notturno. dedicated to the Rij;ht Hon. Lady de Roa .. 4 0
" L'AMICIZIA." Notturno, dodbatcd b> the Hon. Mrs. Edmund Phippe ..SO
"LR BIEN VENU," Watt/, dedicated to Mr*. FraueiR Porteacue .. ..SO
"QUADRIGLE." dedicated to the Right Hon. Lady William Herrcy .. 3 0
LONDON:
DUNCAN DAVISON 4 CO.
(DBP6T OESfellaL Dl LA MAISOK BBANDTM, DE PABIS).
Ui, REGENT-STREET, OORNKIl OF LITTLE ,
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160
THE MUSICAL WORLD.
r
[March 6, 1858.
NEW PIANOFORTE WORKS.
BRINLEY RICHARDS.
BEINLEY RICHARDS' PIANOFORTE TUTOR.
PRICE it.
The best, tlio newest, «nd cheapest of all init ruction books, containing 60 p*ges_of I
, ond a prcat variety of tho most popular themes as proeressh
■k; also to
BRINLEY RICHARDS* NEW SET OF SHORT PRELUDES.
PRICE 3s.
Intended as introductions to any pieces; expressly written for amateurs ; and to the
NEW OCTAVE STUDIES.
PRICE 8s. 6d.
By the same popular Composer.
RICHARDS' Edition of Cserny's Etudes de In Veloritc, preceded by new exercises, and a new study on the octaves, composed expressly s. <L
for tbis edition by Hriuley Richards ... ... ... ... ... ... ... 10 6
Or in two Parts, each 6s.
Edition of Cierny's 101 preparatory Studies with additional finger exercise, and other studies written expressly for this
edition by llrinley Kichurds ... ... ,,, ... ... ,,, ... ... 8 0
Or in two Ports, each U.
„ "JuaniU," popular song by the Hon. Mrs. Norton, arranged for the pianoforte ... ... • ... ... 2 6
^Annie," Marker's popular ballad, arranged for tho p
• « on airs from •• Les Huguenots." (Just published)
G. A. OSBORNE.
.. d.
OSllORNE'S " Ireland," fantasia on favourite Irish airs ... 3 6
" Scotland," fantasia ou favourite Scotch airs ... 3 0
"II I'irata," fantahia s.loor duet 8 0
N.U.— In the press, " Franco and England."
M
OSUOKNE'8 "Sol
(. d.
3 0
3 0
ALBERT LINDAHL.
LINDAHL. Indis, a lament for the
,. Le chant du captif,
s. d.
2 0 | LINDAHL.
2 6
s. d.
8 6
3 O
T. A. NATJMANN.
NAUMANN'S La ]
Wo re «' i
Comin' thro' the ryo
s. d.
3 0
3 0
2 6
NAUMANN'S The Mill
„ La Bergerc
Now Ready,
D' ALBERT'S ALBUM FOR 1858, 21s.
D'ALBERT'S TROVATORE WALTZES (just published), 4s.
D'ALBERT'S ESPAGNOLE WALTZES, 4s.
D'ALBERTS SIBYL WALTZES, 4s.
D'ALBERTS MARINO FALIERO QUADRILLE, 3s.
D'ALBERT'S LE BONHEUfi POLKA MAZURKA, 3s.
CHAPPELL AND CO., 50, NEW BOND STREET.
s. d.
3 6
3 6
Pub.11.L~1 t.y J„H» Ito^cr. i-rC»Ml«bur hKL in tl.« rarisb 01 Kaljnjr. in tho 0>a»tv of MUM cssx. at tho offic* ol BoosiY A Boss. 28, Hollss-ttrset. fold aim by
• ■,0""-"t"- -t. Or.nt P. rtUnd-ntrest ; AtU*. ^ontic\i-\*n« ; ViCXKKS llolyucll stmt ; Ktnn, Tnav.tr, and Co.. 4S, Clic*i«dd-; G. Sr iii-uiim an
mborn-bius.
I t IixIab.1. H. flu
Jullx ttutrillbn. Ntwip.U-ittict; r.iuir May, II, II. .,1
su, rhibU., : Mid all MtuTc-Kllon.
Hod by Wiluak Hrcsci
Sstiir.Uy. March 0, 1IM.
Pr.u'od by Willi a* Hracui Joa.'sos. "Mam SteW Press,' w. St. MsrUnVlane. In tbe Parish of St.
.CApmd'
Ansnu for Sax land, I'atlmos & bo**, BaiQbuixh oud Glasgow ;
■m-ths-Pislds, in ths CWj ol
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WOBTH Of ABT APPEARS MOST BM1XSXT I* M: .-1..', SINCE IT llxqCIJtIa NO MATERIAL, ICO BrBJICI-MATTSR, WHOSE ' J u
:— Stamped for Postage, 20s. per annum— Payable in advance, by
to BOOSEY & SONS, 28, Holies Street, Cavendish Square
VOL. 36.— No. 11.
SATURDAY, MARCH 13, 1858.
i PRICE 4d.
1 STAMPED Si.
THE BROUSIL FAMILY, being on a Professional Tour
in the pro.lnoee, rvqueet thai nil tetters aud communications should be
i tL. rani of Soki. Bchott and '
stic-.l. W.
Co., Music-sellers, IS!), Regent-
WANTED, as CLERK in a Music Warehouse, a young
irmi who I as a Ktneni knowledge ol tho business, — Reference* romilred.
Address — stating taring, Ac. Hwin. Hail A Sou. Music-sellers. Cheltenham.
w
ANTED. — A second-hand C C finger organ, suitable
(or * country church, acoomniodat tag 400 por>oua, The .ualrument must
□ perfect condition, with *a proper airwugrtneiit of stop*. Ac. FedaU will be
* — AddraM, etating lowcrt price and full porticnUn, to Mr Tbu*. Drew,
CONCERT AGENCY, Ac. — MR. VAN PRAAG
tend-rs l>l» thinks to hs» pniron* Mid Men i» fur th- liberal encouragement
he has for bo many years reosW"l, and begs to inform thorn be still continue' the
management of concert*, maliuean, wire*". Ac, Stc— All communication!
aul.lreaaed to him, at Mr. BreUcll's, !i, Ruper. street, Hai market, will be duly
attended to.
CONCERT SEASON, 1858. — NOTICE — C. M. SHEE
V ) ri-3|nvtf'i ly iniluiatce *<► tho Musical Piu(«Mloti tit fit hu Iim removed to
2. Beak-Birc«!(. iWfrenl-wtrcot- where he continues the ainuigutnctit ol concert*
CP* bile or private) at bis ueual moderate cbargca.
ryO PROFESSORS OF SINGING. — A young lady, with
good soprano rotoo, who roads anuria at tight, and baa had much practice,
Instiuctionforthc
C. C, Mr.
u. upon tbe prtnei la of parme >t by nor
iocicr, 43f C^anuoii -etrpcLs iit. lim i^i. e Vjk&it
SIONORA FIJMAGALLI, SIGNOR DI GIOROI,
and MR. CHARLES BR API AM fCouduetor. Slgo.T Vlaocal). Ail situa-
tions for tbe i rv v'.in'c >, or tbe metropolis, to be addressed to Mr. Cnarles Branaro,
Manager.
M
R ALBERT SMITH'S MONT BLANC, Naple*,
Pompeii, and Vesueioi every night (except 8atuT>lav ) at S ; and Tuseduy,
ay. and Sa-urdny afternoons at 3. Place* oao be nenred at the Bux-offlce,
.--...n -mi- between u .~< a _i.t.o.„ — ~ ek ™
MISS ARABELLA GOD D ARB'S
moopii snuBfl or rx&raiuiAi*cn or
CLASSICAL PIANOFORTE MUSIC
WILL TAKI rLACS AT
WILLI8'S ROOMS, KINO 8TBBET, ST. JAMES'S,
o» tux xyxxuhm or
WEDKE8DAY8, APH1L 14, 28. AUD MAT i».
In the oourxe of tbe sorioa, Mlas Ooddard will hare the honour of playing, nmong
other comipf sltSons of the moat celebrated masters :—
Tbe Sonata iu A, Op. lol ; and the 0 rand Sonata IqBPlat, Op. lotSof Bxrraovn,
Weber's Sonata in B Minor.
Mendelssohn's SouaU In K Msjor. Hummel's 8ooaU In D, Op. 10S.
Woxtri-a N« Plot Ultba. and
J. 8. Bach's Fa stasia CaoaUTica coir Focu.
DsBsstsi
DUIIH'I PLUS ULTRA,
urs
y CJfl A 8CHEEZAJTD0, and FUGUE IN A MIHOB OF J. 8. BACH
Will be repeated.
47.
Full particulars will be shortly annouuond.
Subscription Tle.keU (or the !<«ries, Onu guiucs ; Reserrtd Scat* for a .Ingle con-
• only of Mia* Ooildard, at her residence
10.. od. ; Um
reaerriKi. 7*.— to be hod <
t, CaTTOdlsh-aqnai
11
MISS JULIA ST. GEORGES SONGS.— Sung by
in " Home and Foreign Lynca." The most sttraetire euterb '
the day— ride public preei. The i> bole of the rooaM; by J. F. Ihiggau.
and Co, t* Albaiiy-streeu K. W , awl all Music-sellers.
her
of
M
lion, II.
cbaiiio »t
It AND MRS. GERMAN REED (l»te Miss P.
Uort-'D) will rr pe«t (heir Ed urtein merit at tho Royal Oa'lrry oj I iluaLra-
Bogrut-Ktreet, every ■ v--i,ne*, * ■%• cj ■ SMurday, »t CtyhL Saturday
the oSSttyW/A^Sfrr**
wn*nnjoin ik uio iwyai u^'ir
MR. BKINLEY RICHARDS' SECOND CONCERT
OP CLA6.MCAI. PIANOFORTE HUSIC wilt i
EtiuSok, MlixIi U, nn tahlcU occaaion ARABELLA I
a rielufle and FugrM by Bacli. and, with llr. BrinUy
Duct, Op. 01— r.irticulara will be duly ani.ouncod,
BEETHOVEN AND HIS COMPOSITIONS.— MR.
CHARLES KALAVAN will deUrer bis new COXCERT-LECTURB
residence. So. Bsker-street, "
w ill deUrer his new COKCERT-LECTURE at bia own
Portmau sq.iarp. un Mondsr aftcin.<io, Mareli TSnd.
P,an«.fmte. llr SaUman ; V|n In. Herr Daclmann ;
■enlist, Mia- KIiia Huglw*. A limited number of
diatinjniialiod
MISS ARABELLA OODDARD,
Pianist, has beau lecmtly playing with wonderful succasa Welier'a Sonata
la C. and Clenituil's ftvuata, Drlone Ahbandonata. both >el»ctad from TUB
CLASSICAL PIANIST, edited by BltlM.i: V RICHARDS, and and at tbe RV-yal
Academy of music, in 21 nooks, from '.'s.frt. to 7s. each ; or In 3 rols.. each ImkusO,
24s. Alio, edited by the some, and uawl by Hie Academy, THE STUDENTS
I'RACTIt'E, 24 books, trom Is, to 4s. each ; or In onu roL, bound, 2t«. — Loudoa :
Published by ROBERT COCKS and CO.. New BnrU>igto>.-st<ect, W.
.1 A M KS'ti
II. 1 v>
HALL INAUGURATION.— The opon-
II >k . ekbi-atod by TWO ORAM) MUSICAL 1'BHFORM-
Funia of ihL MIDIJI.RSE2 IIOSPITAU uu Tliur^day
nn Saturday evening the 27th March, ISM. under
M>»t Crarknis M.ijisfy the Queen, His Royal High
G., H UH. the Pncha-aof Kent, H H H. ti>« l>u hesa
Duke of rsmbiliUie. K O , U R.H. the Princese Mary
II.-
log of '
ANCES, In aid of thi
CTcning, th'1 2ith Maid.,
UieSpeciAl P,llr .nageoI
naas tbe Priure Otnaort.
of Csmbridge. U llll.it
of Ombndge. and also His Utacs; the Duke of Northumberland, K O., the Preai
dent of the all. Id isex Hospital The rull jwng dutiugnianad artMis bare bc-en
riurased for t!>* .vcavinn :— M.Klarrw R.id»-rsdorO MaoVms Weiss. Mlas Stabhacb.
M.Unc Sherriugitm LenimeiKa Mndauir Burrbardt. Mlas Dolby, and Mlas Am-
ballaOoldir i ; Agnnr LncboaL Mr Montom Smith, Mr Lockey, Mr Weiss, air
■lassVay, Mr. Tb.ru**. Herr Deck. Slgmw PusitL Herr Molique, Mr llenedi^t. aud
the Vocal AssoaeMun (.-onsistmg 3'KI Votoes). Pnsrran me for Tlmr-dsvy,
Mircb 2 lh. Parti.— 'Tl.e National Anthem llvmn o: ]'raise. 'Meuileua>.hn.
P^rt ll.-Cotonstlm; Ai.theto. "The Kli.g ►hall rejosoa," Handel; Oaotata. ' Ood,
thou art gr> at." Snobr ; Tria, "Ifcuodlotus." Cl.nnblnl . Solo aud Cbot ua, "I C4uli
Imm.nsi uarrauo," M .reallo ; Mo'.tt, "A»o Vorum." Moiart ; Fli.al Chorus.
" llaUclujah " (The Mount of OlieeaX Beetboren Pmgran.mc for SaUiHay.
Manh 27tb Part I —O tenure (LoonuraX IleetboToo : Quanrtt, - Over the dark
(Oboron* C. M. von Weber. Ari», "In i»-«n heilgen Halleu (Zau
I art-Soog fur BUht Voicsst, "This bouse to lo*e U holy » (nrst
~ nt lea defiles de« riuii.ugnea'-CI^a
ex. nsMioforl*. C M rsii WeUr;
Itsbop; U.s Music to Sbakspero's Mid-
r. Albert Bn —
tin e of pcrfermancstl, Mej. rbeer ,
DUm:.nis de la Oairomie), Auber; ,
Part-Sons;. "Sleeo. Keotloladv,"8lr .
summer Night's Dream. Met d. lasohn.
to in 10-luee a sunt; l» twee-j the pans
(^tartott un I Chorus, " AUiim rll oytiti
"The Spitit'aSo. g, - Hsyrir. : ftnlo. v ol
Or.»tl. g ;" Song, will. Burlan. " Beautiful
Part-rV)n|T Inr Ma!« Vooits, "The Thr»- Vi
labaJU
aswompsnlm. t
di Figaro). Mi
Coronation M
ditctor, Mr. Bi
Prlo a of Tl.
An-a and B.d
Fire abtntngi
Mosara Cr.as
street; Mitch.
48, Clieapsi lv
.h (Ia, Pt..|
i edict.
;eis for sssc!
my. Haifa
\jpi*r 0
, llani.-, ar
I's H 1
" cm tbe
Mr All> rt Smith I ss meat klf. 'ly cnVrcd
Ptu-. Il.-l'estl.al OvtrUra. Benedict;
( K-irvatitli- A <.', M. von Wels-r ; Cini.^uct,
■ncello, Finlti ; llecjfAlire, "T?ie Quean's
May (May Day! O. A Msefamm ;
cca,** Hiinliiaa National Air; D"e*.
(Brtly. Donbetu; Fju. nugo, *iolta. with or i»estrsj
r.f j» rf in,.vn I IX I ajh Duet. "Bull' r. ia*(Noaa«
1 .ii. a r.. .:i.. r '"T^dirt.p.'VHtranfierl, Mi:i. lelssohAs
eteX Mevorbeer. OiffciiW Mr. Iluarj Ss.art.' Colt-
1
ert : — Area stalls One Guinea ; Uuserrod Ssflt*.
a; Cnrawi sad Seata in tbe Arcs »oaV Itilrvae,
Half-n-C. own Tl> keta may be Iti tsdiWl'^it
Rccr^n*. str>.tt ; Meaara Oiaijieil't, ^rfsHf^sX^
, SS, Old Uoirf street , MesataOir^tKw^fr
tary at the Hospital, and »t yi
iTjitjig
Piooadllly. Doors u H i e opened it Half j sat Se< cu o'olock. a&l t*e
at Isl^ril o c ock. m J
SB-1
go
162
THE MUSICAL WORLD.
[March 13, 1858.
ROMSET ABBEY CHURCH.— The Oroa.v Committee
of Soman Abbey Church are dcetroua to ni» lot an OROAN1BT ei ■»
eand ila'ee for the offloo are ren,u***ed to scud applicntlone, eoeompaidcd with
taetimouiala, ai»d staling tli« urma pet >nnui at «Uccn tba dutiee will li«
undertaken. tr> Robert O Liueeo, Baq , Jinn vim, Romecy, ou or before the 80th
of Marrh ju.tant.
The ilut ee of t><e organlat will bo to play at three ernieee on 8iind»ye, and to
the choir all ncce-airy Imtructlon for the efficient performance of the
choral'
i .n • now In riroceai of erection, nnd will contain 57 Bounding a|
nale eul p*lal It »n; ho oomplotcd and opened about Whltaunl
Tba oik id Hi now In
two maui
ttopa on
de.
SCARBOROUGH 8PA SALOON PROMENADE —
Tha Cliff Brdge Company are prepared to r» cxItc trndera for the aupply of
an ettcteut Han > for ihe Hps promnada, during the nomine" *« a in.
Tl>a oaw M Ball, from de-tgne by Sir J wepti Pax > on, MP, la eatlmaled tn
eonUin about J, 000 people, and baa oroheatral aoo immolatUiu for about, to ym-
form ere.
Tli. Up i grout>do aad Muala Hall commend a hatidaome carriage approach, SO
faai wide, at all hour, of tba tide
Teronanti which the t* Dd* re >'ltl be ac'epicd, may bo had ret application br
letter to II* Secretary, to whom etalod tende-a moat ha aenl on or before tha
3 let Inetanl (By Order) R WARD, Secretary.
THE VOCAL ASSOCIATION, ST. JAMES'S HALL.
Conductor, M Benedict. Tha Vocal A'eodatioa of 3O0 roleea wil (tea a
Sariee of SIX QfUXD BL'B-CBIrTlQX CON' EKTS. Vocal au-l Iiietrumental.
at the St Jameo'a OalL SuhecTiptlon tn ti e Srriea— Oureeerred Seata, all la.:
Rea-reed Seata, £1 ?•. : K.fa Staila In Area. Stn.le Ticke'a, at 3 9a. ; Double
Tuxote, 4 4 4> Sulecrip >ra>a rreeifad at Cramer aad Co, Ml, Regont-atrect ;
Leader and Coc'< 6J New Bud-atraC ; Cbappeli and Co.. M, New boiidolnrcl ;
B. W Ohirler. it Old Boi.d-atrect ; Keltl , Piaw-e, aud f>„ 48, Cheapeide, and
Mr. Mltchelle Royal Uhr-ry, :>«. Old Bond-rtreet Tha fleet parf nnmoo will
take plane on W.diceday eeanios, April 7th, on which occaeiou the band rnd
cboruo united will number 400 performera.
PHEAP MUSIC. — The Verdi Album (112 page.), 6s.
\J Mendoleaohn '« Songa olthout Worda, edited by J. V. Darleon(101 pageal.
Ta ad , cloth and gold. Lauretta Album ol Dance Muatc (7* puge-X *»• 11
Tr*ie*tora and la Travlata, ootnplete iur the pianoforte, fie. each, iu cloth 100
dance for tba »icJm, la, Caere o 100 melodic* f r o-ucertiua. la. Booeey'e
comrdete opera* for rlo'la, la ewh. Balfaa new alnging rnctliod (44 pea oat, la.
CONCERTINA CLASSES. — The increasing popularity
of tba <•' nwrthia Indoeee Mr. Caae to project a aeriaa of CLASS MEET-
1N9S. fur tha |i»rpoee of Imparting iDatnicuon la tola instrument to person*
atiarquAlnled with cnuale, and alan aa a mean* of eupplyingr agTecab'c part'
pra. tioa to thoee alrwidy aorne* hat adraoced- Mr Ciae prupcaaa to hold a o*'aaa
far ladlra In the afttrnmn. aad one for nemlni'au Id tha eeenioa, the 'anna to
each to be flx«d at rack a rata aa will admit of all pereone joining them. Mr.
Caaw 'met* lb it a permanent courae ■ T luatructlon, at a moderate co-t, ear atl be the
anaana of randering he Co otrtina atill more fvara ly popolar, f at tig aaatired
that lie man} peculiar advantaf a orar other in-trumenta will uliimately gain it
the | reference with all amaieute anxn>ua to eac*l in mualc with aa little trouble
PIANOFORTES.— DEWRANCE'S COMPENSATING
PIANO may now be aeon ut tba depot, SS. Soho-ammro. By the application
of thla pilnotple a haaeter alnnir aan be need, tha raault of which ia, that tha full
power of a grand ia obtain, d from a cottage inotrumenr. at the aema time ttie
wiree and the frame on whicli tKey era ettui>§ expand m n contract with change
of temperature equally and together, ao that the neeeoetty for frequent tunine;, aa
In tha ordinary inetrument, la entirely ubriated lor fnhieaa od ruDdneae of
, at"la^.m^ttny.^.eprioaf|.n,B<o,
SIGNOR FERRARI'S NEW WORK on the CUL-
TIVATION of tba VOICE aod SINGING la no« pubiiahad, prloa Sa . and
mar bo had at hia ra-i once. Ilemi-hita Lodge. PirtUnd r ad, rortland-plaoe,
and at all the principal mualc aolla>a "Of all tbo tieatiaoa on the culueaton
Of tha eotce 'bat bare apt«a>e I for many year.. It la the moat aaneible, couciae.
aud useful "— L'l
nee In thie «ork than »e find in
nlneo t of tan pubUcatiooa of a (imilar Vmd."— Atletuaum. 1 Forma a hind
EW WORK FOR
R. 8. PRAT1EN — In 14 H
■ far r luta and Ptano. OmteaU ■ 1.
», Qu-Bd Ja qni'taka ditto, t. N-Lil aig».
t. Va penalere, l» -hucco. it Eruai i int
FLUTE AND PIANO BY
eh. R ft. Praiten't
. 11 qua J aime, Roberi la
i-r. HugnefMta. 4. No eaao
irolam.. Kmanl 7. Tmto e
S. La mia letiaia, Lnmhardl ». la d'-nna a mobile, Risolctt..
10, Ell a I del 'anlma, ditto 11. Qu.lU o qoalla, ditto 1J, Bella Aglia. ditto.
It, Inlreetarttea and Oal»|i Rnrolettn. di to It. Mioerere -Ah! oh* It morte,
T- '.tore It, II baleu del auo, ditto. Id rU la aUi<cheac<, dltt . 17. Mrrct,
Jawoea ami. a Lea Ven'ea hVcUl^nnea. 18, Ami, le eeeur d'H4 aiie ditto 10, Jour
d'ieroe-*, tilt to. iO. Libtamo Brludiet. Tra.Uta. Jl. P.rtgi. o eara. ditto, ft, PI
IMn ,<«Hto, ta. Ah. fore' e ml, ditto. U, ftrmpre libera, ditto. Booaer tnd
bona, Helle»etreet.
I^OWPS NEW^LANOER QTJADRILLES upon popular
London, i
1j»ASY MUSIC FOR CONCERTINA AND PIANO -
J 11 uumbara, price la. each, Popular RecreaUooa, arranged by Oeorge Caae.
(Each cnntaliie 1 or d pajea) 1. Rigolctto ! "La douna * m .bile," and "Ouoaia
oqialla." -. Il Trorat.re: "II balen." and "Ah! chc la morte" (Tronbaslaur'a
bong) S. Lucia di Lamtnarmiaar: "Fra loooame "aud "Tuehe Dto a apiegaati.*
4, Scnnambula: "All la loat now.** and "Still ao (rent^y.** !t Norma: "Deh!
non ta " 0, Selet-ton of tha moat popular Valaea, l>y D* Albert. 7, Polka;
"L Enfant." by D'Albett. 8, Va *• (anng by Madame GaaelerX Verumno. 9,
Freucn Aiia : " Partant pnur la Syria,* " La MarB\.lllaiea," and "Mourir pour la
parte." 10, Iriah Air-: "The Uarp that once through Ta-a'a Helta "SL
PaLrtck'a Day,1* and "The LaaL Ruae of Rummer,1* 11, Hootch Aire: *'Bonnie
Dun iee." "Bine B Ha of 8e<<tUnd," " Annlo laatrte, aied "Cacsln' thru' v tie
it, Amman Alia: "Minnie," "0:d Folka at Borne," aad "Nelly »y."
rj— IB. Am"U
\f R HOWARD, 8arg«on-Dentist» 52, Fleet-street, has
l'l Introduced an entirely new dtarr prion of ABTiFICJAL TEETH, fixed
without epiinga, wiree, or figatiirea. T'.cy an pa.f etly reaamble the natural
teeth aa uottobedlatinguiabedlrom toeoruiti'alaby the elcwtet obacrver. They will
narer c auue colour or decay, end will he round euperior to any teeth eeer b' lore
uaed. TLls method doce not rronire the • xttectioo of ro 'ta, or any palufnl ope ra-
ti r, will tuppnrt and preecrve tooth that are Uoee, an t li guaruute«l to r ilo.ro
articulation and maetioafj. u. Decayed t.etli etopped and render .d aoticd and
uacful id maetlcatlon. M, Floet-atreel. At borne Irom 10 till ».
CURE OF SEVEN YEARS' COUGH
BT
SS. LOCOCK'8 PULMONIC WAFERS.
From the Bee. O. DaweoB. Primitire Method let Ml<> later, Brdge-.trtct, Poet,
Iale of M'li- ' Gentlemen, — My wife bav ng ben affllctad w th a aa««re co'tgh
for •eren y> are laot peat, <lu>tne; tha laat epring waa brouf I I ao 1 w that her life
TA-aa deapal ed of, when a freud reoorara nded her to try l'r. Locock'a PultBooic
Wafera. She did eo, and the benefit ahe derived tr.m thctn waa truly amaxlng.
She wa«, after taking a few boxva, ugdn able to return to Lor dtmitatio dufiea. I
ti ink It woukl be a great hleaalDtf tu the afllicud in our ialand w.re tbey adeertiaed
nere, aa they acpear not to be ki own. Teat are at liberty to make what uaexoo.
may think nrnper uf my teatlrsony. I am, youra, »c, Ota. Dawaoa, Pnmtilre
Method at Mlulater.-
DR. LOCOCK-H PULMONIC WAFERS giro inatant relief aod a rapid ewe
of aatl ma, o niumpti. n, ctrngna. anda|l dlaord ra of tha breath and lunge.
TO SINGEBS AND PUBLIC MPEAKEHS they are luealuabla for daaring and
etr»ti(rtheninic tne mice. They hare a moat plaiaant Uatc. Price la. led., ta. Dd..
aod 1 la per box. Bold by all etiemlete.
FREDERICK DENT,
{Bikn of ifjf Ort« Clork [or tfjt Rousts of ^atlisntnt.
And ao o Succeeaur to E. J. Dxar in all hia pa' eat rlghta and bueineae at
Quean and Prince Conaort
Ladiaa- Gold Watche. . . . . | Ottinee*.
Gentlemen'! 10 „
atreng eilvtr Ltver Wtte&at i „
Church Cloeke, With Compenaation Pendnlrtm, t$i-
No co*ntction with 3S, Cocktpur-tlreet.
PERSONAL GEACES.
The
braided plait, or the flowing tre-a.
eaaing by the well -arranged curl, the
ring the hair, nothing can equal tba
r
CAHSAR OIL
Rendering It ao admirably aoft ti at it erlll he in any dirretlmt. tir«lucinj{ heaiitimUr
ftowlng curia, and by tha tranaonadnt 1 net re It impart*, rcndennn the baad^reee
r
In dre-
effect of
ROWLANDS' MACASSAR OIL,
ROWLAND S' KAIiTDOl
Il a preparaiion ol tu paral eled efScl.nry in improilnj and beaaUf; ing the (kin
and complexion, preeereing them frv.m o»«ry elc'aaimde of the weather, and
completely eradicating all Cutaoeoui Emp'ioua, Freeklea. and ~
ROWLAND8' ODONTO,
OR, PEARL DF.NTI PRICE.
If alike joraluahle for ite beautifying ai d pre^errHtiva cfl
CAUTION.— The wrapper or label of each beara Ih* name or
preceding that of the article.
Sold by A. ROWLAND eh SONS, RO, Hatt
and by C bom lata end Perfn
V Brvart o/ »p»ri*>K ieielaftMU.
Digitized by Googl
March 13, 1858.]
THE MUSICAL WORLD.
163
REVIEWS.
"The Setxabx" (words by the El trick Shepherd); "Thi Passing
CLOCI) i" Song". Computed by Henry Baumrr.
Thbrk is no great aratrant of absolute originality in either of
these songs (the second beinst a manifest imitntion ol the well-
known bolero in Spohr'a Jettonda); but they are both ao admira-
bly— wa may almost say faultlessly — written, that they cannot
fail to pleaso musicians and cultivated amateurs. "The Sky-
lark " is a moat charming composition, with which any competent
singer would be certain to create effect.
"TflB Maipbk's RxriY." Ball«d. Writ 'en hy John Ellison, Esq.
OoBpOMd bv M. Emlerssohn.
A lively, agreeable ballad, just such as ballad singers love to
sing, and the admirers of ballad singing lovo to bear. It aims
at nothing more, but attains its end completely, which cannot
always be said of compositions of much greater pretensions.
" Bella FlOLU'-Quatuor do LOpera dc Verdi. Bigoletlo. Transit
pour Pi sno. Pur J ulcs Bnssoc.
Among the many pianoforte arrangements of Signor Verdi's
very popular quartet, we have not seen one more unpretending,
and at the same time more complete than this. The composers
ideas arc respected, while the display and tho conveuie uce of
the pianist are consulted ; and the result is a piece of moderate
difficulty, attractive in more senses than one.
Hand Boos fob tub ObjTOUIos — No. 18, Haydn's Third fcrvira,
arranged by John Bishop.
Haydn's Mass in D minor, one of his finest, is a welcome
addition to the remarkable cheap series which Mr. John Bishop
edits with such care and ability. It is unnecessary for us to
enter into criticism upon so well-known a composition, but we
may add that the No. 18 of tho Llatid-Book presents all the good
qualities for which its predecessors have been favorably noticed.
" La Traviata" — Grand Fsntsisie Br. kit'.' sur l'Opcra do Verdi, pour
Piano. Par Wilhelm Ganz.
Although somewhat long and discursive, there are good
points in this fantasia, which incorporates most of the favorite
airs in the Traviata. We may particularly mention a variation
a la Thalberg (page JO), on the air of the elder Germonl, or
heavy father, " Di Proveuza." The fantasia is difficult, and re-
quires executive powers considerably developed.
"Thi Vbboi Albums "— Tweutv-uTS Farorilc Songs, from Verdi's
Operas, in Italian and English.
Tho admirers of Signor Verdi are presented in this hook with
several of the most popular and melodious airs from his operas.
Besides selections from such well-kuown works as // Trovaiort,
La Traviata, Rigoletio, and Ernani, thoro aro songs from
Qiovanna a"Arco, Obtrto, Simon Boccanegra, and Macbeth, names
leas familiar to the lovers of operatic music. The Kunlish ver-
sion is supplied by Mr. Desmond Ryao. The Album is a
handsome book, got np with much care and completeness, and
cannot fail to please the Vcrdiite public, whose name is " Legion."
Cambridge. — Ctjticism. — On Thursday evening, at Swan's
Rooms, Mr. Charles A. Cole delivered the first of the illustrated
examinations of Cynicism, as exemplified by Shakspere in the
characters of lugo, aud Falstaffin the Merry Wivet of Windtor,
which he proposed addressing to the undergraduates of our
University. The lectnre was peculiar, the audience peculiar,
and the lecturer himself peculiar. In nu earnest philippic
agniust tho tendencies of a "coarse taste, an early initiation
into a vice, and no morals but thosu of a confirmed materialist,"
the character of Iago was held up to general contempt and
hatred. Among those who listened were some of the foremost
men of the University ; whilst the lecturer himself, " Retting
aside all his other good parts," as FhlatafT aays, bore the roost
striking conceivable facial resemblance to the poet of whose
creations he treated, and whose drama he dissected into a
reverent yet inquiring criticism.— Corr«*pond«nt.
THE VILLAGE QUEEN.
(For itutic.)
Bt James IIimcixs.
'Ttu in the lovely month of May
When song-birds sung on at cry »pray,
Through Eden Vale 1 chanced to stray—
Where nature sm les so eraser} ;
The iio.tls were jtrecn, blue was ilie sky,
Mr hrsrt was light, my hopes were high,
When in mv walk I chanced to spv
My bonnie black-eyed Mary. '
Tlio ntorninu stm soi.t forth its rays,
The speckled thrush tang s ones of praise,
Awl echo answered to its Isys,
Like voire of distant fairy ;
The pretty nosers that deck' d the ground,
And shed their fragrant sweets around,
No rival h.d until 1 lound
My bourne blsek-eyrd Mary.
I said, - Fair tnsid. I'm hither led,
Where nature's charms are pally spread.
And village beauties lore to tread,
Like wood- nymphs, light and airy;
And you their QtrsiN I will proclaim,
First of litem all I'll place thy name.
While lads and lasses sing thy I time,
My bonnie blsrk-oyed Mary."
Now ninny a spring has passed away,
And hearts nre still which then were gay.
And beauteous forms gone to decay,
Where death lies dark and dretry ;
Thowgh eyes are dim, and locks arc gray,
Still through the valo I lore to stray.
To welcome all the pride of May,
With bonnie black -eyed Mary.
Miss Arabella Goddard at Mtddeltok Hall. — Mr. Force
gave his second concert with his usual success. We regretted
on public grounds that he did not nvail himself of Miss God-
dard's presence to worthier purpose than even her exquisite
performance of Handel's " Harmonious Blacksmith," and That-
Derg's setting of " Home, sweet Home." Her wonderful talents
are as popular as they are classical, and Mr. Force might have
done good service to musical taste amougst us if he had induced
her to play at least one of those more choice and severe com-
positions which she has done so much to popularise. — Idington
Time*.
New Mtjsic.— A new march, entitled "Prince Fred-rick William's
Morch," dedicated by permission to the husband of t be Princess Royal,
has just brcu produced by Miss Ellen Glascock, a young composer of
no ordinary musical talent. It is a composition of a high order of
merit, and will suit perfectly the regimental bands of the British army,
by whom it should whhoiil' delay be adopted} and it is understood to
be now in rehearsal a* a portion'of the military music of the Prussian
soldiery. — Obterver.
Ovid Tiiasslated bt Mahlowe. — Every haunter of bookstalls —
and what true lorer of bonks is not fnnd of that sport which lha
French describe in s single word, boa jai'arr ?— has experienced the
pleasure of suddenly discovering some, choice rarity in an unexpected
manner. Something of this was ft It bv ourselves upon finding a
roriuimut, nay, we believe unique copy ofa little volume of epigram',
and a translation of Ovid's Elrgirs, by Christopher Mnrlowe. It was
in a catalogue of old books istued by Mr. F. G. Tomlins that this
treasure lay hid, and, among other curious features, the book comes
especially recommended from containing a sonrel by Hen Jonwn,
hitherto unknown. Mr. Tomlins, who has latelv joined the honourable
craft of bibliopolists, is a gentleman who has long been known in Ihs
literary world and upon the press, both as tho author of an excellent
history of England and as a journolist. He has even had his triumphs
in the' higher wnlks of the drams. Our French intelligence communi-
cates the interesting fact that Alphonse Karrhas lately taken to se!lmS
fruits and flowers ; Mr. Tomlins does better, for he vends the fruits
and flowers of those fields in which he has long and honourably
laboured. In hia catalogue, which contains the result of many yesrs'
private collection, will be found much of the greatest interest to
rollretors, — The Critic.
Digitized by Goc
164
THE MUSICAL WORLD.
[March 13, 1658.
DR. ZOPFF AND HIS CRITICS.
(From Ihoighfi Journal of Untie.)
Our readers probably have not forgotten a couple of original
and quite peculiar articles upon the characteristics of V* eber
and of Mendelssohn, contributed some months since to our
columns by Dr. Hermann Zopff, of Berlin. Thinking it profitable
me times to present what may be said on both sides of a
mooted question, we gladly give place to some strictures on the
former written by an ardent admirer of Weber's genius in this
city ; and we copied from the London Musical World, which
swears by Mendelssohn, another article, conceived in a far other
and more truculent spirit, on the Dr.'s well-meant attempt to
give a discriminating estimate of the merits and the limitations
of that great composer. Because our Berlin friend, like most of
the thinking portion of the musical world in Germany, while
-ing Mendelssohn, cannot place him in so high a category
in and Mozart in respect to true creative genius, the
denounces him as one of the veriest "Sepoys" of
the "Music of the Future." Dr. Zopff claims a few words in
reply, which we here cheerfully insert, premising, however, that
he has strangely confounded
Weber with t"
writer about
A WORD IN CONCLUSION TO THE
OF WEBER AND MENDELSSOHN.
ii v dr. uebmaxh zorrr.
Mr characterisation of theae two genial men has been twice, of
late.lhe tubject of ammadTeraion in this Journal (tee Noi. 2S6 and
2801 , the second time in an article taken from (he London Mutieal
World.
The anonymous author of the two essay* baa led me to read them in
the hope that I should find a thorough refutation of mv ju Iga .■ r,
r lirreih ; and auch an one I would have received with sincere thank s in
the interrata of Ait and of our readers. But how ssdly did I find
myself deceived, when I sought in tsid in hia cesays for t uch a refuta-
tion j instead of this, in hia word* about Mendelssohn, I found the
moat violent, and whst ia much worse, in parte mo«t superficial attack*,
which ono might pardon to s dilettante, but which eurcly cannot be
worthy of the true artiit !
The singular malignity with which the writer, especially in hia
defence of Mendelssohn, trie* to a.cribo to me baae, petty, narrow-
minded motives, ia in sinking contrast to the high reepect and venera-
tion with which I in my articles have signalised t he noble traits of both
composers. This my opponent seema in hia excitement to have quite
overlooked ; and while on the one hand I must gratefully acknowledge
that he compleUe my elucidation of W tier1! immortal merit* is a eery
filling iwr, vsrr, I must the more decidedly protest upon the other band
against th. ' u;ierflciality with which he dismisses with the utmost
contempt op It ions whicb are in fact the collective verdict of our greatest
critics, of a Man, s Schumann, a Rellttab, Ac. In ahort, not only my
agreement with the utterances of men to highly respected (st less! with
us), but also the fact that those bitter attacks attempt no refutation of
my criticism, must decide me all the more to re a.irrt sad most unalter-
ably stand by all my judgments (ear iug perhaps a few unimporlsnt incom-
pletenesses), and above all just that part which my opponent pleases to
call " nonsense." I have been most pained to observe, however, that in
hia article of Mendelssohn he does not hesitate to twist round and
pervert my statements, or st least to push them to unnstursl extremes.
Reserving for another time a fuller defence of the views attacked, I
confine myself at present to a distinct denial of one assertion of my
unknown opponent, namely, thst "such inveatigstion* are of no use.
The critic's highest duty to the publio is, by impartial elucidation to
form the taste, to guide and educate the artiatio consciousness, so that
we may once more approximate nearer and nearer to the much praised
epoch of the ancient Greeks, where this artistic sense and culture were
so thoroughly alive in the whole people, that all exercised an indepen-
dent judgment. Wue to the actor or the orator, with them, who was
guilty of any faults ! Hence the ancient artists did not aeek the appro-
bation of princes, nor of reviewers •, for them, the only judgment that
had value was that of tlie people, the most cultivated that has ever yet
existed.
Our present public, on the contrary, hss so little self-reliance, it so
sailly wanting in artistic judgment and perception, that it is essily
fright* tin), mid believes most in the man whose judgment it the
harshest. Such want of feeling and perception hat in all timet had
for a sad consequence, that the aberrations of our most genial artists
i been (lie most blindly worthipped by their hosts of
often carried to a pitch of absurdity, which hss operated most in-
juriously to taste find to the intereats of Art.
Id short, the critic must not let his judgments be controlled solely
by hia own subjective feeling — above all, not by onesided Deal or side
interests. Thst may be pardoned only in the dilettante. No, let him
test and try all with the freshest consciousness — let him in a right
honest, candid spirit, according to his beet knowledge and conscience,
without envy or couceslment, strengthen the discriminating /acuity
alike with artists snd with public— let him praise what ia strong, and
warn against what ia weak. In Ihia way will he instruct, snd promote
true culture in the whole people, snd thus effectually resist every step
in s i
HISTORICAL NOTICE OF TnE IMPERIAL
THEATRES IN VIENNA.*
The love of music was transmitted by the Emperor Maxi-
milian I. to his successors ; a whole line of emperors were
celebrated for this sentiment, and made Vienna the centre of
the most magnificent operatic performances.
The Emperor Leopold was not only a lover and patron of
music, but himself an excellent musician. Ho wrote with hia
own hand to Father Kirchner in Rome to come and teach him
thorough-bass. The Emperor composed oratorios, operas, come-
dies, and a great many detailed pieces. In the Court Library
there are the manuscripts of eijyht oratorios, hymns, motets,
operas, comedies, and numerous pioces inserted in the operas of
others. The Emperor maintained a considerable chapel, i
taining 1 capellmeister, I vice-capellmeister, 3
5 organists, 34 singers, and 41 instrumentalists.
When any person was proposed as a member of the
the Emperor himself examined him, and likewise the operas
i ; ended for representation. During the performance he always
had the score before him. Only Italian operas were given, and
it ia to this that we must attribute the fact that, even at all
other German courts as well, tiermau opera was not introduced
till a century later, while through the instrumentality of its
founder, Reinhard Kevscr, it began to flourish as early as
towards the end of the seventeenth century in Hamburgh,
Banliut being produced in 1634, and Arm ens in 1698. Thus
partiality is easily comprehensible when we take into '
the Emperor's knowledge and fine taste, for the Oerman
were very inferior to the Italian ones.
The Empress Margarita Teresa was not fond of music ; she
often had her " Neh-Rehm" brought into her box, and never
even glanced at the stage. The Empress Claudia Felicitas, on
the contrary, was fond of having allusions to the weak points of
the Court introduced into the operas ; she did not spare the
Emperor himself, especially in the opera given in the private
theatre, at Court, during the Carnival of 1674, and entitled La
LarUerna de IHoqene, Dr. p. mu»„ in three acts, words by Minato,
music by Dragni, ballet by Ventura, and scenery from the
designs of Burnacini. In the third act an aria by the Emperor
Leopold is introduced.
We must here mention the capellmeister Antonio Draghi,
account of his almost unr.
collected by ourselves of
of two centuries, he appears as the author of 1 56 dramatic works
written for Vienna and produced there. They commence, in
1663, with L'Oronuba. for which Draghi wrote the words aa well,
and on the 8th November, 1699, with VAlcette, words of Cupeda,
ballet-music by Hoffer. This opera was played, by command of
the Emperor, on the birthday of the Arch-Duchess Maria,
daughter of the king, afterwards the Emperor Joseph L
This composer found in NicoloMenato, Imperial Court Poet, a
libretti* as inexhaustible as himself. From tho AtalanU u>
Muzio Serrola, Nicolo Minato wrote 1 10 libretti for Vienna.
The Emperor Joseph I. succeeded the Emperor Leopold, and,
like the latter, possessed a thorough knowledge of all branches
of the art. He played tho piano and flute ; he increased and
* From a larger work with tint title, the Wiener Monattckrift fur
Tkealtr sums' Mutik extracts a section on " the first theatre at the
Karnihnerthor," from which we, in our turn, take the above.
Eo. Aiederrheinitcks '
uparalleled fertility. In the rtpertoirt
' the Imperial Opera, embracing a period
Digitized by Google
165
improved his chapel. He attained, also, great proficiency in the
art of dancing. His dancing-master was Bruuian, a Swede. A
great deal was spent on the ballet, and the Emperor, even while
Regent, figured in the ballets produced at Court.
In the year 1700, the Emperor had two theatres erected, by
the Brothers Bibicua, on the other side of the present Josepptatz,
on the spot where the Redoutensale now stand ; a small one in-
tended for the Court festivities, Italian comedies during the
Carnival, and tbe comedies of the Pages of Honour ; and a
large Imperial theatre for the performance of more serious
Italian operas. This theatre was the largest and most beautiful
of its time, and in the splendour of its decoration, its scenery,
its dresses, and its machinery, eclipsed all others. It cost
about 100,000 florins to paint the amphitheatre alone. The
Marchese Santa Croce, a great judge of music, was appointed
principal director.
The theatre at the Karnthnerthor was bogau in 1708, by the
Town Council, and completed the year following. It was ori-
ginally intended by the town for Italian burletca. Conte Pecorl
was the first lessee, while Calderoni, Sebastien, Scio, and (1712)
Ristori followed with their companies.
In February, 1713, however, Stranitzky, having joined the
German company of the Teinfaltraase, migrated from his booth
on the Neumarkt, to the KarnthDerthor-Theater. During the
first three years, he paid a monthly rent of fifty florins for the
•even summer months, and sixty for the five winter months.
He was bound, moreover, to give a fifth of his receipts to the
House of Correction, in the Leopoldstadt, in conformity with
the decree of the 14th July, 1671, by which theatres, lotteries,
&c, were required to contribute to the support of that establish-
ment. The KarDthnerthor-Thcater has, therefore, always as-
sisted in the amelioration of public morality.
The Court took no notice of this theatre. Prchauser was the
first to attract its attention. In the rear 1 737, the same year that
the Hanawurstof Gottsched and the Neuberin in Leipsic was burnt
down, the German actors first had the honour of playing before
the Court in Manneradorf. They played at Schonbrunn for the
first time, on the 17th September, 1767, Heufeld's Oeburtttag
and Die Wirthiehafterin ; and in Laxenburg, in 1771, DerPoetzug
the opera was patronised all the more. After the Em-
peror Joseph I, who died at so early an age, on the 17th April,
1711, the Emperor Charles VI. ascended the throne. Thispnuce,
too, wag a great lover and judge of music. Fucha, the author of
the Gradut ad Parnauvm, was his master of thorough-baas,
and Caldarn — who, from 1716 to 1736, produced fifty-two operas
at the Imperial Opera-house — of modern composition.
The Emperor's ear for music was celebrated. Not a fault in
the performance escaped him. At the third representation of
Elisa, words by Pariati, music by Focbs, which was first pro-
duced, at the Pavorita, on the 28th August, 1719, in honour of
the birthday of the Empress Elizabeth, the Emperor was so
charmed with the music, that he seated himself at the piano and
accompanied tbe whole opera. Fucha, who stood behind the
Emperor, and turned over the leaves for him, was so carried
away by the Emperor's skill, that he cried out, in a loud voice,
" Bravissimo ! Your Majesty could very well take my place !"
" I thank you, my dear capellmeiatcr, for your good opinion,"
replied the Emperor, " but I am uuite contented with my own
It is well known what a good effect the Emperor's advice
had upon Farinelli. That celebrated singer visited Vienna
three times: in 1724, with Porpora, in 1728, and in 1731. On
one occasion, when
the
ho accompanied him,
ich his singing s
his long-winded
i to this advice, and it is from this period that we
date the moving effects produced by him in his totUnuto mode.
This taste for the cultivation of music extended to the other
members of the Imperial family. The Archduchesses received
instruction on the piano and m singing from Wagenseil and
Nancini.
Every year on the 4th November, the Emperor's saint's day,
in the great theatre, and on the 28th August, the Empress's
birthday, in the theatre of the Favorita, a new
composed for the occasion, and got up iu the most splendid
manner, used to be given. These operas were only played two
or three times; the Court was always present at the last
rehearsals.
The niue-*H-*cine of such an opera cost from 80,000 to 60,000
florins. The costumes were made of velvet and silk, richly
embroidered with gold and silver. Even the members of the
orchestra appeared in splendid dreBses, and neither the operatic
performances in Paris, nor those in London, could then be com-
pared to those in the Imperial theatre, for vocal and instrumental
music, costumes and scenery.
The yearly expense of the opera amounted on an average to
200,000 florins, of which 43,000 florins were for the instrumental
and vocal performers. These comprised 1 I
Fuchs ; 1 Vere-Capellmeister, Caldara ; 3
Francesco Conti, and Porsile ; and for ballet-music, Mathcis
and Halzbauer ; 3 Italian Court poets, Stampiglia, Zeno, and
Pariati, and afterwards Fasquini and Metastasio, and one
German, Prokoff ; 34 male and 8 female singers ; 1 leader with
an assistant ; 32 players on stringed instruments with 2 theor-
bists, 1 gambist, 1 bite-player, 0 hautbois players, 5 bassoonists,
4 trombonists, 1 horn player, 13 musical trumpeters, and 1
kettle-drum player. The ballet-masters were Levassori dslla
Motta and Philibois, and the director of the opera Prince Pio.
The whole was mibject to the grand chamberlain's office. A
separate table-decker, with two assistants, was allowed for the
musicians' table in the department of the Imperial kitchen.
Wo must mention with gratitude a touching custom, indicative
of, and proceeding from a true respect for art Of all tho
officials attached to the Court, the musicians were the only ones
who, even when they had retired from active service, were con-
tinued on the lists of the Court to their dying day.
(To be continued.)
DR. FOWLK
To the Editor of fie M*eical World.
SlR, — When a correspondent has the meanness to attack
another person anonymoutly, and is still further guilty of mott
mean ana ungeiulemnnly conduct by anonymously accusing that
person of vil fully lying, you must pardon me for saying that, I
really think that it is high time that you should have too much
regard for tho respectability of your journal, to allow such a
production as the last letter of your correspondent 11 Oboe " to
appear therein.
I am sure that your readers do not care whether I am Dr.
Fowlo, or Mr. Fowle ; and I am fully convinced that henceforth,
they would far rather that your space was filled with more valu-
able matter than in discussing in a most ungentleuianly manner
the merit* or demerit* of Sir, your most obedient servant,
Exeter, March 8, 1858. Thomas Llotd Fowle, Mu*. Doe.
[We quite agree with Dr. Fowle, and beg to close tho
ACROSTIC.
(Attempted after tie ttyle of Haydn Wilton.)
C heeks bright as opening rose in May ;
L ooks shining like tho sunny ray
A ngebc grace from blissful sphere* ;
V enus-like the Zmgara* appears.
E yes beaming like the orient star ;
L imbs, models for a sculptor are :
L inked with these charms, a potent spell
E nchantment lends to all thy stepvCLavmu.
To Xademoieelte Ctaoelle, premier, daneeuee am Theatre de Sa
Majeeti, a Londret.
Hxrr Kuctkkr, the violoncellist, has just returned from
America, where he has passed several months in a professional
tour with MM. Thalberg and Vieuxtempa, and Mad. Frezzolini.
• In Bails'!
(The
Oirl).
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166
THE MUSICAL WORLD.
[March 13, 1858.
PARIS.
{From our oien Correspondent.)
Pianofortk concerts arc now the vogue in the French
metropolis. At a concert recently given by the violinist
Sighicelli — who, well-known in London as a performer of
moderate ability, seems to have astonished the capital of
the polite world, and " the centre of the arts and civilisa-
tion— a new pianist appeared, about whom M. Stephen <le
la Madelaino and other critics are half frantic. Madlle.
Octavie Causseniillc, if we may believe these gentlemen, is
destined to eclipse all the female pianists who make Paris
their home. " At the concert of M. Sighicelli," says M. de la
Madelaine, " a young pianist mado her dibut who was pre-
viously unknown to the public, and whom the musical world
now (after this one appearance) recognises, as it recognises
Madame Clauss and Malic. Martin." But let this flowery critic
■peak for himself in his own language, which, to reduce into
plain English exceeds my capacity : —
"Madlle. Octavio Cauasemille, que j'ui mtci.due cent fua (jamais
simi), depuis deux ana dans ce» files de foreiUe. quo lea princes de*
deux uriatocrsuea anient itomier sux artistes, qui les leur rendent si
bicn cn ce moment, Madlle. Cautteuiille est inut bonneuient una dea
inorrcill.s do l'cpoquc. L'e'lou* psmitra peut-elrc exorbitant, tnais j«
n'm puis rien rabsttre. (All Chopin resauacite, Chopin, plus is
emdmi M ul-ctrc, uvee tuutes ses adorable dt'liestesse* da style, a»eo aa
fougue »i corrcele, sr«'c ton nieeani-uic ai brillaiit, atea »e» Isnsueura ti
pasaionnccs. II y a duns ccs diftkulie^ raincuea (Madlle. Caussemtlle
n'en nnnul plu«) quclque chose de imcnx que le talent ; il » a le gi-nic,
il y n la poc»ic de 1'art ri.ms as plu< h mte accept ion. J'at fait, ti jr
ni'rn stiuticna Men, cn NoTcmhre, 1831, e'est a-dire ily a quclqoe chose
romine viue,t-»ept sns. I'artiele dis debuts de Chopin, dent Inudilion
avail rtc' orjjanWee, par met aoins, en formo d'mterme-je, k ropers-
Comique, dans L* Co*cert a la Cour. J'acclainai alor?, le premier, k
met ri.-qu.-s et perils, emme j« l'si lait pour d'autres encore, uu taleul
dout Is pl-.irx? «-»t devenue iniperiassblc. Je tuia l.eureux aujourd'nui
de rendru le nierorconseiei-acieui homniago k Madde.CjUfiscmillc, qu"on
ignorait liter et qui ter* ceiebrc dans un uiois."
The above is extracted from the France Muticale. In the
Meniere', M. de la Madelaiuc, who multiplies himself iu this
, crusade, is equally ecstatic. But I shall only trouble you
with oue of the several paragraphs of which this rhapsody is
composed.
" Ln jvune Ttrtuosrs fmail' le be I andante de Tiialborg sur 1« finale
de la Lucie. Madlle Cauasemille a deployc dans ce inorccau totttea lea
qunlilus qu'on pcut nttendro d'uno feinmc, quells qu'elle «<>it, I'oppeuiton
Ciaus* ou memo I'ieyrl, tt noua ne erai|<ue.iiB pat d'ajouter qu'elle T
• joint toute I'ener^ie pasaionuce qui eat oroiuairement i'spunagcexcluaif
que s'aXiribi.e autre t ilam texe, comuie fielie de consolation." '
It would be difficult to know which of the two virtuose*
would be most offended by this accovptemtnt of their nnmee — the
vivacious Gantoiae, or the sentimental Bohemian. However, as
Madlle. Oclavie Causseiuille is to drive them both out of the
field (to say nothing about Mcsdames Martin, Mattniann, and
Mr.ssart— who share among them the triple crown of " virtuosity"
En Paris) it can little matter. I may be allowed toexpiess,
nevertheless, some slight apprehension nbout the significance ol
these pmif.es (i was at Lyons when the concert of M. Sighicelli
took place), when 1 consider that the priucipil exhibition ol this
Ui w phenomenon was in AI. Thalbergs threadliare andonte (ou
Lucia), a piece which has been iu the hands of the majority ol
dtmoittths de tnu-iou U>r the lust lifted! years. For my own
part 1 have little doubt that Madame Fleyef, or Madame Clauss
(to say nothing of the three "Queens of the Piano " I have
mentioned in another parenthesis — and to whom I may add
in this parent he.-, is three sub-q'iecus, who share among them
the lesser tiipie ctown of " virtuosity " — Madame Tardieu, late
Charlotte de Mallville, Madllt*. Phillibert, and Nauuettc Falk,
who are eipinlly ravishing tin; '• bottet Vitrnies" and u iptnti
jaune/' of" the capital," &c, &c.)— I have little doubt, I say (as
Mr. Thackeray would say), that either Madatue Pleyel or Madame
Clauss, Madame Llauss or Madame Pleyel (no offence to either),
would be able to play the same Andante with the same Chopinical
grace and riverie, and that without much ado. You will, no
doubt, soon have an opportunity of judging for yourself, I
if at least it be true, as I have heard,
the greater number of those whom I have
MM.SchulhoffandTedeaco, M. Bernard Rie (another pianist
from Prague, who is at this moment astouishing " the capital of
the polite world," like the rest of them), MM. Leopold de Meyer,
Brahms, Bulow, and nine other pianist* whose names I have
forgotten, are going to London in the course of the present
season, with the intention of performing at the Musical Union.
They all— except De Meyer — play Mendelssohn's first concerto,
Htimmel's septet, the ooucert-stuck, and a fugue of Bach.
Old Double is'nt dead— 1 mean Henri Hens, who hag lately
given a concert with brilliant success in his own rooms,
the principal feature at which was a new concerto in A
minor (his sixth) the last movement of which, a Rondo
Oriental*, accompanied by voices, like the Ninth Symphony of
Beethoven, was encored.* M. Oscar Comettant, on his part,
pronounces Henri Herz " the most graceful and complete of
pianists, who re seats himself, whenever it pleases him, on the
throne which governs the whole world of pianoforte players."
M. Comettant, in his bird's-eye view of a season so signalised
in Paris by imposing pinnistic '• apparitions," overlooks the bril-
liant bevy of lady pianists, headed by Mesdamee Clauss and
Martin, altogether, aud thus briefly resumes its history.
" Littolf opened tho ball, Herx followed, and the chief of the French
aehool, the pitnisl-philosoplier, Einile Frudcnt (who !■ slso going to
London) it to brm* up the rear."
Thus it will be seen that M. Comottaut's virtuositous trinity
consists of Littolf, Hen and Prudent, What will the ladies say I
and their admirer* I and, above all, M. Stephen de la Madelaine I
Among the recent noticeable concerts was that of Sig.BotUwiui,
who, as usual, electrified the public with his truly marvellous
talent — genius. I might fairly term it. The concert of M. Littolf,
at which he will repeat his fourth Concerto-Symphony, besides
introducing some of his music to Favst for orchestra aud chorus,
takes place on Monday. There is some talk here of M. Drey-
shock, the pianist, honoring us with a visit on his way to London.
The concerts at the Tuilleries and at the Hotel de Ville have
begun, Madlle. Alboni singing at the first, and M. Littolf (" sym-
phouist," as they call him here) playing at the second.
At one of Madame Massart's recent soirfts at her own resi-
dence, Madame la Baronne Vigier (Sophie Cruvelli) sang ''The
Wanderer" and " The Erl King" of Schubert. At a charity
concert for the orphans of Saint-Ainand, in Herz's rooms
Madlle. Marie Cruvelli also sang "The Erl King," aid
M. Ciodefroid, the harpist, who plays better than ever, was
heard with great satisfaction.
M. Paul Smith, of the Revue et GtiMtt Muticale, speaks in
high terms of M. Lubeck, whose performance of Mendelssohn's
tirst piauolurte concet to, at the coucert of Siguor Botteaini, I
am sorry to *ay I was myself unable to hear, more especially as
I am iulortued M. Lubeck will be shortly on his wsy to Londpn.
For my own part, of all the piano concerts I havo recently
attended, I have been most interested in that of Madame
Amudec Tardieu, whose performance of selections from the old
masters was as correct as it was tasteful, aud whose programme
was both varied and attractive. The old French harpsichord
composer, Coupcrin, to whom Madame Tardieu is evidently
attached. deaervel to be better known than he is — even iuLondon,
which, il" Paris may be called " the centre of arts and civilisa-
tion," has an eo,ual right to the denomination of "the home of
classical music." And so adieu until next week.
P.S.—M. Littolf is uot going to Umlou, but there is every
reason to believe that you will bo favoured with the presence
of MM. Jael, Henselt, Ferdinand Hiller, do Konatki, and
Wieniawski, pianists of more or less renown.
N.B.— M. ltubiuateiu, the pianist, is expected daily, and will
give one or two couccrts here previous to his departure for
Loudon. I have not heard of any more piunists who contem-
plate visiting the metropolis of Creat Britain in the season
1MS8 ; but, should I obtain further information on the subject,
it will form part of my next week's letter.
* An account of this
in our next number.
b in type, and wfll
Digitized by Google
Mabch 13, 1858.]
THE MUSICAL WORLD.
167
MUSICAL TALE.
Mkftiko sn old professor, who had spent forty-five years in London,
and followed la. musical vocation during that term with ohangr* of
fortun* not ■ little the rwull of changes in the musical world, I was
desirous to hear ».i account of its pro,,r»*s from about 1790 to 18i3,
the year in which I made n y first appearance in the metropolis of
As the veteran commenced hit career at an e»rly age, he had the
Rood fortune to he engaged at parties honoured try the visits of Haydn,
Mosart, Pleyel, and our English composers, Shield, Kelly, Storace,
Webbe, Jackson, Cramer (leader of the Ancient Concerts), and some
of the "small fry." Curiosity to hear something about the three first,
with the state of musical taste among tho public! at the period in
question, urged me to solicit tho favour of some information, when
my Mmd proCeedrd to relate what he recollected as follows.
"At the time T first MM to town I was about seventeen years of *ge,
sent tu Lundon by my father to take finishing lessons from the fir.t
professor of mr instrument in town, to afterwards com* out in bit
natire place as a pupil of the great man. At the end of my term, I
•got an engagement* to play in the orchestra uf the old L'ovent Oardm
T lies i re, besides invitations to quartet parties, and likewise employment
to give lessons to amateurs on my instrument. About this time I once
aiti 'u<1ed a merry BCetirUf of musicians, at which Haydn, Mo/art, and
Pleyel were present, ami I both heard thcin play an t also converse on
musical subjects, from which I gleaned some viiluable information on
melody, harmony, and counterpoint i nnd on Haydn being questioned,
• how he drew such effect* from simple rabjeota,1 his answer, describing
his Manner of commencing a movement, was curious, and, as ho was
the senior of the three, his information was respected.
"At tuu period the sonata was moat in fashion, and although a first-
rule piano perloruiance, as then considered great, would now only pass
for n common attempt, which hundreds of ladies can c jual, then the
opinion of lOme piano masters wus, that none Could play Clementi's
works, especially his octave lesson, but the author or the devil. Tl.o
'Baitle of Prague' came in for its share of public notice as a crick
pier*, ami tho boarding-school Mademoiselle who mastered it was eon-
sidrrvil ■ finished piuycr in tbo opii 1- n of her family and friends j and
had the engagement at Prague, been as often repeated as the mu-ieul
composition intended to describe it, linll tho population nf Europe
must have been butchered cr shot, to keep up Hie spirit of it. Not-
Withstanding pianoforte plojing was behin i tho present advanced exe-
cution of difficult mu-ic, for a mere show off, the composer* of the
day diffused more tuneful meloiy into their sonata* (especially such as
Haydn, Wa>ifl, Suibiit, Clemen li, and Dussck), winch, catching the
ear and pleasing the senses, became the class most in request, while
the •dealing compositions o
tin
gentleman amateur to learn to play on the flute, violin, or violoncello.
About this time, also, amat ur meeting* for the perlormance of sym-
phonies were held at private house* j and as the early works called by
thut name were composed for few instruments, the wind portion rarely
exceeding two hautboys and t«o horns, with sometimes a flute part,
tbey could be played at these amateur lucietiee with ttr nged instru-
mvuts only, the ethers having a mere slutting part, that filled up. The
composers of Usees n o,t in le>hi'ui at this 'lime of the day1 were
Abel, Vanhall, Bitters, Standi*, Haydn, and Pleyrl ; and instrumental
music was then to upheld, that at our Covent Qnrdrn Theatre there
was t>'e first and second music before the play commenced— very dif-
ferent to tbe present time, when the overture to an o. era is considered
by the audience as a wei* prelude to what fullows, and even at the
Italian Opera in the Haynmrket seldom noticed.
"While Haydn gave to the Londoners his twelve Brand symphonies,
a quantity of quartetp, sonatas, canzonets, and a chorus culled ' The
Tempest,' Mo/ .rt extended in grandeur both the symphony and the
opera, besides furnishing every class of chamber and church music,
weakening 1. 1.- eon.titution, impuiring his health, and shortening his
own lite, to leave to the musical WOtl 1 a legacy, to receive in return,
not a fortune in money, or enough to support his wife and two
children after his death, but only a piano, lots of music, and
com* household furniture. A professor wa* looked up to
as a grotleuun, to long a* he conducted himself •* soohj
while the organist of a church might safely calculato on holding
hi* place and receiving hi* stipend for life, providing he Wise
Steady— and none in the bund at our large tb-titrea had lets than two
pounds per week, while the principals had from three to five, the
lender snd composer (al<o director) eight or ten, living in good »lyl*.
and atill ths bouses paid snd kept open to the end of every soscun,
" The plan now adopted by managers to saro expense is to engage •
leader to find a sufficient number, (or which he allows him a turn per
"t i and tbe funetJonsry at the brad of the band being left to do hi*
best for his employer snd himself, he grind* down the salaries of bit
associates, offori g somo of the poor devil*, at some houses, eighteen
shillings or n guinea per week, who, having wives and families to
maintain, and there being others ready to take it, there is no other
alternative— so they are obliged to either blow a wind instrument four
hours of an evening in operas, and give up half their day to rehearsals,
for a trumpery pay hardly enough to keep body and soul together, or
■tarve.
" I remember when the Lent oratorio* at the large house* w*rc thought
splendid, when ths number of performers did uot closed two hundred ;
but I Inn they were picked, and all in the profession : and sn organ with
only one set of keys, and no pedal pipes, such ss the one st which
Hsu del presided, at the performance of bis owu oratorios, when he played
concerto* between the art*. Hud hi* instrument possessed the advan-
tage of a double open diapason all through its acule of key*, the lowest
note s twenty-four foot pipe, it would have thrown sn effect into bis
choruses— for depth of foundation to hi* harmony— that would have
lifted his soul into the seventh beaten, ss he played chiefly with his
fingers only, few organ* having German pedals i i his time. Toe sacred
performances at Exeter Halt have o.it up both the concerts of Ancient
Music and a 1 the minor one*, except the old Ceeilian Society.
"Any one that remembers what plating was forty year* ago compared
with the present, will discern th* w.iie difference) and in such a va*t
mrtr polls as London there must be Haydn*, M -nits, snd Beethoven*,
that only want a chance of 'ooming out,' that would tria l in their
step*, could they be heard, for want of a national institution, con*
ducted OK principles to afford them the opportunity, they remain out
of sight, without n chance of becoming known."
Here niv Iriciid'* narrative, ended, «ud after ose boliU mor* *i
positively tlio last, we separated. BsMW WliaOX.
[Wo should think Mr. Haydn Wilson's friend mast hare had
one bottle too much, already, before tho "one bottle more."— El>.J
Herr Keichardt's Concert is Paris — (From a Corrtt-
ponderu). — Ou Saturday last tho Salle Pleyol wa* crowded At a
concert given by Herr Alexander Kcichaiult. Iho programme
commenced with Beethoven'* trio in D major, for piano, violin,
and violoncello, executed by Madame Ssurvachy (Wilhelmina
Claux.-)), MM. Arniiiigninl and Jncquart. Herr Bernhardt song,
among ether morftaux, Meyerbeer's ScAaftri Lied — which ob-
tained last season such great success both at London and Pari* —
nnd the Oermnn romance, " Du bist rnir uah und doch »o fern."
Both were loudly applauded. Madame Smrvachy, besides per-
forming in the trio, executed a Chanion Bohimc, and Impromptu
by Chopin.
Vmsi- Tlii* cornist lately met with an enthusiastic re-
ception iu Bounleaux, where he played " La Mort du Ccrf nnd
"L'Eloge de* Lartnea" of Schubert. A »till ereater honour
awaited him on his return to Paris. Rossini, In hi* youth, was
(it is reported, wo know not with how much truth) a horn
player, liko his father before him. On the occasion of Vivier's
lust vi*it to the composer of VutUaume Teti, S<>saiui presented
him with tho mouth-pieces of two horns, which l.e had (it is
stated) used himself half a century ago, and had been lyitig in
his posacKsiou ever niitcc.
M. Alkxandkk Billet.— " Alexandre Billet," writes the
BtmM tt Vault* AfuticaU, " has arrived at Paris, where ho
purposes passing the rest of the winter The evening before
hi* departure from Nice, he gave, with the aa*istatioe of
M. Guglielmi, hie second aud lust v.atinU of classical rou«ie in
presence of an audience as atttnwti ve a* it was distinguished and
numeroua The ptogramine was magnificent, and CdmpTw*
bended the names ol Mrudelln, Handel, Weber, Motart, Count
L Stiinlein, Mendcsaohu, and Beethoven. M. Guglielmi, prin-
cipal barytone of the Imperial theatre of Vienna, aai.g several
classical morfeaujr."
NoTTiSGUaii — (From a Corr*tponJen().—TUe fourth Concert
of Chamber Music came off on Friday eveuing (Sth iust ), at the
Assembly Room*, the andience being numerous. Tho pro-
gramme included Beethoven'* quartet in G, op. 18, No. 8, for
two violin*, tenor and violoncello ; the same coinpoiser'* souat*
in D, No. 1, op. 12, for violin and pianoforte; Meudelssolin's
quartet in E minor, op. 44, for two violin*, tenor aud violoncello ;
ami Weber's qnatuor in B flat, for pianoforte, violin, tenor, and
violoncello. Mcudclasohn'a quartet was the gem of the >
but tbe whole concert wa* a treat.
Digitized by Google
168
THE MUSICAL WORLD.
[March 13, 1858.
ARABELLA GODDARD.
A long time ago, I've heard, it was said,
R ound young Pindar's month, as he slambor'd in bed,
A flock of the honey-bees eagerly sw&rtn'd,
B elieving his lips to their food were transform'd.
£ Ten so, I was thinking, the first time I heard
L ovely sounds from the wires by her (air fingers stirr'd,
L ike them, the sweet birds of the fair Indian strand
A mistake might be making, if here they should land.
O ranted first, that you've read what dear Thackeray sings*
0 f mahogany trees, and of birds with bright wiugs —
D eceived, they would think the tree grew, and its fellow
D eem each there was singing, that heard Arabella ;
A nd its branches would seem, as by magical wand, )
R esounding with music, before them to stand, >
D eluding with sounds of their own nati ve land. J
J.E.
* Tide his exquisite ballad, " The Mahogany Tree."
H
PICCOLOMWI, SAN N: EH, and SPEZIA
AL dig HI PHI VIALETTT, C08TEXII, and CilUGLINI.
ER MAJESTY'S THEATRE.-THE CONCLUDING
PERFORMANCES will bo giicn . a T..e--liy, March 16 j
IS ; Friday. March 10; an I Saturday, Match 30.
TUESDAY. March 1«, LA TRAVIATA
THURSDAY, March 18. IL TROVATORB
FRIDAY. Ma.cn 111, LA ZINGARA (the Bohoralau (lirll (or the lut time
beinK lor the Benefit »f 81*. Oiugllni- * *•
SATURDAY, March 2i» LA FiGLIA DELREOGIMENTO
And Lut Mesne ol 1 MARTI Hi.
Price.— Pit Hull*, 11a. 6d. | Boxta (to hold four
il Sa ; Grand TkT. IIS 9». ; Two Pair, Al it. : t7i
allrry Stall*. 3a Sd. ; Pit. 8a. 64 ; Gallery, la
Application to bo made at the Boa-otBce, at il
No other r. urveauUtion can Ui nneaiMr .m.™
Summer Sxaaon
. Pit and One Pair,
rw Pair, ISa ; Gallery Boua. 10a ;
— i ho Theatre
U poenibly given before the commencement o( the
HER MAJESTY'S THEATRE.— LA ZINGARA (the
Bohemian Girl} — Slg. 0I0GLINI8 BENEFIT.
, ?S}l* to the eery numeral* dema> .da fur the repetition of thte fiirourite Opera,
It will be repeated in the Farewtll Week., and LA Zl.NGARA will bn proeenbd fur
time • n Friday. March 111, being fur t-,e Benefit of »IK, OiugUni
Application* to bu niade at the Ik. I -office, at Urn Thoatrv. Colunnadr, Hayniarket
THEATRE ROYAL, HAY MARKET. — Under
th* management of Mr. Buckaionc. On Monday, Marcti ISth. and during
HEl*1^ I? ™mn,<"lCt 1- wi'h THE IX") VB CHASE, in w.ich MIS3 AMY
BLIXiwICk will appear a* Comuucc; the Widow Gree.. by Mr>. Wilkin. ; Lydia,
Miaa Bnltt.tr. Aiirr which a imw ballet by Mr. I ocicrcq. entitled JACK'S
RETURN FROM CANTON, In which Ml« Loutaa Leclercq. Mr. Charlea Iwlcrcq
aod Mr. Arthur Ledcroq v> ill appear. With ti e comedy of PRESENTED AT
COURT, Geoffrey We..derb>ir=,«(hl»orii,'in«i character! Mr. Buck stone. Concluding
»nh the popular Spanish ballet ol TUB GALICIAN FETE, by Fanny WrUht,
Mr Carle. U-e'eroq, and the Corpe tie B Ukl.
r,5W/BRA.N0E*ENT 0P FRI<-'ES.-Orch.«tr» 81aJU (which may U re-
tained th. wi.oleof the awning, and for which there will bo noehanre'or bookine!
da. each. Fraar Paiot-Drea. Hoice, 4a, ; U
Sacx.an Price. -Dreaa Boxca. 3r ; Uj
PrltMt* Boxea, Two G.iineoa and One
Mr. Cnippendale.
4a.; Upper lh.xoa, 3>. ) Pit,»«.; Gallery, 1».
Upper Boxoe !«. ; Pit, la ; Gallery, fid.
le Oulum and a ha f each. Stacc Manaacr.
HEATRE ROYAL. ADELPHI. — Thin evening,
March 13rh RORY ,0'MORE. with new eoelterv. dreaera. and decoratlo.La.
^lI?^0 froS new y"orkT° ""'"^ ",lh
ROYAL OLYMPIC THEATRE — This evening, the
perfonnuioe will commence with YOU CAN'T MARRY YOUR GRAND-
MOTHER. Afier «hlch a new farce, cn itlod TICKLISH TIMES To
with BOOTS AT THE SWAN. Commence at Uaif-paat 7.
G
REAT NATIONAL STANDARD THEATRE,
DITCH —Proprietor, Mr, John fh.iic.t.A
The great actor M R CHARLES DILLON will appear li. a round' of hi. farcxirtU
character* four nigbta thin woek, Tin., on Tucaday and Prida
THE GA
day. Is
MK8TE
on We.Jne.dar. MR 'ilLES; ou sumda.
ML'SKfcTEBliS MR. JOHN DOUOLA8S »iU appear In hl»o,
Jo.' Hat.:hwav In TUB UNION JACK- On Monday and Thurvl
with THE UNION JACK. Joe Haulway. Mr Jo in Dong «i
an I Friday, b. eminence with BKLPIIEGOR Beiplicvor Mr Cbari
On WedneaJny. A NEW WAY TO TAY OLD DEBT.-. 8ir Gilee
Dillon. On Samiday, THE GAMESTER ai.d THE MUSKETEERS Mr Cbarlee
llil^in >u t*o piec.-a To conclude wlih a ro.i.ai.tle drama. Ou Wedneaday the
RRI.PHKOHR
t aud THE
character of
o cominenoe
On Tn.alay
i Dillon,
lea. Mr. Charlea
B- BIG WOOD. No
ROYAL PRINCESS'S THEATRE
UKDBR THE MANAGEMENT OF MR CHARLES ICE AN.
ON MONDAY (laat time but ouo this season) THE
00R3ICAN BROTHERS ; Tucaday and Thoradiy, A MIDSUMMER
NIGHTS DREAM ; Wedne*U> and Saturday, LOUIS XI.; Friday, HAMLET.
And
TO CORRESPONDENTS.
Resin. — Weeannot break our rule.
A. S. H. — Wo agree in a great me am re with our co
but thtte controoertiet cannot a/way* be avoided.
An Old Subscriber. — TKe little ttroke mean* that the chord it to
be played k l arpeggio ; or, in other word*, instead of the note*
bang ttruck timuUaneoudy, they should be struck in rapid suc-
cession, a* you strike chord* in a harp. Dustek {not Dutscck)
wrote Plus Ultra, nof Non Plus Ultra.
Flauto.— It it against our custom to gise advice on such
The ^PKRroRMANCE oF^SAMSoiitirt EretcrHaU, ^ernightweek,
BIRTH.
On Monday, the 8th of March, at Qurcii'a Terrace, Bayswater, the
wife of Charles Lamb Kecney, E*q., barritter-at-Uw, Inner Temple, of
a son.
THE MUSICAL WORLD.
LOUDON, SATURDAY, Mabch 13th, 1858.
Dr. Hermann Zoprp (of Berlin) has made another con-
tribution to Dwight's Journal of Music. This time our
Boston contemporary is not favoured with " characteristics''
of anybody except of Dr. Zopff himself. We have inserted the
article iu another column, where such of our readers as feel
disposed to chop logic with so muddy uu tasayist may read
the Zopffi.au defence of the Zopffian paradoxes. Dr. Zopff
endeavours to substantiate his position not only in respoct of
Mendelssohn, but of Weber. As, however, we have not
seen his " characteristics " of the last-named composer, nor
the reply of one of Mr. Dwight's colabourers, we have
nothing to say to either ; but what we have advanced on
many occasions with regard to Mendelssohn we are inclined
to maintain, notwithstanding Dr. Zopff and his fellow
sophists in Berlin, Leipsic, Weimar, and Hanover.
Dr. Zopff seems to belong to a class now unhappily
spread throughout the length and breadth of Germany (a
symbol of the decline of art in that once favoured country) —
the class of " astlttlic" reviewers. The profound reasoning of
the Teutonic metaphysicians, while it has led shrewd men
to think, lias induced shallow men to aim at a shine of
reasoning. No subject, even the most simple, can now be dis-
cussed apart from a host of speculations altogether irrelevant.
Let any candid inquirer, for example, read attentively the
" Characteristics of Mendelssohn, published in Durighl'i
Journal, by Dr. Zopff, and try to reconcile the presumed
shortcomings of that great musician with the reasons assigned
for them. The candid inquirer will find insinuations that
go to establish nothing, and personal anecdotes that might
just as well have accounted for Shakspere's drama, Bacon's
philosophy, or Mr. Albert Smith's Ascent of Mont Jilanc,
as for Mendelssohn's musical idiosyncracy. Whether true
or false, they are all equally worthless in the consideration of
such a problem. His agreeable manners, attractive exterior,
and remarkable accomplishments rendered Mendelssohn a
favourite in society; and this is made the basis of some
half dozen foolish conclusions, with respect to what his music
might have been had he L'
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March 13, 1858.] THE MUSICAL WORLD.
169
well may we accept the not less intrinsically absurd, but
infinitely more diverting arguments of Herr Wagner about
Jews and Jewish music. Because Herr Wagner, when a
musical idea comes to him (by some rare and happy chance), is
at a loss what to do with it, those who are able to arrange their
thoughts in order, and make them the germ of a sym-
metrical whole, are likened to Hebrews lending their money
out to usury. But this definition of the "gonial madman"
has at least the merit of being humorous ; while the argu-
ments and deductions of Dr. Zopff and his tribo arc just as
commonplace as they are disingenuous.
It is arraigned as a weakness in Mendelssohn that, aware
of his inferiority to the great masters, he leaned upon them
for support and looked up to them as models, instead of
asserting his own independence. The sophistry of this charge
is glaring. Examined from any point of view it must full to
the ground. If Mendelssohn was inferior, and knew it,
surely his acknowledgment of the fact and his consequent
policy was rather a strength than a weakness. Hypocrisy
and conceit, effrontery and shallow pretence, aro vices, not
virtues —otherwise the modern aesthetic criticism of musical
Germany, instead of being contemptible, would deserve and
command respect. But, in sober truth, Mendelssohn was
conscious of no such inferiority. Ho wrote just as much
from the heart as Beethoven himself, or any of the
grandest musicians, and the proof lies in the striking
individuality of all his compositions, from the pianoforte
quartet in B minor to the fragments of his unfinished
Christus. No musician was ever fuller of zeal or stronger
of faith than Mendelssohn. No musician ever worked
with greater enthusiasm, or took greater pains to perfect
his conceptions. A more conscientious labourer in the
field of Art, a more religious worshipper of its divinity,
never lived. The attempt to paint Mendelssohn as a carpet-
knight is so supremely ridiculous, that it can oidy be excused
on the assumption of utter ignorance both of the man and
the artist.
We have not at hand Dr. Zopffs Characteristics (trans-
ferred from the pages of Mr. Dwight to our own) ; and we
do not think the trouble of looking out the numbers that
contain them would be well bestowed. We have still some
consciousnessof the qualmsexperienced from their first perusal;
and, as the burnt child dreads the fire, we have no intention
of risking similar inconvenience. Some few of the mere
facts, apart from " aesthetics," we retain. For instance —
"becauso Beethoven wroto the Choral Symphony, Mendelssohn
cum posed the Lobgesang." As well might it be said that, because
Bach wrote The Possum, Handel composed Tfte Messiali ; or
because Handel wrote The Messiah, Haydn composed The
Creation ; or becauso Mozart wrote Davidde Penitents, Beet-
hoven composed the Mount of Olives. There is no more in
common between tho Choral Symphony and the Lobgesang
than between the Jupiter and the C minor. Nothing can
be more dissimilar in style and in execution than the two
first-mentioned works. When Huydn had written his first
symphony, did ho contemplate that no one henceforth
should compose a symphony after the model he had per-
fected t— and when Beethoven put the finishing touch
to his stupendous "No. 9," did he for an instant
imagine that from that time onward tho chorus should
never again be united with the orchestra in a grand
symphonic composition ? From this point of view, never-
theless, does Dr. Zopff regard the Lobgesang — one of the
most wonderful of musical creations, and the more wonderful
in^nwrh as it does not contain one single phrase from end to
I
end that bears the slightest resemblance to anything in tho
Ninth Symphony. In short, it is impossible to account for the
mental aberration that could suggest to our critic the notion
of comparing them. Again, if we remember rightly, it was
laid to the charge of Mendelssohn that, in consequence of
somebody's suggestion, he omitted clarionets from various
compositions for the Church — as iustruments of too soft and
voluptuous a character for sacred music 1
And of such-like rubbish consist the technical criticisms
adduced to illustrate the general opinion which Dr. Zopff,
with an aesthetic dulness truly national, attempts to establish
in reference to Mendelssohn. The mere thought that the
man who com|K>sod Elijah should be amenable to such a tri-
bunal, is enough to create despair for music in the country of
his birth. We are no friends to any restrictions on the ex-
pression of opinion ; but wo must say that if libels on the
great dead were scrutinised with as jealous an eye by public
opinion as libels on living despots by public governments,
such men as Dr. ZopfT would have a better chance of meeting
their deserts. When, after all this splutter and froth,
the writer, alluding to Mendelssohn's expression of grief
and despondency in music, quotes a stupid criticism,* in
which it is disadvantageously compared with that of
Beethoven and Schumann, tho cup of disgust is filled
to overflow. Only the critic who could name Beethoven
and Schumann (a vigorous giant and a puling school-boy)
in a breath would have been guilty of the nonsense that
characterises in almost every sentence the essays published
in Dwight s Journal of Music, under the title of " Character-
istics of Mendelssohn." When, however, the same writer
(vide his last address to our confiding Yankee brother),
appeals in support of his own opinions to tho " collective
verdict of our greatest critics — of a Marx, a Schumann, and
a Kellhtab (!)" — we are less astonished at his madness. Who
that has any knowledge of German musical literature,
can be unaware of the narrow-mindedness of Herr Marx;
of the jealousy which, in spite of a not unamiable nature,
tho impotent Schumann entertained for his puissant con-
temporary, whose mere presence at Leipsic tongue-tied the
Jesuits ; and of tho utter incompetency of Herr Kellstab to cri-
ticise an art with which his own criticisms prove him to be so
superficially acquainted H Our sophist must have been in a
sorry plight when he found himself impelled to invite the
aid of such champions ; and we are happy to loavo him with
tho conviction that Mendelssohn will rank with Bach, Handel,
Haydn, Mozart, and Beethoven, as one of tho greatest
of musicians, in spite of the shower of " Zopffs" at this time
infesting " Vaterland," and playing (without being aware of
it) the game of Dr. Liszt, Heir Richard Wagner, and the
musical Sepoys.
P S. — We may express our regret, in a postscriplum, that
so intelligent and enthusiastic a music-lover as Mr. Dwight
(who wrote tho analysis of Elijah, quoted in the Musical
World) should be against, instead of with, us in this discussion,
[f Mr. Dwight will explain the meaning of a single
argument in tho rhapsody of Dr. Zopff, we shall bo happy
to salute him. Meanwhile we cannot refrain from calling
his attention to tho premonitory inscription on the door of
Trimalchio (Nero), recorded in the Satyricon of Petrouiua—
* On the violin concerto, which wss stated to haro been performed,
with evident displeasure by Herr Joseph Joachim— s man so intel-
lectually superior to Mendelssohn, and suoh a hater of tho "confer-
•uiono style !"
t Some specimens of this famous " critic" have recently been trans-
ferred, in an English drew, to the columns of the Musical World.
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170
THE MUSICAL WORLD.
[March 13, 1858.
Cow CcmenC Tim warning was common among the
Romans; and we regard Americans and Englishmen as
equally citizens of modern Rome — which means modern
civilization. For the sake of music, Mr. Dwigbt, hewaro
of modern German criticism, for the most part nothing better
than a mixture of rhapsody, sophistication, paradox, and
fables. "CaveCanemr
Thkb* is in London a certain institution, with which we
sincerely hopo onr readers are acquainted by hearsay only,
and which is called the " Literary Fund." Ostensibly the
object of this fond is the relief of distressed literary men,
and this was, indeed, the purpose contemplated by its
founder, the Reverend David Williams. But, thanks to an
irresponsible Committee of Management, it is, in point of
foot, one of the most useless and cumbersome institutions
ever mentioned in the history of time-honoured abuse. Tho
badness of It* character way be surmised from the fact that
in 1802 it had 394 annual subscribers, whereas at present it
has scarcely more than 100, in spite of the notorious increase
of persons interested in literature.
Alarming as the state of this invalid institution has
become, a lew energetic men, headed by the literary chiefs
of tho day, have devoted themselves to the task of ascer-
taining whether something or other cannot be done to carry
out the intentions of the Reverend David Williams. In
1 835 the views of these gpntlemeu, represented by a Special
Committee, of whom Mr. William Tooke, Sir John Forbes,
Mr. Robert Bell, Mr. Auhljo, the Rev. G. R. Gleig,
Mr. Procter, Mr. John Forster. Sir Edward Bulwcr Lytton,
Mr. Dilke, and Mr. Chnrles Dickens were members, were
stated at a General Meeting summoned to hear them in the
June of that year. Their recommendations were to the •Sect
that a certain Council, originally provided as a check upon
the Managing Committee, should be resuscitated, as an ope-
rative part of the governing body of the Fund, and that tho
usefulness of the charity should be enlarged by such an
extension of its modes of relief as should embrace not only
revocable annuities, but assistance in tho shape of loan. To
understand the force of this second recommendation, our
readers should bo aware that those who at present receive
relief from the Fund are treated as so many mendicants,
and are obliged to beg for alms year after year, bringing on
each occasion a recommendatory letter, with a certificate of
respectability from two responsible pervii ill?, Of all forms
of assistance that of a loan is the least humiliating to the
party receiving benefit; and as the distresses of literary
men are frequently of a merely temporary kind, this form
would in matiy cases be found tho most serviceable. To put
the matter in as clear a light as possible, the reformers ima-
gined the position of "a literary or scientific man who,
having insured his life, might find" himself, without being in
absolute want, unable to pay the particular premium for
this or that year on its becoming due, and who might be
heartily glad to be assisted by a loan for that purpose, when
he could not «o easily reconcile it to his feelings to apply far
a grant of money."
We perfectly recollect that meeting of June, 1855. It
was held in Willis's Rooms. On the benches appropriated
to the reformers were some of the best men of the day ;
on the platform, occupied by the Committee of Management,
waa all the fogey dom then in the metropolis. But fogeydom
was triumphant. The hardworking man of letters, suffering
from a temporary pressure, was still forbidden to knock at
the doors of the Fund, and borrow a trifle ; the mendicants
of literature were still to be the only objects of benefleenoe.
The fogies, to bo sure, worsted in an attempt to show that
the proposed ameliorations were legally impossible by the
terms of the Charter, promised they would take into con-
sideration the suggestions of the reformers, but when nine
months had rolled on, and the next Annual Meeting was
held, in March, 1858, it was found that no alterations had
been made. Tho poor tattered wretch of an author was yet
compelled to hobble up to tho otflccs of the Institution,
accredited by his two respectable friends; while a bye law,
which made the authorship of a book a necessary condition
of obtaining relief, and thus precluded periodical writers en
magse from the benefit of the Fund, stood in full force,
though manifestly in direct opposition to the spirit of the
time.
We should expatiate at greater length on the absurdity of
this bye law, were it not for tho pleasing fact that at the
Annual Meeting held in March, 1837, its repeal was for-
mally announced. The statement was also made that an
annuity had been granted, though not a hint was thrown
out that this single act of munificence, as well as tho repeal
of the bye-law, might fairly be attributed to the movement
on tho part of the reformers.
Some littlegoodhaa thus been already effected by the reform-
ing movement, and still more good by the withdrawal of the
thick veil, by which tho doings of fogeydom had been long
concealed from the public eye. Once, newspaper reporters were
excluded from the annual meetings ; now, in consequence of
a motion on the part of the reformers, they are admitted.
The most modest man will not be apt to blush in the dark,
but a flood of liyht may render even a member of the
Literary Fund Committee of Management susceptible of
a sense of shame.
The reformers, at tho minting held this week, renewed their
assaults on the old citadel of abuse. They have always been,
and still arc, in a minority, but nevertheless they have always
succeeded in frightening the majority into something like a
concession, and a series of such defeats mav ultimately prove
tantamount to victory. Hence thoy are steadily going on, deter-
mined not to desist until the Society, by adopting a system of
loans, tries to confer a real benefit on the working men of litera-
ture, instead of confining itself to a few miserable out door
pensioners, aud until, nlso, it contrives to do its charities at
a cheaper rate. By the last accounts of the Society, the sum
distributed among claimants being £1,225, the expense of
distribution was £523 — about 40 per cent, on tho amount.
This is one of the many instances in which fact is stranger
than fiction. The absurdity implied in these figures goes
beyond the limits even of caricature.
The Literary Fund at present possesses funded property to
the amount of £30,000, besides landed estates yielding an
annuity of £200, and thus endowed, it has striven to become
absolutely inapplicable to the purposes for which it was
founded. To Mr. Charles Dickens aud his associates the
thanks of every literary Englishman are due for their exertions
in attempting to clean out this Angroan stable of abuse, but
the best smile upon their efforts is doubtless bestowed by
the shade of the Reverend David Williams.
Philip of Macedo*, who was by no means inclined to
flinch from any amount of moral responsibility, would, we
think, have shrank a little from the utterance of one of his
memorable sayings, had he known of what an immense progeny
of twaddle he thus made himself the patriarch. His son, Alex-
ander, had chanced to sing rery agreeably (for the time) at
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March 13, 1858.]
THE MUSICAL WORLD.
171
a certain entertainment, and, after encountering the smiles
of everybody present, was forced to endure the grumpy
question from Uio paternal lipa : "Are you not ashamed to
■ing so well f Old Plutarch, who recount* the anecdote,
applauds Phillip with the remark—" It is enough for a
prince to bestow a vacant hour upon hearing others sing, and
he does the Mused sufficient honour if ho attends the per-
formances of those who excel in the art." The verbal
answer of Alexander is not — we believe — on record, but we
have his practical answer in the fact that bis fame far out-
shone that of his father.
The twaddle of Philip, as we have seen, begot the
twaddle of Plutarch, and the progeny has gone on increasing
through many generations. Lord Chesterfield warned his
son never to be seen with a pipe iu his mouth, or a fiddle
under his chin; and now the editor of tho Morning Adver-
tiser objects to the appointment of Mr. Bidwell, as the Earl
of Malmesbury's private secretary, because he (Mr. Bidwell,
not the editor) once played harlequin in tho amateur
pantomime.
To prove our assertion we quote Punch'* account of the
affair, certain that our readers would rather take a |»eep at
the Advertiser through the medium of our pleasant contem-
porary, than survey our very unpleasant contemporary with
the naked eye : —
WASHING TO THE WITLEKS.
We admire wit, and even for the Scotch form of it, known as wilt,
we have toleration. But we Own to di-tiute for tbc s*tMat who throws
stale beer in your face by way of epigram.
The Foreign Secretary hasappointrd a* hit prirtte secretary a gentle-
man wbo in understood to be in crery wsy qualified for that office. The
Muriting Atlvtrthtr puts out, in hir^e Utters, a scoff at the appoint-
ment, because the gentleman in question, a couple of years ago or oiore,
joined a party of friends in performing a pintomime lor a ehariiy. He
plated Harlequin on one night, therefore is unfit to conduct Lord
if almeebury's correspondence, and his Lordship is to be tueered at for
the appointment.
What the Advertitrr knows about Harlequin, wo cannot say, but we
can certainly compliment our contemporary upon being a most blunder-
ing Clown; though net a Tory amusing one. We have n>t oh»erved thai
lie h»« been hoaxed very lately into printing indilicirie« in Greek, under
the idea that they were theological arguments ; but the slate of mind in
which only he could give insertion to the stupid and illosicil spiteful-
ne»s we hare alluded to, warrant* our wnrniiij; the Wit'ers who sit in
Judgment on him, that they had belter jmt another mJ in pickle, for
ther may expect their property to he defaced, shortly, by some si^n-il
absurdity. Vi'e may lock fur' some qn. lotion ol Holy well street im-
propriety, green in Latin, as an extract from Solomon's Trover'-*, and
as n floorer for I'useyism. Look slive, beloved Din gs
Respect this censure, brother Editor, s.o mildly aUtuiuia-
tered by tho tap of Faults immoital cudgel. It is quite
possible for a prince to sing at a party, and become a great
king afterwards. It is quite possible for a man to play
second fiddle iu a quartet in the evening, and perform tbc
functions of a respectable broker iu the moruiog. It is
quite pceaible to play Harlequin for once and a way in
the days of one's youth, and sober down into a sedate private
secretary two years afterwards. Nay, more than this, so
clastic is tlur human mind, that it is possible to toady
a theological quack, and edit a liberal newspaper at the
same time.
Alexander answered Philip by outshining hint. Let
Mr. Bidwell- answer his naaailant by— No, hang it ! he can
do something more than ouUhine the editor of the Morniny
CRYSTAL PALACE CONCERTS.
TnR praise of variety, if no other, must be accorded to
programme of tho concert of Saturday, the 27th of February.
It comprised compositions from Italian, German, French, Irish
and English musicians. Let it speak for iUelf :—
Overture—" La Carnavul Itomain" ...
Caratina— "Ah! quel porno" (Seniiramide)—
Madile. Muthildc Rudcrsdorff
Bacchanalian Ulce-"Coui«, boys, drink"— Orpheus
Olee Union
Ballad—" Knrin"— composed for Mr. Allan Irving
Symphony No. 4 (The Italian) ...
Bcrena.le— " Olt when night"— Orpheus Olee Union
Ballad — "Kathleen Mavournecn" — Madile. M.
Ruderadortf
Song -"The Outlaw"- Mr. Allan Irving
Part Sotig-"The Tar". Song"- Orphcm Glee Union Hatton.
Overture- - L« Tere G.illard''
Hector Berlioz's romantic a_ _
verv effectively. The splendid cavatina from Semiramide. ui
splendidly sung, loses immensely by being trauferred to the ™«-
cert-rootn. Mdlle. Matbilde Ruderadorff is a clever artist, but
her vocal means are taxed too severely in RoBaint s air. The
St. JameVs Hall. — The opening of the St. James'. Hall I h
to be celebrated by two concerts, in aid of the funds of the
Middlesex Hospital.
the
Berlioi.
Rossiui.
Marachurr.
O. Linley.
Mendelssohn.
I* dc Call.
Crouch.
Lodcr.
her vocal means are taxcu too severely in nwamn
Orpheus Glee Union were in great force. They were encored
iu Marschucr'a glee and Hatton's part-song with loud applause.
The performance of tho third and last movement of Mendels-
sohn •> symphony reflected great credit on Mr. Manns and his
band. The intonation of thu bassoons and horn in the third
movement was most grateful to the ear. Reber's overture is of
the French Frenehy. It was well played.
The concert on Saturday last did not attract the usual number
of visitors, heavy falls of snow prevailing throughout the day.
Many, however, were found bold enough to face the cold and
tho snow, and were not disappointed on their arrival at the
Palace. If not absolutely warm, the interior was found
comfortable, and persons well clad found not the slightest incon-
venience in remaining seated during the progress of the concert.
The bitter winds howled round the building as if desirous of
gaining access through some hole or chink, and the flakes
drilted about at random and settled hero and there on panes,
pillars, and buttresses, lending a rich variety of landscape to the
lookers-on from within and without.
The programme was more varied and select than that of the
previous Saturday, as a glance will i '
OoDOCTt Overture ...
Moraine Prayer—" Kli." Mdlle. M.
Olee -"The 'Soldier's Love' * — Orjheus Olee
Union— (Solo by Mr. Fielding)
... Van Bree.
jBrillaiitc,for Pisi.oforte(Op. 22) - MissBeste
.Mi., Koden ...
Kueken.
Mendelssohn.
French Melody.
Ho,,,, — " Waters of Llle"
Symphony No. 8
Song— 1 Jessie-. Dream"- Madile. M. Ruderadorfl" Blocklcy.
Serenade— "SluiiibcrlVare-t"— OrpheusGlcrUnkm Mendclssuhn.
Solo tor Pianoforte— •^riscnesGrun"— Miss Be>te Spimllcr.
Sot |> -" The Queen of the Sea"— Miss Itodeti ... Sehloss.
New Olee— "Tliellunliiup"— OrphcosGlee Union Hatton.
Match— " Daniel" G.Lake.
Beethoven's symphony and Mendelssohn's pianoforte piece
and serenade would have made any concert interesting. The
execution of tho »yiiipbony wiu not unimpeachable. A little more
•uioothucsa in thu ittteyrxt m'r<w c con brio and the minucUo would
have U-eu desirable. ' Ou the other baud, tho sccnud aud last
movements left nothing to find fault with. Miss Best* made her
first appearance ns a pianist, but did not create a profound sensa-
tion. Some palliation should be found for drawbacks on a first
appeal to public favour ; ami wo shall be moat happy on a future
occasion to ascribe Miss llestc's want of bucccss on Saturday
last to timidity and nervousness. Thu selection of Spindlers
" Frisehes GrUn" was a mistake. The piece has little merit,
and no executant could make it interesting. Mias Rorlen is
quite a novice aud her voice too small for the Crystal
Palace. When the young lady is further advanced in her
studies, and when she transfers her singing to a more favourable
locality, we shall be enabled to decide on her pretensions.
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172
THE MUSICAL WORLD.
[March 13, 1858.
The Orpheus Glee Union again distinguished themselves,
obtaining encores in Kucken's glee, and Hatton's ■ The Hunt
is up." In Mendelssohn's serenade they were not so successful,
and should rehearse it better. Mdlle. Mathilde Rudersdorff's
best success was in the charming prayer from Eti.
The concert this day is rendered unusually attractive by the
engagement of Misa Arabella Goddard, who is to play the 4th
Her M watt's Theatre.— Sig. Giuglini's benefit is announced
for Friday next, March 19th, when fUlfe's Bohemian Girl will
be performed for the last time. Mdlle. Spezia will, we hear, for
the first time, appear in the part of Arlioe.
Her Majesty's Theatre. — The staff retained before the
curtain of Her Majesty's Theatre, presented, on Saturday even-
ing last, to Mr. Charles Nugent, of that establishment, a splendid
silver snuff-box, as a token of the united esteem and regard for
his courtesy and urbanity towards them on all occasions.
Edinburgh. — Two operatic representations 'have been given
at the Theatre Royal — on Saturday La Traeiala, and on Mon-
day La Figlia dd R*g<fim<nto. On both nights the house was
crammed in every part, and the performances appear to have
afforded the most unqualified delight. The journals speak in
rapturous terms of Madlle. Piccolomini's Violetta and Maria.
Leeds. — Musical Festival — {From our own Correspondent).
—A large and influential meeting was held in the Court Houso,
on Thursday, presided over by the Mayor (P. Fairbairu, Esq.),
at which it was unanimously decided to open the new Town Hall
by a musical festival, on a scale worthy the metropolis of the
West Riding. The meeting was convened by circulars issued by
the Mayor, in which it was stated that the committee of the Town
Hall deemed it desirable that that magnificent building should
be inaugurated by a festival, and the co-operation of the town
was sought. A resolution was passed, deciding that a
festival should take place, and the following gcutlemen were
chosen as a committee for carrying out the arrangements : —
Messrs. T. Eagland, M. Cawood, Julian Marshall, J. W.
Atkinson, 8. Hey, W. Joy, Ed. Hepper, J. N. Dickenson,
J. H. Shaw, G. Smith, G. A. Smith, J. Piper, Samuel
Smith, Q. Buckton, R fiarr, £. C. Dray, and Joseph Holt.
A long discussion took place as to the preciso time of the
festival, many gentlemen being anxious that it should pre-
cede the meetings of the British Association ; but as the visit
of the Association is fixed for the last week in August, it was
ultimately understood that the formal and grand opening should
be by a festival, to be held in about a month afterwards. The
Mayor expressed a confident hope that Her Majesty would per-
sonally patronise the festival. He had had some communica-
tion with Colonel Phipps on the subject. A guarantee fund
will be immediately raised, and it lias been decided to give the
profits of the festival to the Leeds General Infirmary. The
project has been taken up by all parties with the greatest zeal,
ana it is believed.that this, the first grand festival ever given in
Leeds, will be on an extensive and magnificent scale. At the
People's Concert, on Saturday last, Miss Julia Bleaden gave her
entertainment, entitled, " Operatic Sketches." being assisted by
Mr. A. Nicholson (oboeist), Mr. H. Nicholson (flautist), and
Mr. Spark (pianist). It was an elegant and clever entertain-
ment, and gave universal delight.
Torquay. — Mr. Fowler gave his second pianoforte recital at
Webb's Royal Hotel, on Wednesday morning last. A per-
formance of classical music (or, in other words, the mott »'*-
teUectual and beautiful music) in a provincial town is of rare
occurrence, since, unfortunately, there is a certain kind of
prejudice against this style, which is doubtless to be attributed
to imperfect musical education. People, generally speaking,
prefer listening to an air with variations by Hera, or a fantasia
on operatic melodies by Thalberg, to a sonata by Mozart,
Beethoven, Weber, or Mendelssohn. That champion of the
great masters, the editor of the Musical World (a paper which
every one interested in music should take in), shows, however,
that a great change is taking place. He says—
" Even now only a smsll portion of the musio of the really great
composers is familiar to the public, while, on the other hand, the public
•iierally is bteoamg utterly wearied (nauseated indeed) with the Fan-
tasia-scbool and its twin-litter, the • Rhapsodic.' so grossly misnamed
the 'Romantic' M. Thalberg, the moat illiutrious modeni represen-
tative of the former, has been of late year* going out of fashion, and no
wonder, sine* he has flourished for a lengthy succession of yean on the
eternal modification of one idea. Take away Ids thumb and his
arpeggio, and what becomes of M. Thalberg?"
We firmly believe that as musical education in this country
is advancing with rapid strides, we shall soon find that a bril-
liant performance of empty, unmeaning sounds will cause no
excitement whatever in an English audience. It will be abso-
lutely necessary for a fine player, if he wishes to be appreciated,
to wed himself to fine music. Notwithstanding our previous
acquaintance with Mr. Fowler as a pianist, we were not
prepared to hear so excellent a reading of the great pieces
he played. We must, however, speak plainly as to his
leaving out the last movement of the Sonata Pastorale of Beet-
hoven. This was unpardonable, and we believe there were
many in the room who felt greatly disappointed. Of Weber's
grand Sonata in A flat, the Musical World says : —
" Genius breathes in every bar of this truly enchanting work, which,
while as characteristic of Weber as anything that ever proceeded from
his pen, unites the luxuriant melody of the South to the deeply-
coloured harmony, ingenious rontrivance, and romantic expression of
the veritable Teutonic music."
Of Thalberg' s Don Giovanni we will say nothing beyond that
the execution of it was all that could be desired, and that it
was out of place iu a performance of classical music. We will
conclude by wishing Mr. Fowler success in the path he has cut
out for himself, as a preacher (on the piano) of the great
masters, and may he find as many convert* in the south as
Miaa Arabella Goddard, M. Charles Halle, and a few others,
find in their respective localities. Wo must not fail to notice
the able assistance afforded by Mr. Arnold, as vocalist ; and
Mr. Rice, as violinist. The former gentleman sang "The Spell,"
by Weber, beautifully, and received the compliment of an encore.
—{Abridged from the " Torquay Directory )
liiairoap Musical Festival.— A few weeks ago some difficulties
had arisen in the preliminary arrangements for holding s musical festi-
val of the three choir* at Hereford, and we now find that there is every
prospect of their removal. On Saturday hut there was a meeting of
tbc lata steward* and committee, and other promoter* of the Festival,
the Right Hon. and Rev. Lord Say and Sele in the chair. A resolution
was come to that an effort should bo made to obtain twenty -fir*
stewards for the forthcoming meeting (in lieu of the usual number of
eight), with a guarantee limiting the liability of each steward to £25.
This augmentation of number, and diminution of the individual respon-
sibility of the stewards, ha* been found to work admirably in Wor-
cester and Gloucester, in more than one instance converting a deficit
into a surplus, and an expectation is entertained that similar results
may follow in Hereford. Thirteen have accepted office ; and the
meeting stand* adjourned for a fortnight, to giro those disposed the
opportunity of evincing their sympathy. The Dean of Hereford de-
clined to accept the office of steward, but hsa been no impediment to
those more impressed with a sense of the necessity for continuing
these musical celebration*. The cathedral organist, Mr. Towns hend
Smith, in the sight of unfavourable experience*, and in the presence of
much reluctance and indifference, has persevered in a re organisation
of the muiio meeting, which i* calculated to have a permanent influence
upon tlio fortunes of the undertaking. The Rev. John Hopton ha*
accepted the chairmanship of the Festival Committee, which the Arch,
deacon of Hereford recently resigned.— Worcester Journal.
MiDSoatiB-NoHTOX.— Toe organ of tbc church here ha* been re-
opened, after undergoing a complete restoration. The sermons in aid of
the repair fund were preached, in the morning by the Rev. the Vicar,
who took as bis text, Col. iii., 16, 17; in the evening by the Right Rev .
Bishop Carr, Rector of Bath, from Psalms, xcviii., 3—6. Mr. J. H.
Macfurlanc presided at the organ, and wsa supported by a ohoir from
Bath. The service* for the morning, were Nare • in K, and the anthem,
" In Jewry is God known ," those for the evening, were Bbdon'* in C,
and the anthem, "Lift up your head* all ye gates." Notwithstanding
the unpropitiou* state of the weather, there was a fair attendance in
the morning, and a crowded congregation in the evening. Tbe collec-
tions were good, and not the least gratifying feature was, that in the
evening, the turn of 9s. wa* realised out of the pence of the pour aloas.
The greater portion of the expenses attending the repairs was provided
for by the contribution* of tho*c connected with the parish., Mr. Clark,
of Bath, wa* the organ-builder engaged. <
Digitize^ by Google
March 13, 1858.]
THE MUSICAL WORLD.
173
THE DECLINE OF PANTOMIME.
(From Punci).
We hear of the decline of the legitimate drama, but in oor
opinion that is not by any means so marked and so deplorable
as is the decline of the legitimate pantomime. We recollect
when wo were used to swelter in the pit on boxing-nights, in
oor uncommon!/ hot youth when George the Third was king,
the harlequinade was something more than a mere series of
is and 1
tricks and tumbles. There
then approaching
to a plot in it ; although we own that, to our undeveloped in
tellect, the red-hot poker proved of greater interest than the
plot. The "transformation," we remember, was always the
joint work of the good and evil fairies ; the former sending
forth the lovers as harlequin and columbine, to enjoy themselves
in dancing towards the "Bowers of Bliss," and tho latter chang-
ing into clown and pantaloon, the "stern parient or guardian"
and his protege (of course) the rejected suitor, for the purpose of
annoying the fond couple on the road, and of showing, as we
landed, that not even among fairies can the course of true love
be expected to run smooth. To frustrate their designs, and give
protection to her favourites, the good fairy then gave harlequin
his magic wand and cap : the latter of which bestowed complete
invisibility, while with the former he performed his tricks —
not merely to surprise and please the audience, but to astonish
and amuse the weak minds of his pursuers, and so gain time for
a dance of delight upon escaping from them.
But now, we grieve to see, all this is the exception rather than
the rule. The change is now no longer of necessity tho work of
the good and evil genii. Nay, we shudder to reflect, that in
some cases the fairies are dispensed with altogether ; and tho
transformation is effected solely by the scene-shifters. Sponta-
neous harlequins now come before the footlights ami giddify
themselves with self-created columbines ; while clown or pan-
taloon, alike unbidden, jumps forth from the suit of the ( n-
natunil CneU. It horrifies us also to see to what base uses the
fairy gifts of harlequin are often now perverted. Degraded by
the advertising spirit of the age, his magic wnnd is used to puff
some magic strop, or to show what transformations are effected
by cheap tailors in the personal appearance of the customers
who deal with them. Uc cuts a caper to remind us of some
cutlery establishment, and takes his leaps to show off the
superior elasticity of Borne gutta percha leggings or now patent
spring-hoeled boots. In short, his tricks degenerate to merely
tricks of trade, and all the "comic business" of the good old harle-
quinade becomes a paid-for and a serious commercial matter.
Moreover now the "Unities" are often wholly disregarded:
the parts, like forms of contract, being filled in duplicate. On
the principle that quantity will serve instead of quality, two
' nes are now engaged to do the work of one , and in their
j as well as by their tricks, we find the harlequins now
i the double" with us ; having a couple of clowns and a pair
of pantaloons for the sake of keeping watch upon their duplex
movements. Besides too, a suspicious-looking nondescript,
called harlequins, whom if we were columbine we should cer-
tainly insist on harlequin's disowning, there are generally now a
brace or more of sprites, who appear to jump to tho conclusion
of the piece for no apparent purpose but to get their legs broken.
To a mind that recollects and admires the " legitimate" all
this is painful proof of the declino of the proper pantomime,
and justifies our fear that it is surely dying out. It is true
we hear of theatres still crowded upon boxing nights, and of
their managers being crowned and half-crowned with suc-
cess. But' these triumphs are achieved by the gasmen and
the scene-painters, and in no way can be looked on as
"legitimate' results. Moreover tho infusion of the acrobat
element is clearly tending to destroy the purely pantomimic, and
fully half the cause of the decline we are deploring may be
traced to the bad influence of doubling the parts. It may bo
that a pantomime may run a little longer for having all the
strength of what is called a "double company" to help it; but
this doubling of the bipeds who sustain the parts, appears to us
to have a quadrupedal tendency, and almost makes us fear that
w« shall live to see the night when half the pantomimes in
London will be " mounted " as at Astley's.
A RHAPSODY ON LISZT*
(From the iVeic Tort Mutieal World.)
lit order to know a man well, we must have eaten a bushel of salt
with hitn — as the Germans say. With Liszt, although I hsve not
starved, yet I liave shared hunger and thirst ai well as luxuries.
I have been with him sleeping and waking. I luve held him up
when fad events threw this extremely irritable man upon the oouoh,
or towering waves of fortune raised liitn to the utmost height of
felicity. 1 have struggled against his pride and virulence, and have
not shrank even from icy coldness. I have listened to him when hit soul
wss filled with the holiest inspiration., and hsve stood near hiui,
watching and wsrning, when malign influences threatened to plunge
him into sn abyss of errors.
There wss no situation in which I was not, ss an intimate friend,
near this wonderlul man ; and this T think in equal to the bushel of
■alt, if not more. Thus perhaps no one was equally well justified in
writing a biugraphy of Liszt as myself, which book by the way con-
tains the only really good portrait of this rare as well as singular
artist.
Here, where 1 delineate only a few lines of bis portrait, I will
commence with an anecdote from his life, which, being a fact, shows
his character so well, that an attentive reader, without tho aid of a
glass, can immediately recognise Liszt.
During his last great triumphant tour through Germany, Liszt
stopped for some time in Stuttgart. Ho lingered there, as be often
would tell us, principally on account of his friend, the poet Dingelstedt,
Slid partly for my own sake. He gave several public concert s, from which
he realised the sum of 12,000 florius in s city numbering but about
50,000 inhabitants, llo became the centre of the first society and of
splendid festivals. He played several times st Court, for which he
received sll possible distinction! which the King of Wurtemburg could
confer upon sn artist. The list of honors was exhsusted when the
roysl princesses wished to hear once more this magician of the piano
keys quito privately in their own apartments. Liszt, our truly chivalric
artist, sccrplod w it h delight such an invitation, expecting less to show
himself as an artist than to express his thanks for the many honors
received. It must have been rare enjoymeut for a royal family which
recognised in art only a graceful pastime and a delightful intoxication
of the tenses, with an agreeable excitement of the sentiments j for no
artist in the world understands better than Li>zt how to surrey at a
glance the character and the most hidden recesses in the hearts of his
sudienoe. This very fsct is tho cause of his wonderful effects, snd will
secure them to him slways. He plsycd on thst occssion Weber's
" Invitation . la Valse," with his fsr more effectual, free, final cadence,
hit " Chromatic Galop" (which causes all nerves to vibrate), and a few
of his transcriptions of Schubert's songs — those genuine pcarlt, the
richness and colouring of which none can show to well ss himself,
being s unique snd most perfect master of the art of touch. And, finally,
in order to show something st least of his immense bravura, he played
s little concerted piece. The mott gracious words of acknowledgment
were showered upon him. Liszi, enraptured by the truly heavenly
eye of one of tho princesses, which, rendered still more beautiful by s
singular moisture, wss fixed upon him, declared his hsppinesa in thus
being sble to express hit thanks for the insny honors conferred
upon him.
Among all tho princes of Europe, however, there is none to littlo
inclined to accept of services without remuneration st the King of
Wurtcinbcrg. This it one of tho many chivalric traits in the cha-
racter of thst monarch, none other rewarding artists in such roysl
style. On tho next morning I was with biszt, each of us smoking
comfort sbly on one end of the sofa a real Havana. Liszt was jutt
telling mo of hit last visit at court, when there entered one of its
servants. Ho placed a roll of 150 ducats in gold upon the table,
presenting Liszt with sn open receipt, Baked him to sign it.
read : " Received, for his playing," etc.
Aloud, and in a tone of astonishment, Li»zt repeated the wordt :
" Received, for tny playing ?" and, riaing with that peculiar arittocratie
grace, ho says iu s mild, condescending tone: "For my plsying am I
to sign this document? — My friend, I imagine some clerk of the
court-treasury has written this scrawl." Upon which the servsnt,
interrupting, said, that it had been written by Mr. Tsfel, Counsellor
of Ckmrt and Director^ of the Court-Trcssury : " Well," laid Liszt,
"tike bsck the receipt snd money, and tell" (raising his voice) "the
Counsellor from me, that neither King nor Emperor can pay an artist
* A puff preparatory would be as good s title, if it be true thst
Dr. Liizt is about to pay the United States s
Ed. Jkf. W.
Digitized by Google
THE MUSICAL WORLD.
[March 13, 1858.
for hit playing — only, per chance, for bis lott time, nnd'' (with haughty
indignation) "that the Counsellor ia a blockhead if ho does not com-
prehend that ! for v»«f trouble, mjr friend," (firing him 5 ducats)
"Uke thit trifle."
The (errant, in utter astonishment, knew not what to answer, and
looked at me. Rut Liszt's alight figure »m erecting itself, liU finely-
cut lips were compressed, hi* thin check* quivering, hit head win
boldly thrown back so that hi* thick hair (then dark brown, now gray)
fell far down on hi» »houlder, hi* nontril* were expanding, the lightning
of his keen and brilliant eve wa. gleaming, hi* arm* went folded, and
he»howedall hi* u»nal indication* of inward commotion. Knowing,
therefore, that LU«t had by that document been touched at hi* mo«t
sensitive point, (ind that thia we* nothing more nor le«* than a unnll
bottle in hi* great content for the social position and right* of nrti»t*
— ft contest which when a boy of 15 year* lie had already Minn up, I
wn well aware of the impossibility of changing hi* mind for the
present, and therefore remained silent, while the discomfited lacquey
retired with many low bow*, taking money and scroll with lum.
Whether he really delivered the message, I know not • but I waa still
sitting with I.iazt when he re-sppeared, and, laying the money upon
the table, gave Liszt a large sealed letter, which reud a* follow* { " Tho
undersigmd, olBccr of the Tiea»ury of Court, commanded by Hi*
Majesty the King, beg* Dr. Liszt to accept, as a (mall compensation
for hi* lott time with th© princes***, the turn of ISO ducats." Lint
handed me the paper, and with a aitent glunce 1 iuterrogat.d him in
return. It is an old fact that the aoul i* always mott clearly reflected
in homely feature*; and I distinctly read in his, reconciliation and the
kindest feeling* ngain. He sat down and wrote on a scrap of paper
with pencil: "Received, from the royal treasury, 150 ducat*, Franz
Lust, and gave it to the servant very politely, accompanied by another
rich gift. There was never afterward any further allusion to the affair.
Another fact. Lisit was onco at my house, when n woman was
announced to v hom I was in a habit of giving quarterly a certain »nm
for her support ; it being a few days before tho us"ual tune, she gave a*
an excuse (it was November) tho hard time*. While providing for
her, I told Lisit, in an undertone, that sho was an hone»t but very
indigent widow of a painter, deceased in his prime, to whom a number
of brother-artists were giving regular contributions in order to enable
her to get along with her two small children, I confess, while telling
him this, I hoped that Liszt, whose liberality and willingness to do
good had almost become proverbial, would ask me to add something in
Eis name; and wa», therefore, quile surprised to «co him apparently
indifferent —for he answered nothing, and continued looking down in
silence. After a few day*, however, the widow reappeared, her heart
overflowing with thankfulness, and her eye* filled with tear* of joy, for
she and her children had, at the expense of a man whose name she was
not permitted to know, received beautiful and new wiuter clothing
while kitchen and collar hod been stored with every necessary for the
coming winter. Now all this had been arranged by the loud'lady of a
Certain hotel, at which Lint vat then flopping.
Let me mention o third circumstance which reveals another trait in
the character of this singtilsr man. The price of admission to Lisit'*
concert* was unusually high, so that they could only be frequented hy
the wealthier classes. At a party the conversation fell upon this
subject, and it wa« regretted that for *uch n reason the many teachers
and scholar*, in spite of their great anxiety to hear tho great master, were
prevented from doing so. I told Liszt ot this, and ho answered: "Well,
arrange a concert for thcra only, charge as much or as little as you
think proper, and let me know when and ichat I shall play." Immedi-
ately a committee wo* formed, and a concert, for teacher* and scholars
only, arranged, to which the price of admission amounted to only
18 krenfiers (about 12 cents.) Quantities of tickefs were sold, nnd
immenso gollerie* had to bo erected in the large ball, Liszt viewed with
delight this juvenile multitude, the enthusiasm of whom knew no bound*,
and I never heard him play more beautifully. With a delighted heart
he stood amid a shower of flower* which thousands of little hand* were
strewing for him, and when at last six veritable little angels approached
in order to thank him, he embraced them with tear* in his eves; not
heeding the fact that tho grown-up people were appropriating his
gloves, handkerchief, and all they could get hold of, tearing them up
into a thousand bits, to preserve in remembrance of him. On tho next
morning we brought him tho proceeds of tho concert (nearly 1,000
florin*)— he declared that he had felt happier in that concert than ever
before, and that nothing could induce lum to accept the money — with
which the committee might do as they pleased ; and if after so much
delight they did not wish really to hurt his feeling", he would beg of
them never to mention that money to him again. It was appropriated
to aZ/szt/aW, which will continue toexist for ever, and a poor teacher**
•on, on going to college, is destined to receive the first interest.
A thousand similar anecdote*, which pass with many for eccentri-
cities, might be related of him, which prove him to be a great and truly
noble character, showing at th* same t me that such genius as his is
one of the clearest manilc-tations of tho divine origin of human nature.
Lint was born on the 22ud October, 1311, in tne Hungarian village
Riding (near Oedenburg). His father was an ofllcisl on an estate of
the Prince Eiterhazy. When still a boy nnd only a scholar of hi*
father, who was a mere amateur, he distinguished himself by hit play-
ing. Accompanied by his fsther, he went to Carl Cxerny, tn Vienna;
yet the (caching of the lstter win not of very great moment ; of Mill
less value wa« the instruction in composition which he received now
here and now there.
His father, on quiUing tho service, used the talent of hi* young son
only is a menus of g*iu. Lisit i* principally self-taught in all thine*,
and well he may be so -, for while others need year* for the study of a
science, he only require* day*,— and hi* inboru artistic genius, when
scarcely first aroused, wa* already at an advanced point of true art.
He would have became • grout man, no matter what he might have)
undertaken. The greatness and universality of hi* genius prove it;
and then tho severe education which bis father, who was al*> an able
amateur, gavo him, prevented him from failing into dangerous
aberration*.
The latter travelled with the wonderful boy through Germany,
France, and England, and everywhere his concert* yielded much profit;
they chose to make Fori* the centre of their wandering life, and there
the boy became the loved and petted favorite of the ladies in all saloons.
This ctrcumstauce called forth in him a great desire for ennobling art,
and ripened afterwards into a veritable psssion. The great attention
paid to him everywhere by the most distinguished persons, the boy
attributed only to hi* ait, at the same time he must, at an early period,
have had a presentiment, it not a conviction, of th* social position of a
tmlv great artist. Would it bo believed, that already in the boy of
15 years, the resolution was deeply rooted to vindicate and assert this
right everywhere and iu all thing*, and that he regulated hi* whole
life, deed*, and de*ire* in accordance with it, straining every muscle to
tear down the wall which heretofore had separated artist* and art
from society. This fact, if boruc in mind, explains all seeming eccen-
trieitie* iu Liszt's life and deed*. From this arose tho occasional
differences with his father, whose ideas were in direct opposition with
his. When his father died, the most bitter tears of the son were shed
upon his grave; but feeling himself now free, be begau anew tho work
which before he could not earnestly take hold of.
And ha* he accomplished it? ilo*t certainly! Lisit mast in
history In- placed in a similar attitude wit i Beethoven ; for as tho latter
ha* delivered art from the bondage of an old scholasticism, and rein-
stited it in it* own rights, so bus the former established for the first
time the rights of artist* in *oeiety. Thi* constitutes his greatness in
art-history, beside* his being the g'rcate»t piano-player of the age.
Though only 17 years old, Liszt felt the danger of his undertaking,
and in order to secure his mother from all accidents, he made over to
her all ho had earned until then— about 200 000 franc*. After thi* ha
withdrew into tolitude — for tho extraordinary »pirit of the young
untrained man ws» in need of nourishment, which be obtained there
by diligent study.
Tins only was his object: lie was no visionary. Beings of genius,
in whoso souls a certain fermentation is continually going on, desire
also to satisfy their c**ily-cxciicd sense*. Hence the strange freaks
which marked Liszt's lite at that period, though he never lost sight of
his aim. The success of young Thalberg in Faris first drew him again
before tho public. He returned, prepared for the battle, into society,
whore he shone by hi* elegant and polished manner*. Electrifying all
with the flashes of his clear and penetrating mind, and awakening an
echo iu the breast of his hearers with every key he touched, he seemed
to create an entirely new world of nisno-pleying. Petted when • boy,
he was admired as a yonth, and this admiration still increased when
ho became a man ; the more »n, since the artist wa* adomed by social
manners which are found only in the highest sphere of society, or in
such persons as naturally, in their mental powors, tower above others.
Only kings or millionaires, who are at tho lame titno poets and
model* of perfection, can hvo a* Liszt live* ! He knows no social
restriction or formality, nnd only recognise* lite nobility of the heart
and of art. Hence, not only the many extravagant notion* in bis
intercourse with society, but also, notwithstanding hi* inclination to
sensual gratification, his tendency to piety. From the latter again
arise* hi* great nervous irritability, causing naturally, hi* imagination
to bo very easily excited.
(IY» ft* continued.)
Digitized by Google
NEW ENGLISH SONGS,
BY
POPULAR COMPOSERS.
JOHN L. HATTON.
" PHCEBE, DEAREST, TELL, OH TELL ME!"
COMPOSED FOR SIMS REEVES.
Price *>. Qd.
Fberie, dearest, toll, oh '. ul] mo.
r-tU <old Ui'cSha' reanion'.
k true* the tale I tell;
M. W. BALFE.
"SCENES OF HOME."
Prirt 1j.
I'm with yon one* again, my ft
No mot* my footstep* roam ;
Xn other dime hu akica en Hue,
Or atroema a i broad ami clear ,
Aiui where wr« hearta u> warm and true
Aa thou that root t me here !
Long I've wmteli'd each ran perfection,
Stealing o'er that gentle Ww,
'Til rieioct became affectjoo.
Such ae t hat I oflfer now.
If Too 'ore me, and will hare roe.
True 111 he in weal and woe ;
Little ear* tbt broken Leaned
What their fiat , by land or sea.
PI cebc, if we r.neo ore patted,
Once for ever It will be.
Say then "rea." <» b indly, madly,
I will rush upon the fo* ;
And will welcome, oh. how gladly,
Foot or ahell that laj re dm tosr.
MISS FEICKER
(Composer of "fading ateay.n)
"I DO NOT WATCH ALONE."
Price it.
Wh' n eVry flow'r that oprAl at morn,
Ite weary eye shall close.
ADd by tho wmge of mem'ry borne.
My thoughts ou thee rennee ;
t love to hear the eVtilnir Delia,
To 1 let t heir eo
For to my heart
IdoBotwaiet
eooiblog t.-ne
In Jancy, while t boar that chime.
I r. »e again with ih< e.
And hoar thy tow. " At ev'rdng
My thought of thee shell be 8
I do not watch alone.
C. J,
"THE LAST GOOD SIGHT."
COMPOSED FOR SIMS REEVES
night, i-nrr rc^ru lltght, .0**.
Th* VttflUlg II oau U hiffh.
And the B**r* t-v, *, on ns:. ft*)*, l<w»,
Into u>* nKirutuff aky !
Ah I tbt otLcL envjoit* iUy,
Porlids my , ■ngs.r st*/ 1
'a^;:^::thTd^,-«
The nightingale ia silent.
fJU srnig la heard no mr.ro;
Tn. t rd of dawn pn« aitneth.
Hr.w the midnight time is o'er
Hood night, go<.d n flit 1
The heat na ami earth li re?.
! may not etay with thee,
Goo.1 lil.l.t, oti-e mm., is" «1 night, lore I
Oh ! ihu wenrj- lie ir fur me I
See, oh : s*e, th' impatient mora Ing
Sonde (orth hie he' aid ray.
Ah I rau*t I take the warning.
And ttar tnyse'faway?
No.s' tv the sLatica >jt ulu'ht, lere.
Tliati day t.i nw innre bright I
Good n
niirht, lore
— t with spirits wild and i
I pressed my uative etrand.
I're wauder'd many mlb a at tea
And many milee on land,
I've eecn fair regions of the
By ride commotinn torn.
Wh.chuaghtrool.owtopr
Of that ' hero 1 wo. boro
B. S. PRATTEN.
" TOO LATE I TOO LATE!"
SONG.
BOTH. BV MISS LOUISA VINNI3.0.
Trie* it.
A maiden fair and young
Went forth one morn In May.
Upon a hough there a ing
A bird that seemed to »>y :
Why wait? why wait!
Boon, aooa 'twill be too late.
TY»to,la.la,.to.
Away the maiden went.
Audjo iu-d c*ch f-tl».thraor,
Or, PleaaMro'. « hlrl lu.elit,
" . Ip.^t i U>.r I. ■. l!Mlg
I'll wit. III -alt,
Sacg elie wlthjny elate.
Tra, la. la la, etc
Time f.rw, ... an the etreyod
I ■ '« irU 17 round,
With m.\ay a he.irt -bu plajed,
Ani lauKh. d »t iT"r» wound.
Tch Jai. • too lata I
0;,l TilU5:,::iiaell' ►hall wait.
Tra. Ma, U. tta.
Then cam1- the nrnt grey liuir,
And l'«>V« ni l hcirtu ,T._'w cc-H,
And wrinalea l.'-rv and there
Their tale LinwtUvjipe Uj d_
Hard fab? I too late I
She aa»(( d:*.-vju»olate
Tra, la, la, la, ete.
E. W. FAITHFUL.
"THOSE DEAR OLD TIMES."
8UNO BY MISS DOLBY
Price It. Gd.
The «e Ma iu the aummer llcht are 1
And fl -w"ra aweeteat p-rftimee exh
The •trvamlet make* muale In ita flowing.
Aud bird, tell th«r luneiui talo.
Jut lie Und .car« bngl,t from the
The et'eame aud rummer fiow'ra.
Anil aoaga of blrda uctlt more I priae
Aa in childhood'* happier botum.
Iu my di earns I beheld friei da long 6
Aud h.ar I lie a*eet village cblnice.
But more lonely I feel and morn d'-eertrvl
When I call back those dear old Umea
Oh I tbe ]oyi of my yontb all aorrowa t
Or team, if eome gnefa did diecltwe,
JJbSroT'd by a smile In ha-te they vaL^h d.
L>ke de«s fnin tbe mornlug r.e»
All the golden hopes of the lirart are gone
When our youttilul daya ire o'er.
The flow're ul lore, they may still live on,
Bu*. alae ! they blo.^n U" niore.
In my drwuria 1 tniield frl«ii<u louif 'I rpiirud.
And lii?ur the awexjt vliUffe chimes.
But more lonely I fee. and more do*, nod
When 1 call back those dear old t
BOOSEY & SONS' Musical Library, 24 and 28, HoUes-street, Cavendish-square, London.
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176
THE MUSICAL WORLD.
[March 13, 1858.
MEYERBEER
THE FOLLOWING HEW VOCAL COMPOSITIONS
M EYERBEE R
MESSRS. DUNCAN* DAVISON and CO.:
THIS HOUSE TO LOVB IS HOLT. Scrcnado tor eight twom (2 sopranos, b. d.
1 oontrajtos. 2 tenon, ind 2 boMes), w ilhout tu-compiinlment. In vocal
ScpmrUo vocal jurta to the abovo
CSCh
" Wo have received an English version, by John Oxenford. Esq.. of Meyerbeer's
bUsbod under the title
It is pt
hvmime-fcl serenade, * Adle-u aux leunee min'«
of 'This House to Love Is holy.' U to composed tat sight voicae, or. r*thsr, In
eight itarts; linos each part may bo strouftbeticd by any number of voloes. It
to without accompaniment, and differs, in that respect, from moat of the grand
dramatic choruses to be found in Meyerbeer's operas, »upportod by the orchestra.
Ttiis purely vocal serenade is more after tho model of the great conLrai'tuital
writers of the seventeenth eoiiturr — Agottiut, Beuevoll, Miuutochl. and BcrrctU —
who twqiicatbed to us impertohable legacies, in the canonic au>l fugucd elytca,
for two. three, and seen four clioniNoa. singing simultaneously, each chorus con-
sisting of soprano, alto, tenor, and bass. The* colossal compositions, though
masterpieces of contrapuntal contrivance, hare long tin re fallen into disuse,
except as examples for study In the Musical Conservatories It to doubtful,
indeed, whether the oar alone (unless usatoted by the eye, end a view of the
partition) would enable the bearer to follow and distinguish tho intricate and
involved web of so many voices of similar ch«ra.ter Intertwining and crowing
each other. Tbs nearest approach to distinctness was probably arrived at by
Placing tbo several choirs at some distance apart from each other. This method
nas been tried, in our times, und-r the direction of the talented and lamcutod
when be conducted the peTformanee of Bach's ■ Passion Metric'
Hsltliew. composed for two orchestras and three cboruaea; but
not a»tisf»ctor..- These remarks ure nocc*aor}', ti> e« plain the
of Meyerbeer's Serenade, now under review. In order to attain
. ho oon»titutes his two choirs of different materials — one cboir consists
of /male voices, first arid second soprani, first and second alii; the other choir
consists of male voices, first and second tencri. fir-t and aecond baeti. The first
verse Is commenced by the male cliotr. and to tiftcrwsrda taken up by the female.
The same musical subject la then divided into pi: rasas or two or three bars, and
given to the choirs alternately. Thir.il>-, both choirs combine. By those means,
Mcycrticer has avoided the confusion wl k-h was lDscperalde from Uie carllor
ootupusiiiooB which wc have mentioned. While be equals the Old Masters in the
carriage of the voice, in the purity of writing, and progression of the parts, be
has imparted a charm of melody to which their esitous and fugues never attained,
and has added a richness of modulation which was unknown to there. Wc
would | articuiarly instance an abrupt modulation, from G fiat to A natural (in
harmony Cor double B flatX and back again to I) fist. The English wotds also are
fittingly welded to the music. We need scarcely »<ld that wosirougly
this Hsrsnade to such of our local choral assouiutions as have the a
female voices. "
THB LORD'S PRAYER, for four voices
with English and Latin text, organ ad
irate voc.il ports to ths above each 0 o
We have met with fow devotional songs of late ream so calculated to become
widely popular. The melody to quite Uandellc, sod the harmonies are arrange- 1
with the moat masterly skill ; while the subject, being one which Involves no
question of doctrinal or sectarian niflerence, commends Itself to nil "who profess
and call themselves Christian.' We shall not be surprised to find the harmonised
Lord s 1'rrver engaging the attention of many a church and chapel choir; th.t it
will be widely patronised in domestic circles we feel assured."— Jfrisfof Afrrcurv.
\?JS.KK «• luJ>- for ""*«• I'tono. and violoncello . . « *»
HEllE, HERE ON TiiE MOUNTAIN RECLINING (Le cuant dti rVrgcr).
for voice, piano, and clarinet, or harmonium 4 0
%• Tue sbuvc two songs are eminently calculated for singing at
(soprano, alto, tenor, and l>la»)
111b., in score ..
NEW VOCAL MUSIC.
! I?"".?^." U"ad- °7 C J- Hargltt
The old Willow Tree," ballad, by «. J. 8L Legee
' The Troubadour's Lament," by Louisa Tarnold
I-.Ti. I c,i -n. wc t...pl..r. -.I.e." |l ,, , :,„j\. pr'.Vri.
• Quick arias, maiden mine," Air S'yricu. by J. "
•■ WHEN OT^raE^lAIiOW^^' • HORN.
V™ui^by"»d*V^^ '
VOICE, PIANO, AND VIOLIN.
"MOURNFULLY, SING MOURNFULLY." by O. Cruwell, Op. 91
V0ICE, PIANO. AND VIOLONCELLO.
" wnBRE 18 THE SKA," ley O. Cruwell. Op 34
- WHEN O'ER THE MEADOWS GREEN.** I
Vtvler
NEW PIANOFORTE MUSIC-
"THREE MKDEH OHNE WDRl K." by C. J. Hargltt
' ' Bella Figlla " | Rigolettoi. by Jules Driruuc . .
" Clarice,- Morccau .is Concert, (plav.et by Miss Arabella Goddard) . .
A Summer's Day." Romance, by Eugene Mouiol
, by K. A. Gomiou
a. d.
2 C
2 0
2 6
2 0
2 0
J 0
2 6
3 0
S 0
S 0
2 «
4 C
a o
2 «
DUNCAN DAVISON A CO.
(ufePtSr OfcMfcKAl, Da- LA MA1SOM !
T, CORNER OF LITTLE AF
In one volume, haudaomciy bound In crimson and (old, price Is ftd.
MENDELSSOHN'S
SONGS WITHOUT WOBDS.
EDITH) n
J. W. DAVISON,
WUh Portrait John
From " THE SPECTATOR."
"They aro edited with great care and t'orrecruess, by an accomplished
and critic, who has tnrlclied the collection with an able and in 14
ig prtfsce."
Trom "THE illustrated timks "
" Mr. J. W. Davison his studied Mendelssohn deeply and lovingly. A very
interesting preface, from his pen, accompauita thin volume.
AND
MUSICAL LIBRARY. 34 A 28,
Jiut PuUuhtxU
A GRAND
SELECTION FROM IL TROVATORE,
AiutaKoaD roa
LARGE AND SMALL ORCHESTRA
(WITH SOLOS AD MR)
ANTONY *LAMOTTE.
As performed with Immense success at the Adelaide Gallery. Price 7a for
urchwtra ; and 4a. for se|rtctt.
*.* II Trovatore will be fallowed by La Tiaviuta and Rigoletto, arranged in a
similar manner.
B008EY AND SONS' MUSICAL LIBRARY, 24 ami 28, HOLLEH-STREET.
THE QUEEN '8 STATE BALL.
The following Dances were performed by WBIPrERTS BAND on the
occasion :—
1. -LAMOTTES TRAVIATA GALOP.
2. -D'AI.nERT'8 LINDA QUADRILLE.
s. — laurents maud valsb.
4. — GUNGL'8 rETERIIOF VALSE-
The above are published for ptono and orchsatm by B0O8KY AND SONS,
24 and 28. Hollee-street, London.
NEW MUSIC FOR HARP AND PIANO.
SIX OEMS
> sow
VERDI'S OPERAS,
ahsasioed roa
HARP AND PIANO
JOHN THOMA S.
B. d.
1— THE MISERERE, snd TU VEDRAI CHE AMORE (Trovatore) ..4 0
I— IL li A LEX DEL 800 hORFUSO; and Dl TALK AMOR (Trovatore) 4 0
».— SI, LA 8TANCHKZZA M' OPPRIVIK (Tr-iratore) 4 0
4. — D' AMOR HULL' ALI ROSEE. and DI Of ELLA PIRA (Trovatore).. 4 0
5. -UN DI. HE nEN RAM.MENTOMI. yC.vUTKTT (Rlgolutto) .. .. * °
<!.— LA SICILIENNB, BOLERO (Lea V4praa Slctllennea) 4 0
London : Booacy and Sons, 28, Holles-straet, Oxford-streat.
Publlslici by Joux Boosict, ol CasUchsj-hill. in the parish of Baling. In thai
County of Middlesex, at the office of Boons? k &>!<&. 28, Hollos-street. Sold
also by Run, 13, Jonu-atrcet, Groat Portland-street ; Amur. Warwick-
lai.e; Vlt•«»B^ HolywelUtrwt ; Keith, Paowst, A Co, 48. Cheapaida ;
G. hcHBLRMANS, S8. Ncwgato-stroot ; John SiisrHCBD, Ncwgatc-street ;
Haiuit Mat, 11, Holbom-bars. A genu for Scotland, Pathrsom A 8<»»»,
Edinburgh and Glasgow ; fi* Ireland. U. Bcssr.LU Dublin ; and all Mumc-
eel.ers.
Prtnled by William srivcrjt JoetsaoK. •• Nassau Steam Press." 60. BL Martin's
(n the^Paruh^of St. Martin-m the- Fields, in the County of 1
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8 1) t fUnsiml MrnW
"Tbe
SUBSCRIPTION:— Stamped for Postage, 20b, per annum— Payable in advance, by Cash or Post Office Order,
to BOOBEY & 80N8, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 12.
SATURDAY, MARCH 20, 1858.
PRICE 4d.
MB. AND MRS. GERMAN REED flat* Miss P.
1V1 Htrt-j) will repeat their FatsrtainrntHil at the Bey*! Gallery ol Illustrn-
tion. H, Retrmt-strcct, every moiDj, except Saturday, at Eight Saturday
ifltronon at Thrao. Admission, In, and 2k ; nulla. 3*. Sec irrd without exlra
duip at the Gallery, and at Cramer Beulo and Co. 'a, 201. Rotj-jnt street.
MR. BR1NLEY RICHARDS' SECOND CONCERT
Or CLASSICAL PIANOFORTE MUSIC, Wwlnesday evening, March 24.
Beethoven Rooma MlaaAiaballa Goddard'a first appearance at the** eonorta.
Programme —Sonata in A. piano and violin, Moxxrt ; Marred Song, '"Sweet Spinl
comlort me " : Prelude and Fugue (Mn tarantella), Bach; Duet, "The Burling*"
(sr»t Umax llullel. ; Tenia con var.. puuw and violoncello, Mendelssohn ; Dust,
-HowbeauUfulisuight/'Brinley Rlclurds ; Pianoforte Duet. op. «2, Mendcls-
.on; Trio. Beethoven. TlckeU. Ta. or Mr Brtuley Wchartta, 4, Torrtngtou.
street; Crainsr . aad Cuapptll.
SACRED ILARMONIC SOCIETY, Exeter Hall.—
Conduct .r, Mr. Costa. -Friday week, March It, Mendelssohn's I.OBCfcSANG
" tart's REQUIEM. Vocalists : -Madame Castellan, Miaa Dolby. Mr. Kim.
aud Mr. Wetaa. Oo Wednesday, Mann »1. tho uaual Ponaloo Week
nine* of the Messiah. Vocalists at pruecut engaged :— Madame Castellan,
■ Dolby, Mr. Sims Reeves, aod Mr. SanUey. Band and chorus consisting of
Marly TOO perform era. Tl Iteta 3a., in, and 10a. fid., at the Society'! office, No. ft,
a Excter-lial!
THEATRE ROYAL ADELPHL— A NOVEL AND
ELMQANT ENTERTAINMENT DORINO PASSIOX WEEK- Moods.
Evening. March 29th, for positively rive Nights only, MR aod MRS. H««fA '
PAUL will kIvo ihclrMualeal, ~
Among the
few
ily. MB. and MRS- HOWA III)
Comic. »od Fanciful KnUrtalnmotit, PATCH WORK,
"itches" will be found Fourteen Impetuous-
and IrUli Bolivia ; Operatw 8c ections ;
IS CrlU from "Puneh.'' whllo many of
tbe Boating JesU of the Day will bo aorcn luto this curious fabric by way of
eomic Ulnatration. Thursday Evening, BENEFIT of ICR and MRS. HOWARD
PAUL, ami Laat Night hut One of their appearance.
ih-ducti.m of Frio*. Bulla and Dreaa Boxes. 3e. ; Upper Rosea, la. ; Pit, la ;
Gallery, td. ; Private Boxes, £1 la No Half-price, aa the Entertainment con-
eludes shortly lifter Ten o'clock Book* of tbe Sougs for talc in the theatre, Sd.
each. NoFeistoB
that his
in GEORGE CASE begs to announce
ANNUAL GRAND CONCERT will take place at Exeter Hail, on Monday.
March, 29th. Vocal Performers — Madame Radersdorfl*, Mlaa Louisa Vmniug,
Ma.uioe Weiss, Mia* Poole, Mtaa lAsrellee, Miaa Fanny Hnddart, and Mvlamc
Cndemohn ; Mr Sima Heerc*. Mr. MonUm Smith, Mr. Wdaa, Mr. J. L. Hatlon.
wi'l Mr. Frank Bodda. Instrumentalists. — Pianoforte — Modlle. Ooulou; Violin —
M. Ikmenyl ; Flute — Mr R. & Prettcn (on hie perfected flute on Uie uld system of
fie.gennL'K Ctmccrtina — Mr. George Oaso; and sign** Ptooo (the celebrated Sar-
dinian Minstrel). The orcheatra will l« selected from the rhilhnimonic and Royal
Italian Open Orchestra*. Leader— Mr. WUly ; Conductors— Mr. J. L. Ballon,
Herr Randcgger, and Mr. George Case. TlckcU may be bad at the U< poaiteiry
for Case's Concertinas, Measis. Uooaey and Hons, 31, Holies-street, Qiveudish-
square, where all communication* ahonld he addrcawd ; Mr. Cha*. Case's,
34, IliahoiupaU-itroet Within ; at tho Exeter llall Ticket Offices, and the principal
Mask-sellers an.l Libraries.
ST. MARTIN'S HALL, LONG ACRE. — The public
ar«i re«|«c. tfuH y iiafiarmed that a pcrtormauioe of J"l>u Selutatiaii Btvli'e
tifMribB PAUHIONH-MUslK (a«mdhkg to the text of St. Matthew), will be
Idvea at the above Hall under the direction of Professor StcrmUle lleiiiu tt, with
tbe aid of the Members of the Bach Society, and uwny amateurs wlx> have Kindly
proaaiseil their assistance, ou Tuesday Erening next. March LM, 184*. to oummeuoc
at Bight o'clock. Principal vooaliaU :— Madame Weisa, Mrs. Street, aud MM
H«lby . Mr Benson. Mr Winn, and Mr. Weiss. Conducted, PiofuesiT Steradale
B- nnctt; Oncost, Mr. K. J. Ho|dtln«; Principal Violin, Mr. Dmndo. Tieketa—
Rcaurved Seats (numbered;, is. ; Gallery, Sa (SI. j B»ck Seats, Is. Books of 11m
words. Sixpence each, to bo bod at all the priticl|«l music warvlxioacs N.B.— Tliia
wurk U produced acoe.rd-ug hi Uie versiou adoplcl by Men leiiaohn. at Berlin and
Lclptig. and the omiaaiona made accordingly. Beyond Uila a small portion of
the nsmilee is omitted, rendering It nwro arwptiblc to Uie English public,
without io the slightest degree affecting the musical iniporUnoe of the work
V Persons wishiug to join the Bsftt Soutant can obtain information of
l«*.l«r jtvl O-ck, 63, New ~
Cofnsailtec ; the
of like amount.
•era are elected by ballot of the
annually, with au Eutranco Pee
12
SIGNORA
and MR. CB
tioua for tbo proTluooJ, or the
FTJMAGALLI, SIGN OR DI GIORGI,
mdilctor. 8ignor Yianoel). All appliaa.
to be addressed to Mr. Charte. Braham.
MR. ALBERT SMITH'S MONT BLANC, Naples,
Pompeii, and Ve«u»iue every night (except Saturday) at 8 ; and ~
E^y^-hsJl dailyrUt'wnTr '
M3
R. CHARLES COTTONS ROSE, SHAMROCK,
. and THISTLE, introducing characters In ctxtume, with songs, every
evening (excox Siturdaj) at Eight; Saturday at Three — Prince of Walot's Half,
;Kiti, Regent-street A'lmtiwion Is aul in j Stallit, la. Secured at Mitchell's
Library, non.l .troet ; and at the HalL
R. HENRY LESLIE'S CHOIR.— A Prize of Ten
Guineas is offend for a composition of a lively character (unrestricted as to
forniX f"r the whole Choir.
A Second Prize of Teu Guinea, is also offered fur a cum position for male voices.
The copyright of tbe prise works will remain the property of the composers.
Ail twrsons nnmpeting for the aliore prices must inclose a score with at least a
double set of vocal parts to the Honorary Secretary on or before the 30th June,
l&ofl ; and each composition must have a motto or cypher attached, together with
a corresponding scalod letter, stating name and address,
110, Hagcnt-straet, W, March 1, 184S. STANLEY LUCAS, lion. Secretary.
THE VOCAL ASSOCIATION, ST. JAMES'S HALL.
Conductor, M BeuodUU The first of t»ie Series of BIX SUBSCRIPTION
re on Wi
fr im lb
CONCERTS will t.
performed will be selc
Symphony in A major. Concerto, vu
walptuyls Ntuht. llmde. Ixireley, lit
tellsn. Miaa Fanny Huiidait, Mr. M
Klay eveniDg, April 7. when the works so he
tuposttiotis t-f MvtidelSKihu. Programtiie. —
in ; Caprlcclo brillont, |iiauolarte; the First
Vfxal.nts alroviy eugage.1 — MaiiameCas-
ntem Smith, Mr. Wlnu. l*unof.irte — Miss
rl
Arabella Goddard Vio in— M Sainton. Band sod chorus of 4<K) perforni«
SubacripUotitotiie Series, 41 la.; Koservsd Seata, £2 2». ; Sofs Stalls (numbered),
^3 Sa. ; Double Tickets (sofa stillsX 44 4.. Hubscrip-ions reoriveii at Cnmrr
aod Co. 'a, 201, Regeul-street; Lender and Cock's, 63, New Bond-street; I
M, New Bood-atreet ; OUivier, Id, Old Boaid-atmt ; Keito. Frowee,
4S, Cheapaide ; and Mitchell's Royal library . si. Old Bond-street.
JAMES'S HALL, Rcgeut-
Ingof the New Hall will be celebrated by
RMANCES. la aid or the Funds of the
MIDDLESEX HOSPITAL, on Thursday Evening next, the 23th March, and on
Saturday evening, tho Sftli March. 1838, under the Special Patr.nage ot Her
Most Greelmis Majesty the Queen, Ills Royal Hlghuuaa the Prince Consort, E.G..
H.R.U. the Dudleys of Kent, H It U. Uie Dueheu of Cambridge, 11 RH. Uie
Duke of Cambridge, K.O., U H.U. the l*rinceas Mary of Cambridge, and also
Ills Grace the Duke of Northumberland, E.G.. the President of the Middlesex.
Hospital. The following distinguished artistes liavo l.rci. engaged for the occn-
sion :— Madame Rudcrsdorff Madame Weiss, Miss Stabbach, Mute. Sherrington
Ixmmcna. Madame Dorcbanlt, Miss Dolby, and Miss Arabella Goldsr l; Signor
Luchesi, Mr. Mootem tsmith, Mr Lockey. Mr. Weiss, Mr. SonUer, Mr. Thomas,
Herr Deck, Signur Piatti. Ucrr Moliqu.', the Vi<al Asauciatlotj (consisting or
3tr» Voices), and Full Orchestra. OrganUt, Mr. Henry Smart; Conluctor, Mr.
Bene.Ua. Program tors now rendy Area Shdls. Ono Oilmen ; Reserved Scats,
Area end Balcony, Hslf-a45uliio» ; Unreserved S.nU iu the Ana and Balcony,
Five Shi. lings ; I'm-cr Gallery. Haif a Ci own— to lie oiitiuncd at Messrs. tramer,
Bcale, atidCo'it., Regeut-etn-et : Mcsnrs. ChsppeirsarKl Mcmis. I-eader aud fork's,
New Bond-street; Mitchell's Library, Old Rond-strret ; Messrs. Keith nud
Prowso's, t:neapaiile, from tbe Secretary at the Hcopital ; and at tbo Egyptian
Hall. Piccadilly.
rpiIKATKK ROYAL, SADLER'S WELLS. —
A Messrs Or»nw.«.l and Phelps.— i in Riturday. March 27ih, f,<r Uie
BRNEFIT OF A LITE HA ItV GENTLEMAN, leug aBfKte.l witli «Tlnu illnaxe.
A Gil AND VOCAL AND INSTRUMENTAL CONCERT. The following eminent
artistes have kindly given Uieir service . — Vocalist*. Mi« Dolby. Miss I«ncUi
Vmnlu,', Mis* P oh.', M<llle Finuti, Mt« Mary h<-lev (by l* rmiaaioii of B.
Webster, Ks.| X Mlti Mcxseiit, Miss Itanaf rl. Miss Medora tollms, Mr. «tt»s
Reeves, Mr. Char I -s Brahim, Mr. Allan Irving, Mr ILuuior-l. i ,p 1x)»>.ra2b. / '
InstnuncuUlists : Vt .din. MM. A Lebou nud ViotrJ Collins, I*ianofr/rV^ -sJscixse -
I : SI. i- i , Mr U.m-1 Hnu.ls
has ohliiiligly .vinsci.toll t" appear iu too course ol the HnrMsn t>tM>wettss\- »' S
Mr Frank Mori, M. Francesco Ucrgcr. and Mr. W. Gans Dossje nr. n at .-tesji
o'clxk; Pwfrsmajice V, commence at Ualf-|«st. Prices of . *Ui*»4»on ; Bux
Stalls, 3s. ; Drees Circle. 3s ; Boxes, lis.: Pit, Is. 8d. ; Gallerw, Is. TBc UvUw
office open from Eleven UU Three, daily.
178
THE MUSICAL WORLD.
[March 20, 1858.
TO PIANOFORTE TUNERS, &a— Wanted, for a
pormaiiriicy, a person who Uiornttgl dy nndorwtonda rct*inog, regulating,
and tuning. A liberal a alary given. Address J. K . M, Bold-street, Liverpool,
CONCERT AGENCY, &c. — MR. VAN PR A AO
tec i &m bin thanks to him pntrana and friend* for the lil^m' encouragement
hehasfor KDMijyctn received, and beg* to Inform thorn ho Mill couUnuoe the
urn! of concerts, routine'**, sulreS.-a, Ac. &c — All communications
I to him, «t Mr. Urettell'a, ii. Rupert-afreet, naymarkct, will be duly
CiONCERT SEASON, 1858. — NOTICE — C. M. SHEE
/ reepectfu ly Intimate* to the Musical Pruiessiou that be lis* removed to
2, Beak street, rfcRei,t-trcct. where lie continues llw niransT. rncnt of concert*
(public or |.ri»»t«) at bis usual moderate cbargca.
MUSIC. — TO PROFESSORS OF SINGING, Ac—
To be dia[ieiacd of, in oue of the moat fashionable neighbourhood* in the
West of England, the Pmrtico of a lV.fe»*or (lady) of Singing and Iho Ptenoforto,
ten ran eatobltahod The connection b> good, and introduction to many of the
lending bmttlc* would In given. To any Udy of energy and unexceptionable
abilities, thla ofTera advantages nf the highest order. Full particular* may be
known by letter, addressed " Sioto," Howell's Music Warehouse, Furk-atroel,
Bristol.
JCARBOROUGH SPA SALOON PROMENADE. —
The OHIt Bridge Company are prepared to receive Under* for the supply of
au efficient Band for the ch>t promenade, duHng the enauiiu; acta. <n.
Tho new Husie nail, fmn. Soalgna by Sir J.*.pli Puxtou, M P., la .atlmatcd to
cont-iui alwut 2.OD0 tawple. aud baa omhcatral ace •tnuwlaUuu (or about 40 per-
formers
The ripa ground* and Music llail command a handsome carnage appttnch, 30
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31at Instant. (By Order) R WARD, Secretary.
K.-ajboinicgh, Mm h », ISM.
rriTE PYNE AND 1IARRISUN ENGLISH OPERA
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(C cka «r,d Co,)— "Tbn sonata Is written throughout with the esse sn l
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gnwt cl*.uit" — Aftucrac GnuetU. " Ilia paaaages are those of a .Mlful piatiist. hta
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LOWES NEW LANCER QUADRILLES upon
Enalish airs. Price 8s. Paterwjo and Bona, Bdinborgli and
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T\,IR SIMS REEVES will sing "Couio iuto tho
1V1 Maud" (by BalfeX and " Who shall be fairest" (by Mori), at S*
Theatre, on Ssturday, r
M
K.x. tci
ISS
n3f,
17th.
rX)UISA VINNING will aing
Too late I Too lnhal" at Mr. Cass's Grand
Pratten's new
MADAME OURTS NEW PIANOFORTE MUSIC—
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MT-
tho day— vii
and Co , 58.
JULIA ST. GEORGE'S
Foreign Lyrics. ' Th"
•sa. The wbo'ioo'
N.W , and all
SONGS. — Sung by her
must suramin- cuterUioment of
by J. F. lhigsau.
M
ISS ARABELLA GODDARD. — FUM AGALLFS
"CLARICE."— The i/nrtitiip fW of Moo-Lay, March 14, writs* a* follows:
" Tim voisatihty of Mias Arabella Owidar-i's goniua «aa als.. strikingly cxotnpUScd
bv her brilliant rendering or the Utc Bigiior Funugalli'a niorecan de salon,
entitled "Chrioe" — a melodious snd showy composition, each an <mr fair amatrtir
pianists itulvsrsally delight in. Wu new) scarcely add that Miss a ddaidfwti i
p'.aja alt authors, from Ilach to Prudent, with c.mal rxeonaucc) did ar.ipV injtice
to thla verv agreeable aud graceful novelty. "Clarice'* is published by Duncan
Oaviacm m A Co.. '.'44, Hcgeut-aUvet (where may alan UUad Jules nrj*uc »aT»ngr-
roent of " Bella f gfla "—quartet from Verdi1* RigultUo— juid Moaart's works
complete for l iauoforte).
riiHE MODERN GUIDE TO THE STAGE, OR,
.L AMATEURS' INSTRUCTION BOOK, d- - rilang and teaching all tho art*
and pha»e*— Phyalc\lly aud Hooutionary, in Ixire, Despair. Onef Jealouay,
Madnea*. Itomorse. Kago, Hatred, Rovenge, Joy. Hypocrisy, Tyranny, and
Vlllnny; with all tbe nior* clrgiuit pninla in Oivrs. Burlosqiie, and Comedy,
iioonMry to speedily qu.iiify ywung )*r«on« ol t> th Hexes for this lucrative sad
pleasant pnifeaskm. Also tho Names and HeaioVnocs o( Managers and their
Theatres, all over tbe Kingdom, tha Colonies, and the United Hub*. This new
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FWier and Son, K-.ngal md, Londiffl. Establishe.1 1»47. .
rpHE PILGRIM'S PATH, Sacred Song, Words by Biahop
JL Hebcr, Music by Briuloy Richard*.
II
AMILTON'S MODERN INSTRUCTIONS for tbe
PIANOFOKTK, revised, enlarged, tmi-roved. and tlugervd by CU AflLEr1
CZBRNY. 1 7Mh edition, printed from large fcllo plate*. « psgaa. price 41. "May
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of hanubc,*. gram nsr, ind guide ever iW*«eul*ltnll,ealudcut,"-V|.l.K*»uV.ri
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Hamilton 'a aUrdard elementary works are published by this firm.
CONCERTINA CLASSES. — The increasing iwpnlarity
of tbe Concertina indues* Mr. Case to project a series of CLASS MRTT-
1NOS, for th* purpose of Imparting Instruction in thia instrument to panon*
unacquainted with music, aud also as a means of supplying agreeable part,
practice to those already somen hat advanced. Mr. Caae projKwes to head a class,
lor ladipa In th* afternoon, and ono for geniiemen in the evening, the terms to
each to 1u fixed at Msfa a rate as will acluiit of all person* joining them. Mr.
Ceac trusts thut a permanent course nf liistructiou, at a luodcratv co-t, will be the
means of ruudcrtiig the Concertina atill more c;c-ncTally poptdar. feei ng assured
that lla many pectillar advautnge* over other iHrtiiirnents will ultlmstely sain it
tho prcfcrci.ee with all amstcms anxious to excel In music with as little tremble
ns posathle Priao a d a'mua of joining Oitsc- classca are requested t> eorn-
munh-atc with Mr. Cuic, lo the care of Booscy and Sons, O, r '
FLUTE AND PIANO BY
licra, price One Shilling each. R S. Pratten'*
. Contents: 1. Robert, 1. 1 qu. Jaime, Robert lo
ditto. », No|.-l sign. r. Uugueuala 4. No c
ibueco. 6, Ernaiil in™lami, Ernanl. 7, TnU
NEW WORK Ft>R
II. S. FRATTT.N.-to I
H i it I l « d r Fli.tj ur.d I
Hlahl*. 5, ginnd Jo qulttal*.
eijual, ditto. 5, Va nciialerce. N ibueco, », au un ™»y» — ■, .
sprc-x/o. ditto. 8, nils Ictixia, Locnlau-di P, La d'<nna e mobile, RlgnletUi.
IP, E 11 B"l dell' anlma, ditto II, Qruata o quelln, ditto 12, BcUa figlla, ditto.
IS, Introduction and Qalop Kigoletto. ditto 14, Miserere- Ab! eh* la m-rte,
Trovatora. 15, II halen del auo, ditto 16. SI la ■touches'**, dltt ■ 17, Merv l,
jeuicca amiia. Lea Vdnrca Biciliennes. 18, Ami, lc ewur dTKIcne. ditto IP. JcHir
d'l»Tv»H-, ditto. '.0, Liblamo, Brindisi, Traviata. 9L Parigi, o cans, ditto, li, 1>1
38, Ah, fort- 1 liiirdltlo. 34, oornpre Ubera, dlfo, 1
Digitized by Google
March 20, 1858.]
THE MUSICAL WORLD.
17D
MENDELSSOHN.
(From the Xem York Musical World.)
Mkndki.ussohn was a man of small frame, delicate ami fragile-
looking ; yet possessing that distinguishing peculiarity of the
Hebrew race — a sinewy elasticity and a power of endurance
which you would hardly suppose possible. His head appeared to
have been set upon the wrong shoulders — it seemed, in a certain
sense, to contradict his body. Not that the head was dispro-
portionately large ; but its striking nobility was a standing re-
proof to the pedestal on which it rested. His eye possessed a
peculiarity, which has been ascribed to the eye of Sir Walter
Scott — a ray of light seemed often to proceed from its pupil to
yonr own, as from a star. But yet, in the eyes of Mendelssohn
there was none of that rapt dreaminess, so often seen among
men of genius in Art. The gaze was rather external than
internal— the eye had more outwardness than inwardness of
expression. Indeed this corresponded very much with the
character of Mendelssohn ; who, althongh au inward man was
also an outward one — and although a great artist, was also
something of a courtier and diplomatist. In his gait, Mendels-
sohn was somewhat loose and shambling ; he had a Ringing
motion of the limbs and a supple-jointednesa, which, coupled
with other little peculiarities of carriage, determined him — ac-
cording to popular German tradition — as of Oriental origin.
Bat this listlossness of bearing seemed to disappear entirely the
moment he sat down to a piano-forte, or organ, and came into
artistic action. Then, like a full-blooded Arabian courser, he
showed his points — yon had before yon a noble creature. All
awkwardness disappeared ; ho was Mondelssohn — and no
a son of Mendel.
Mendelssohn married into a Gentile family — that of a
banker of Frankfort. The lady of his love was as bea
she waa high-bred and refined' She bore him children of re-
markable personal charms. One boy, particularly, I was never
weary of gazing at, for his extremo comeliness. He had his
father's eye and his mother's elegance and grace of figure. I
used to watch father and son, as hand in hand they sauntered
around the charming gardens of Frankfort, and silently applaud
the father of such a son — the son of such a fathor.
Mendelssohn was too much a celebrity to be suffered to rest
long in one place, and he became very much a citizen of the
world and a traveller. But from all his wanderings, his steps
seemed to return oftenest to Frankfort, the home of his wife.
Here on his arrival, he waa frequently serenaded by the Lisder-
k rill/ of the city. The house he occupied was on the bank of
the river Main ; and beneath his windows— illumined by colored
transparencies, or the light of a summer moon — the minstrels
were wont to gather. Then were poured forth, from hundreds
of manly throats, those tones of welcome, or those songs of
Fatherland (chief among which wero Mendelssohn's own com-
positions) that thrilled to their very depths the souls of the
listeners. Mendelssohn usually stood at the window above,
waving Ins thanks or addressing his friends. I shall never
forget one serenade which was given him from the smooth
breast of the river. Starting some distance up tho stream, at a
point from which the music waa but faintly audible, the sere-
i floated down in their barges, bearing beautiful coloured
arencies, disappearing for a moment beneath tho lofty
of the bridge which spans tho river, and then pietu-
ly reappearing, the mnsio now swelling grandly sa they
I the house and wafting to the cars of the master those
profound, smooth harmonies which only a German chorus,
aided by the softening effect of tone passing over water, U
capable of producing.
On occasion of such visits to Frankfort, Mendelssohn was
often persuaded by his friends to gratify them by his organ-
playing. He generally selected for this purpose the organ in
Bt Catherine s church — a quaint old edifice on the Zeil —
although the organ in St Paul's is a far larger and better one :
this advantage being counterbalanced, however, by the structure
of the edifice, which, handsome t ? the eye (the same, by the way,
in which the celebrated German Parliament was held during tho
revolution), waa offensive to the ear, by reason of its bewildering
I once heard Mendelssohn in St. Catherine's, when he per-
formed in company with Adolphc Hesse — the celebrated organist
of Breslau, and pupil of Rink. On this, as on other occasions.
Mendelssohn played mostly Bach, for whom, of all the old
masters, his reverence seemed deepest. It is mentioned as quite
a triumph of Mendelssohn's critical acumen, that he discovered
a positive, downright, consecutive fifth in Bach, which had been
lying perdu ever since the death of the old master, unobserved
of any of those who had so sedulously and critically studied him.
The Ciicilien Vertin of Frankfort — a kind of N.V. Harmonic
Society, or Mendelssohn Union — was one of his favourite places
of resort. After tho rehearsal, he would occasionally play for
his friends : sometimes giving them a sonata of Beethoven —
and always by heart. The allegro* and prestos of these sonatas
were dashingly and brilliantly executed, Lis high-strung nervous
organisation seeming to exult in a conquest of whatever mecha-
nical difficulties they might present. He bounded rejoicingly
on, like a courser put upon his mettle ; but, amid all the heat
of tho course, ho never forgot a certain significant interpretation
of the music— an intelligent and, in some respects, peculiar
phrasing of the text. Even the musically uninitiated can under-
stand that a difference in the collocation of notes might produce
a marked difference in the significance of music — tho effect being
the same as, in literature, a change of punctuation ; or, in rhe-
torical delivery, a difference in the breathing places, or pauses.
Beethoven's allegro* wero better rendered by Mendelssohn than
by any one else I over had the fortune to hear.
Tho andantes, or more emotional movements, were, to my
own ear, less satisfactory, from a certain classic polish and — if
I may so express it — half reserve of style. Perhaps Mendelssohn
felt, as others have felt, that in tho matter of feeling, Beethoven
had been somewhat overdone. Like persons who would seek
deeper significance than really exists in the child-like simplicities
of sacred text, so artists, in their morbidly intense manner of
rendering the master, had fallen into affected depths of pathos.
I would not do Mendelssohn the wrong, however, of represent-
ing him as really lacking in feeling. The heart waa there ; but
it was the heart seen through a polite conventionalism of amber-
like the insect, perfectly recognisable, but not loo exposed to
the common view and the touch.
Mendelssohn would occasionally extemporise, also, for hie
friends of the CUeilim IVrein. His improvisation waa highly
imaginative and masterly. The theme was usually wrought
upon in counterpoint style, with occasional dashes into a
briliant /rets fantasia. This CUeilien Verein, by the way,
gave annual performances of oratorio appropriate to the
season, similar to those given in New Yorx. On Good
Friday, Bach's sublime oratorio of The Passion was always
sung. Why has this masterpiece never been produced
here 1 It ought to be as regularly and religiously given
as the Messiah. If we celebrate the birth of the Hessian, we
should also celebrate his death. I waa once seated next Men-
delssohn when tho Verein waa rehearsing Bach's works. He
seemed entirely absorbed in the music — a silent movement, only
— drawing 'attention now and then to the wonderful harmonic
effects produced by the intertwining of such a mass of inde-
pendent melodies. The last chord of this master-piece, uttered
to the word Ituhe (rest), seems to drop the soul, like a weary
child from tho arms of its nurse, into a profound slumber, from
which it would never more be awakened.
Mendelssohn's influence in Leipzig upon the scholars of the
Conservatory was always very salutary. He was in the habit
of breaking in upon the usual routine of study and opening new
vistas upon them of the world of music. When accidentally
present during an exercise, ho would sometimes assume the
task of teaching himself, and, with crayon in hand, give some
invaluable hint in the treatment of orchestral instruments, or
elicit knowledge from the pupils themselves, by asking them to
accompany a given passage with horns or other lew obvious in-
struments ; thus breaking in upon the ordinary routine of the
day. This letting in of a little fresh air upon the mind, in
teaching, is an excellent device, the uses of which Mendelssohn
seemed well to understand.
There existed, at this period in Leipzig, a club of amateur
uigiiizea
by Google
180
THE MUSICAL WORLD
[March 20, 1658.
ladies and gentlemen who met to sing part-songs. Mendelssohn
and Hauptmann both contributed largoly to tho compositions
used on such occasions. Hauptmann, whose name U not ns
familiar as it should be on this side of the water, is Cantor of tho
Thomat <ScA«& of Leipzig— ft post originally filled by grand old
Sebastian Bach himself. This school is a Kind of seminary for
young men mostly intended for the ministry, and all of whom
receive a musical education ; they rendering, by express stipu-
lation, musical services in the churches during this scholastic
period. Once a week they perform motetts in the St. Thomas
Church abjoining the seminary, sometimes accompanied by
orchestra. It is a very ancient and admirable institution. At
the time the office of Cantor was vacated by the death of the
previous inenmbent, both Mendelssohn and Hauptmann were
candidates for the position ; and I have been told that Mendel-
ssohn felt, somewhat, his non-appointment to an office which ho
would really have liked to fill. Hauptmaun, however, is ad-
mirably qualified for the position.
The last I ever saw of Mendelssohn was duriug the summer
alluded to in a late article on Froiligrath, in the Tauuus moun-
tains, at the small spas Soden and Kronthal. Notwithstanding
his great pre-occupation, partly with his own genius and musical
productiveness ; partly with his engagements to visit England
or to conduct great festivals ; partly to receive the incessant
individual homage offered him, which he was not always able to
parry, he was ever ready to see and serve, if he could, a true
student of art. Like all great masters, however, he had a holy
aversion to more dabblers in art aud those who were but in the
A B C of progress. And what could he do for such ? Tho
schoolmaster was that they needed— not tho finishud artist:
their time for the latter had not come. Aud this, let mo pass-
ingly say, is tho great mistake our countrymen are constantly
making who go abroad to study musical art. They go
before they are ready to go. The pnKminar]/ schoolmaster
it netfUcted. The scholastic part of Art can at the
present day be as well pursued in this country as in any
part of Europe. Our artists should not go abroad to learn
their A B us. It is an expensive way of learning the
alphabet, — both as to time and money. Let them learn all they
can here, first — and by " all N I mean harmony, counterpoint,
form, instrumentation : they might then profitably go abroad to
exorcise themselves in composition, and to hear music. In a
word, let them learn the science of music at home — but pursue
tho Art under the guidance of a great master, if they will, abroad.
Must celebrated men in Art are accessible in this way. They
are willing to give one lessons, in the sense of examining com-
positions— but not in the senso of teaching the first rudiments
of the Art. Nor let our art-students think that tho Conserva-
tories of Music are the only desirable thing. They are desirable
for those whose means are limited — t hey are the common schools
of art. But Hauptmann himself once told me, that — Professor
as he was in the Leipzig Conservatory — he teat glad that he trot
not put through a Contcrvatory course. Tho idea being, that, in
Art, it is not always well to shape a mind by tho square and
compass ; but it is better to adapt the course to the individual
mind, in order not to interfere with its originality, or check its
independent development. Mendelssohn would,' and did, ex-
amine and advise, in case compositions wore submitted to him,
and his suggestions and his counsel were as invaluable as they
were ever readily rendered.
A singular circumstance, to me, at this time, was the approba-
tion which he expressed of certain -Ethiopian melodies — some of
those earliest in use in America— which his friend Hoffman von
Fallerslebon had persuaded me one day to put on paper for him,
in order tluU he might write a series of songs to them for Ger-
man emigrants to America. Hoffmann — much to my astonish-
ment aud chagrin — submitted these one day to tho classic eyes
of Mendelssohn : — an act of innocent audacity of which it seemed
to me none but a poet, ignorant of musical'valuatious, and cer-
tainly never a musician, would over have been guilty. Wo often
undervalue trifles, however, and Mendelsohn's opinion of these
little bagatelli-s (like that,subsequently,of other Qerman masters)
taught me quite a lesson as to an over-fastidiousness in art'
matters, and a too dignified standard of judgment.
On parting with Mendelssohn at Soden, he was kind enough
to leave a record of himself on a page of my album of autographs.
He composed for me a canon and attached thereto his signature
— both of which, as a matter of possible interest to others, as
well as myself, I here transfer from a private, to a public page.
While the notes, however, aro given in ordinary music-print, I
have had a fao-similo engraved of the signature, that all may see
how an imperishable name was written by the hand that
fashioned its lame. 5____====:r_ R 8" W-
LAST CONCERT OF HENRI HERZ IN PARIS.
[Translated from ha Franc* MuticaU.)
■ Of all pianists, past and present, Henri Herz is the pianist
most petted and most spoiled, by that capricious goddess, at
the same time prodigal and avaricious, suspected and despised,
who is called Fortune. Is there, I ask, a more enviable, and a
more happy destiny than that of Henri Herz — and did any
mortal, as they say at the Od6ou, who has run his fingers over
the sonorous ivory of the piano, follow more obstinately a path
more agreeably strewed with all sorts of roses, without thorns,
in this loug passage through life 1 For twenty years Henri
Herz has hel l, without a rival, the sceptre of the piano ; the
piano has lived for him and by him, and his variation* briUantes,
borne on the sonorous wines of melody, have gone round the
globe. At the present day Henri Herz still seats himself, when
he choosos, on the throne which rises above all tho nation of
pianists. Does Henri Herz wish to give a concert— that is to
say, to add another triumph to his former ones ? To do so, the
eminent virtuoso needs neither leave his own house, or borrow
anything from any ono ; ho is himself amply sufficient ■ Rome
is not Romo , it is where I am :" the piano is not the piano ; it
i* where Henri Herz in. Henri Herz gives, in fact, very fine
concerts in Henri Herz's establishment. In those concerts,
Henri Herz executes on Henri Hen's pianos Henri Here's
music, which is always fashionable. Thus we say that when we
speak of the piano wo aro speaking of Henri Herz, and when we
speak of Heuri Herz we are speaking of the piano.
The most graceful, and, as we see, the most complete of all
pianists, collected, last Wednesday, in his room, a most elegant
society of amateurs. Tho great attraction was the performance,
for the first time, of the pianist-composer's sixth and last con-
certo, which was said to be his best work. Is it, in truth, more
charming and better adapted than the other productions of the
author for bringing out the brilliant and amiable qualities of tho
executant! I do not think so ; but this concerto is assuredly
not in any way inferior to Here's first five concertos, and this
opinion, I fancy, is sufficiently favourable.
The first part (in A minor,) commenced with a noble orchestral
ttttti, developed with art, and dying gradually away, to make
room for the piano solo, beginning with the following notes :—
D sharp, E, A, F, K. C, A, F, E, — then an octave lower, D sharp,
E, A, F, E, C, A, F, D. Bravo ! this is a skilful and clever touch, if
ever there was ono ; a touch which reveals, at the same time,
a genius for composition, a genius for execution, and a genius
for industry. What a genius for industry ! you will, perhaps,
say. Without doubt. l)id you not hoar those sustained E's, so
crystalline and vibrating in sound ! Were they not there to
say to tho public : We belong to Here's pianofortes, which boro
off the medal of honour at the Grand Exhibition of Industry.
After this well-merited homage rendered by Here to Here's
pianos, the composer and executant appeared alone. The first
movement of the concerto is the work of a consummate master.
Tho andante is delicate and pretty. The higher notes of tha
piano stand out admirably from the back-ground of the or-
chestra; it is a very graceful musical genre picture. The modern
fantasia is then agreeably combined with the severe forms of the
classical concerto. The third part commences with a very pic-
turesque oriental rondo, which, in our minds, only wants a
tambourine accompaniment to render it altogether oriental.
After this, come some choruses, very pleasing in their effects,
the whole being terminated by a tuttt of the orchestra, voices
and piano, grandiose and really captivating in style. This last
tnorceau was redemanded, which, for the composer, was equiva-
lent to ft bulletin of victory.
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March 20, 1858.] THE MUSICAL WORLD.
181
All honour, then, to the sixth concerto. Let us add that the
orchestra was conducted by M. Botteasioi, who wields his Mton
of commander as valiantly as the bow of the double-bassist. The
public is as capricious as a pretty woman. Why did it receive
Mad. Falconi coldly on Wednesday ; and why, on other occa-
sions, is it prodigal ol applause ? Oh ! if any one ever pro-
pounded the theory of success, what a success the theory would
obtain !
M. Hanman, the violinist, re-appeared at this concert after a
silence of ten years. JJe has lost nothing of his fine taUnt (!)
The same cannot be said of M. ServaU, who is guilty of some-
times forgetting he is the firtt violoncellist in the vorld (!) to
indulge in a touch of the bagpipe on his instrument. But how
beautiful his tone is when he likes, and how he plays with
difficulties — I was about to say impassibilities ! We must not
forget the singer Mon&ri, who sang an air by Mercadante ex-
tremely well.
Uerz played three times, which was certainly not too much.
After a pretty bolero, Madrid, inspired by the sky of Castillo
itself, 'he terminated this extraordinary musical entertainment
by his military fantasia on La Filie du Jifyiment.
This is a season happily commenced by the piano ; Litollf
opened the march with his fine concerto-symphony ; Hcrz fol-
lo wed, and, if we are correctly informed, the chief of the French
piano school, the philosophical pianist (f), Emile Prudent, will
soon be heard in his turn. There are pianos in the air, and
everything leads me to believe that the comets, incorrectly
defined by the learned, are only grand pianos on which future
nations will play pieces for a hundred thousand hands.
Oscar Commrttamt.
LEEDS MUSICAL FESTIVAL.
(^Vtjni fie Leeds .J/eresiry.)
Tnx decision of sn influential meeting of Leeds gentlemen, held at
lbs Court-house on Thursday U*t, that • grand inaugurative Musical
Festival shall take place in our noble Town-hall, in or about September
next, hsi, we believe, given great and general satisfaction. Leeds
stands second to no English town in its appreciation and practice of
music, both vocal and instrumental. The numerous concerts annually
Riven, the prevalence of instrumental bands amongst oar operative*,
and tbe general efficiency of the choirs in our churchea and chapels,
sufficiently testify this; and we are glad that so unanimous a feeling
exists amongst all parties to render tbe first Leeds Musical Festival
one of tho most successful projects ever undertaken by Leeds people.
The proposal to devote the profits of the Festival to tho Leeds Infir-
mary, will esll forth active sympathy and co-operation from very many
in the West Riding, as well as in this town, to whom the great value of
that admirable institution has long been known.
As was stated at the meeting last Thursday, tho Infirmary is in a
struggling condition, though so wide spread is its excellence, snd so
high in repute U the skill of its medical attendants, that patients
come hither not only from all parts of Yorkshire, but also from
the adjoining counties. For such a charity, wo feel assured, a Musical
Festival roust succeed ; snd we shall show that, if only the average
result which attends nearly all musical festivals in England be ob-
tained, a handsome sum will bo banded over to the treasurer of the
- * ». . ■
Institution.
It was for a time a matter ol doubt with many of those Leeds
gentlemen who take a deep interest in the objects of tho British Asso-
ciation, whether a Festival would not greatly interfere with tho much-
desired success of the meeting* of I hat distinguished body, long sinee
fixed to lake place in this to» n during the ensuing autumn. But we
do not see why one should interfere with the other, if only judicious
arrangement* be made. It will be almost impossible to get up a
Musical Festival on such a scale as is contemplated, before the middle
or the end of September, snd for the very obvious reason, that nearly
all the great vocal and instrumental artistes are, up to that period,
engaged elsewhere ; first, at the operas snd oratorio performances in
tho metropolis, then at the Hereford Festival during the last week in
August, and afterwards at the Ihnningliam Triennial Festival, which
lakes place tbo fint week in September. We would suggest that the meet-
ing* of tbe liritiah Association should he held as early as possible — not
later then the third week in August — snd the Festival, perhaps, the third
week in September. This would give a clear month between tho two
great events. If the committees can carry out this idea— and we see
no practical difficulty in tbe wsy— it will add greatly to the success
both of the Association meetings snd tho Festival. Six months would
then be secured to the Festival committee to mature their plans ; and
during this comparatively short period the closest attention of every
individual member will be required. The labours of the general com-
mittee (among whom there arc some gentlemen of great practical ex-
perience) will of course bo much reduced snd simplified by tbe appoint-
ment of sub-committees — one for the engagement of principal artistes
snd for the programmes, another for the orchestra] performers, a third
for the chorus, a fourth for financial purposes, and so on.
A* to the oratorios which, wo presume, will occupy the first and
second days, there can be little doubt that the Messiah, and the no less
popular Elijah or the Creation will be selected for performance. No
festival i* considered complete without the first, and to show the attrac-
tiveness of tho second, wo might state that from the year 11-47, to
February, 1858, Mendelssohn's Elijah has been performed by the
Sacred Harmonic Society in London fifty time*, beiug more than one-
fourth of all the society's performances during thst period. With
regard to the other sacred works to bo given at the Leeds Festival, we
presume that the conductor, whoever he may be, will havo a considerable
voice in the selection, which it is hoped will bo of auch a character as
to make the festival one of the most unexceptionable of the age.
The duration of festivals in England varies from three to four
day*; and the latter period we would suggest for Leeds. Three
of these days will perhaps be devoted to established sacred works,
with tbe introduction of one or two novelties on the third day.
In order to vary the general practice sdopted in this country, snd to
give s distinctiro feature to tho Leeds Festivsl. a plan might be intro-
duced similar to thst followed out with greet success at the largo
German festivals, namely, to devote one day to performances ou the
grand organ, by a selected number of organists of European repu-
tation— both English and foreign — alternated with unaccompanied and
accompanied choral music by the largest body of voioes tbe orchestra
will contain. A congress of organist* might thus bo obtained, which
would attract great attention throughout England. Franco might be
represented by Lefebre Wely , Prussia by Haupt, of Berlin, the German
Ststcs by Hesse1 (Spohr't), snd Austria by Schneider j whilst our own
country would furnish such men as Wesley, Henry Smart, Best,
Cooper, snd Hopkins. The hope is entertained that Leeds will posse**
one of the finest organs in Europe; end if tho above scheme be carried
out, it would efficiently test the capabilities of tho instrument, and also
prove a novelty of considerable attraction. There is yet one point, and
one, too, of considerable importance, which we must mention before
leaving this part of the subject. We refer to the People's Musical
Festivsl, which hss not only been anticipated by the Town Council
in the arrangements of the hall, but which will most certainly
be expected by the great mass of the people who are so fond of
music, and generally so correct in thoir appreciation of it. At
Norwich, s people's concert on a grsnd scaio follow* the festival.
Many of the principal performers give thoir assistance on the occasion,
and tho working classes, to whom tho chief festivsl is a dead letter,
have an opportunity of hearing, at merely nominal prices, some of
the greatest musical work* performed on sn effective scale. Such a
course, it is hoped, will be followed in Leeds. Tho guarantee fund
which will be required for the great festival might be extended to this
desirable object, and we trust it will rcceivo thst attention which its
import once demands.
Very much of the success of the whole festival— especially in a
musical sense— will depend upon tho chief conductor, snd lie should be
a person not only of great experience, bat celebrated for hi* musical
attainment*. There sro only four or five gontlemen whom wo can call
to mind of sufficient capabilities for this responsible appointment.
First, there i» the veteran Spohr, who*e name alone would be an im-
men*e attraction, but who, we fear, is too far advanced in life to under-
take such arduous duties. Next, perhaps, in point of general attraction,
would come Mr. Coats, tlien Mr. lienedict, and hut (certainly not least).
Professor Stcrndale Ik-unctt, tho present conductor of the London Phil-
harmonic Society, and the Hach Society. In a mutical point of view
the claims of tho three last-named conductor* are about equal ; but we
might be ricutrd for intimating that Stemdale Dennett is not only a
distinguished composer, but also a native of Yorkshire; having been
born in Sheffield, in 181C.
Tbe other important appointments— such a* those of organist, chorus-
master, Ac, will doubtless bo well considered, and tho persona beat
qualified to fill them, whether locally connected or not, selected. As
to the principal singers, wo havo only one wish to express, that is, that
the solos in the oratorios may bo in a great measure sustained by the
most eminent English artistes, then whom, as is universally admitted,
it it iupottible to find better. The foreign singers will have ample
opportunity of displaying their talents at the evening concerts.
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182
THE MUSICAL WORLD. [March 20, 1858.
Of the chorus not a word if necessary to indues the committee to
decide that it (lull be formed cxclusiveiv of Yorkshire aiugcrs, who are
now noted throughout England at the beat that can bo obtained
for choral performances. (What will Lancashire aay /— Kit.)
We bare made iuquirica rospecliug the accommodation of oar Town
Hall. The Urge room will not contain to many persons as was at first
calculated. Allowing a ipace of 171 inches to each person, 2,000 can
be comfortably seated ; end it is calculated that the orchestra will hold
600 performers.
A PICTURE BY RAPHAEL.
(Front the WbaU of Saturday, II arch 13.)
A vemtabl* event preoccupies artists and earnest lovers of
painting. At thia moment there ia to be seen in Paris a pic-
ture by Raphael, of uncontested originality and irreproachable
condition. The composition is of extreme simplicity ; tho painter
ofTJrbino has there represented Apollo upright," with his lyre,
listening with attention to Marsyas, seated and playing on the
flute. The two personages are naked, in the midst of a land-
scape canopied by a sereno sky, across which some birds cut the
air at full flight.
This picture, of about the dimensions of the " Vision of Ezo
kiel," suggests by its stylo and handling the period when the
great Italian master painted " The Marriage of the Virgin "
(Lo SpoMalitio), which is at Milan, yet the remarkable vigour of
the modelling and of tho colouring, in the picture of " Apollo
and Marsyas," would justify the belief that it was executed at
a period somewhat posterior. But, whatever may be tho pre-
cise period at which it was painted, it is of that time when
Raphael, quitting the manner of Peruirino, his master, passed to
a new stylo, nnd threw himself into that brilliant career which
he subsequently pursued.
What strikes at first in this charming work, is the fidelity to
nature of both personages, of whom ono displays tho ordinary
form of man, whilst that of the other is of the highest elevation.
But, in studying tho details with attention, the interest and the
charm continue so to increase, that when one's eyes and thoughts
have bcenfora while fixed upon this delicious chef-d'eeuvre, nothing
can seduce them from it. In short, independent of tho technical
qualities which this picture combines, there exhales from tho
whole a picture of youth which goes straight to the soul. The
simplicity of the composition, the sobriety of expression in Loth
personages, their attitudes devoid of all affectation, are incom-
parable. There is not tho slightest portion of the execution
that is not conducted with such chasteness of handling and
so much respect for nature, as to render insensible tho least
trace of labour. The union of these rare qualities results from
the youthful freshness of the artist when the " Apollo and Mar-
syas" was painted.
Among so many eminent qualities with which Raphael was
endowed, this great man ever evinced the spirit of his age, from
the picture of " Apollo and Marsyas" to that of the " Transfigu-
ration." By obeying from year to year his instincts and his
ideas successively mollified, he was always himself and always
new.
A considerable number of artists and lovers of art have
already been admitted to the apartment of Mr. Morris Moore,
the proprietor of the picture of " Apollo and Marsyas : " but it
were to be desired that this graceful masterpiece should bo
more generally known nnd appreciated. Mention has been
made of a public exhibition which might be held in ono of the
halls of the Palait dee JJtavr Arts; we offer our ardent
wishes that this idea may be realised.
Bacb's Pahsioxs Music. — Last night a full rehearsal of this
■ublimo work, which is to be performed on Tuesday oveniug,
under the direction of Professor Stcrndale Bennett, took place
at St. Martin's nail.
Sacred Hakxg nic Sociktt. — Yesterday evening the fifth
rehearsal of the great chorus for 1,100 singers, intended to form
the metropolitan nucleus at the grand Centenary Festival in
1859, in commemoration of Handel, took place at Exeter Hall,
under the direction of M r. CosU.
HXR MaJKBTY's CflAFKL RoTAL OF St. GlOROI, WlKWSOR
CASTiJt— The trials for the appointment of a lay clerk, occa-
sioned by the death of Mr. Salmon, took place at St. George's
Chapel, on Thursday last, when there were no less than twenty
candidates. After each had suns a solo of his own selection,
seven were chosen from tho number for a second trial, whose
names are as follows : Mr. Poole, from Cambridge ; Mr. Kibbe,
from Chester ; Mr. Brandon, from Durham ; Mr. Thomas, from
Worcester ; Mr. Richards, from Gloucester ; Mr. Atkins, from
Norwich ; and Mr. Lambert, from York. These gentlemen
were then tried with respect to their ability in reading music
at sight, and, nAer a severe trial, Mr. Lambert was ultimately
chosen. The choir of St. George is now composed of nearly ail
young men, and is considered one of the first in tho kingdom.
The trials took place before the Hon. and very Rev. the Dean
of Windsor, the Revs. Lord WriotbesloyRuaecIl, Win. Canning,
nnd the lion, W. Moore, Canons of Windsor ; and the Rev*.
John Wilder, G. J. Dnpuis, and Charles Luxmore, the Fellows
of Eton College, &c— Morning Port.
Theatrical Mxits. — Miss nelen Faueit appeared on
Monday evening in the character of Beatrice in JfwcA ado about
Nothing. The part ia not exactly suited to the artist's means and
instincts, but snows some fine points, nevertheless. Miss Helen
Faucit is too accomplished an actress to do anything indifferently.
The real comedy of Beatrice, however, escapes her. She cannot
sufficiently assume tho requisite buoyancy and vivacity. — At
the Ilaymarkot, The Love Chau keeps its place in the bills by
aid of Miss Amy Sedgwick's admirable performance of Constance,
and the very clever acting of Mrs. "Wilkina, who has achieved
no inconsiderable reputation by her personation of the Widow
Green. A new ballet, called Jack'» Return from Canton, was
produced ou Monday night. It was well got up, and is very
amusing
M atja uk Frkzjsouni. — The report, happily erroneous, of the
death of Mad. Frezzolini, is thus definitively refuted by tho fol-
lowing letter from Havannah : — " Mad. Frezzolini has been nobly
revenged for the coolness with which she was received in
North America, and it is impossible to give yon a faithful ac-
count of the ovations, the bouquets, and tho presents she has
received. Her benefit took place the day before yesterday,
when L'EHtir d'Amor-'. was performed. On her leaving tho
theatre, where she had been overwhelmed with flowers and
applause, an old hidalgo, Don Diego Loinos, was watting for her
with an open carriage drawn by six mules, and escorted by fifty
slaves, bearing torches. Augmented by a crowd of the fair
singer's admirers, tho procession accompanied her in triumph as
far as her hotel, where there wera several bands, which played
for a part of the night. A committee was introduced to the
laxly, and begged permission to present her, in the name of the
inhabitants of Havannah, with a small testimonial. This consists
of a silver casket, with a double bottom. In the upper part was
a magniticent gold crown, enriched with diamonds ; in the secret
part were 4,000 piasters (20,000 francs)." It is superfluous to
add that Mad. Frezzolini granted the permission demanded.—
It- rue ft Gaulle do Pari*.
St. Peteusduro.— A new concert room has been inaugurated,
with three grand musical solemnities : the first for the benefit
of the Russian students, the second (given by the Philharmonic
Society) for that of artists' widows and orphans; and the third,
for that of the Polish students, in the rooms of Vauxhall (tho
new hall) in the Ncwski Perspective. The singers, male and
female, and the artists of the Italian theatre, took part in thia
good action, Mcsdamos Bosio, Lotti dclla Santa, dc Meric ;
MM. Lablache, Tarabeilik, Everard, Gerki, the pianist, and
Appolinaire, the violinist, being the performers. The last of
these artists was tho principal person at the concert for the
Polish studenU. He played the symphonic concerto of Henry
Litollf. The receipts were such as to enable tho sum of 6,000
francs, after the payment of all expenses, to be handed over to
the students. As this kind action called for another, the stu-
dents presented the virtuoto with a very elegant chased silver
rase, on which the following inscription is engraved : " To
M. Appollinaire do Kontski, a mark of gratitude from tho
Polish studeuta,"— Journal de St. Pitcrsburg.
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March 20, 1858.]
THE MUSICAt WORLD.
183
LrvKRPooL— (/Vom our own Correepondent, March 17).— At
the Philharmonic Society, last night, the performance* included
Rossini's Sialic Mater, Mendelssohn's Cantata. Jstuda Sion, the
" Evening Prayer" and Chorus from Mr. Costa's Eli, and Spohr's
Cantata. " God, thou art great." The executants were Madame
Rudersdorff, Miss Palmer, Messrs. Wilbye Cooper, and Mr.
Thomas. The band and chorus were good throughout. Mr.
Hirst presided at the organ. The ITaH was only moderately
filled, and tho audience extremely cold. — Mr. Barry Sullivan
re-appeared as Hamlet, on Monday, and last night played Julian
St. Pierre in TUt Wife. To-night lie represents King Lear. —
The concerts of the Royal Coldstream Guards have proved
attractive. They opened on Monday night with tho National
Anthem and played the overture to Dtr Freitchuli, with
selections from Mott, The Rota »/" CattiHe, Robert le Diable, nnd
Trovatore.— On Saturday night tfie concert in St. George's Hall
went off with great success. Almost everything was encored.
—Mr. E. W. Th
has resolved to renew his orchestral con-
certs, and opens the series on Friday (last evening). — The twenty-
first of the present series of the People's Concerts took place on
Saturday evening, March 13th, in St George's Hall, to a
crowded audience. Tho following vocalists were engaged : Miss
Dobson and Miss Pilling, pupils of Mrs. Wood (formerly Miss
Paton) ; Mr. A. Mann, and Mr. D. Lambert ; pianiste, Mad He.
Louise D'Herbil ; accompanist, Mr. H. V.Lewis. Encores were
frequent. Amongst the more popular pieces were, " Away to
the mountain's brow," " CasU Diva," duet, " I know a bank,"
Schubert's " Wanderer," " Norah, the pride of KUdare," and
the Scotch song, » Mary's Dream." Madlle. D' Hcrbil performed
two fantasias on the pianoforte. Mr. Himes* spirit and liberality
in giving these popular concerts is worthy of the large support
with which his endeavours are crowned.
Sreffi eld ( From our own Correepondent).— On Monday last
the Pyne and Harrison troupe opened to a good house at the
Theatre Royal. This being the first time the Rote of CaetiUe
was played in Sheffield, much curiosity was felt as to the music
of Balfe's latest opera, aud the local cognoscenti mustered in
strong force. If we way judge from the hearty applause, the
encores, and recalls, there can be no question of its being a great
success, and it will consequently be repeated sonio three or four
times during the stay of the company, which will last till the
27th. In the meantime, Maritana, The Crown Diamond*, Tro-
vatort, Ik., are being played. Of the brilliant vocalisation of
Miss Louisa Pyne, it would be impossible to speak too highly.
She is Indeed the queen of English singers, and it is more than
doubtful whether any foreigner in her line equals her, with the
exception of Bosio, with whom she may fairly rank in many
respects. Mr. Harrison, Miss Susan Pyne, Messrs. F. Glover,
Honey, St. Albyn, &c., sustained their London parts. The'
chorus was efficient, and the band, under the direction of
Mr. Alfred Mellon, tho best ever heard in Sheffield. By
the way, tho local critics have been setting the public on
their guard, advising them to see " that the operas are not
abridgod, as the last troupe here omitted the overtures to Tra-
tiata, Sonnamlula, &c" They also recommend that the Siege
o/Roe/ielle should bo played by way of a novelty, if only for tho
sake of hearing that " divine ballad," " The light of other days."
It will be now to your readers to learn that there are overtures
to Traviaiu and Surinam ula, and it has been hitherto supposed
that " Tho light of other days" occurred in the Maid of A rtoit.
Thuse local critics are funny fellows. I once read a delicious
bit in a certain paper cutting up a tenor, and, amongst other
things mentioning that « he vainly endeavoured to read, B flat,
when he could only achieve B natural."
Bltth.— Dr. Mark and his little band of performers visited
Blyth on Wednesday, and gave two of their truly grand musical
entertainments in the Central Hall, to very largo audiences. So
enraptured were tho public with their performances, that the
Central Hall directors re-engaged thum for the next day, when
the audiences were far in excess of those of even the previous
day. Many of the pieces met with a well-merited encore, and
the exclamation of deep and universal gratification which
escaped the lips of the audiences showed how fully their labours
were appreciated.-A'ortfern Daily Rrprets, March 6th, 1858.
Rvde. — Mr. Austin's benefit concert took place at tho Victoria
Rooms on Thursday evening, aud was attended by nearly 800
persons, the chiel attractions being Mr. Sims Reeves, and
our townsman, Mr. Austin, the performer on the coruet-a-
Siston. We believe the latter gentleman has met with a well-
eserved compliment in tho kind and gratuitous assistance of
our greatest English singer, as also in the attendance of so largo
an audience. The programme was admirably performed by
Mr. and Mrs. Sims Reeves, and Messrs. Snarey, Corps, Conduit,
and Cross, of the Winchester Cathedral choir; Mr. J. Theodore
Trokell, the pianist, and Mr. Austin himself. The glees
by the Winchester choir were much applauded. The appear-
ance of Mr. Sims Reeves was the signal for loud ami re-
iterated applause, aud his first song, " Come into tlx- garden,
Mand," was rapturously encored, as also bis second, " Who shall
be fairest ?" " The Death of Nelson " was substituted lor the
latter. Donizetti's " Da quel di," by Mr and Mrs. Sims Reeves,
was exquisitely rendered ; and Mrs. Reeves gave proof of her
talent in Weber's " Softly sighs," and " There s nae luck about
the house," the latter being redemanded. Mr. Austin delighted
the audience with two fantasias on the cornet, which well de-
served the encores that followed. The duo eoncertantes, piano
and cornet — Messrs. Trek. 11 and Austin — were also well re-
ceived. The MS. piauo solo of Mr. Trckell and his accompani-
ments throughout added to the success of tho entertainment.
Mr. Austin deserved this flattering proof of his private worth
and musical ability.
Belfast— {From a Correepondent)— Classical Harmonists'
Sociktt.— This flourishing Society gave its third and concluding
concert for this Beason on the 9th. Notwithstanding the in-
clement weather, their Hall was nearly fulL The programme
consisted principally of madrigals and four-part songs, sung by
about eighty voices, unaccompanied. Among the rest were
Leslie's arrangement of " Rule Britannia," Waley's " This world
is all a fleeting show," Wcbbe's " To love I wako the silver
string,'' Benedict's serenade " Blessed be the home," and two of
the Irish melodies — " Hath sorrow thy young days shaded," and
" Oh ! where's the slave so lowly," harmonised by the Society's
conductor, Mr. George B. Allen. Miss Julia Cruise sang several
songs very sweetly, aud was warmly received. She gave for the
first time a new ballad, "Youth's sunny memories" written and
composed by Beatrice Abercrombio, which she was compelled to
repeat, Herr Eisner (violoncello) and Mr. Edeson (pianoforte)
played solos on their respective instruments, and altogether the
concert appeared to give universal satisfaction.
Hat.kvt s New OrtiKA. — We are assured that, up to the
present time, tho management of the Opera has received 6,000
applications for seats, for the first representation of La Magiei-
enne. As the house contains only 1,611 places, the fate of 4,189
applicants is already settled. May their health not suffer in con-
sequence ! Tho heroine of the new opera of MM. Saint-Georgus
and Halovy is the sorceress Met usina. The author represents
her as endowed with incomparable beauty during the night, but
becoming frightfully ugly as soon as ever the sun rises. The
question was how, without the aid of a mask, to make the lady
charged with the part of Melusina turn ugly before the eyes of
the spectators 1 this offered what at first was thought an insur-
mountable difficulty ; it lias, however, been overcome. At
present the way in which this has been effected is a secret known
to the Opera alone, but, this week, it will be known to everyone.
Tho singers of the Opera-Comiquo, Mesdames OabeL, Lefebre ;
MM. Fauro and Barbot, appeared at the second Wednesday per-
formance at Court. Felix Godefroid alone represented the
instrumental portion, aud proved himself worthy of the ]
Their Majesties repeatedly expressed their very great i
Mrsic or tub Anglo-Saxons. — A lecture on this subject was de-
livered to the members and friend* of tho Catholic Institute st the
Natural Hiitory Society's Room, on Monday evening, t.y tho Rev. W.
Wstcrworth. Tho lecturer spoko of tho influence of music on the
feelings, and described the mime of our forefathers a* being superior to
that of the people of other oountrie*. Their instrument was princi-
pally the harp, but very different to those in use at the present day,
from which he thought the violin originated. Their singing as well as
playing was generally extern port ry, expressive of their ideaf. The
lecture was accompanied with singing.— Worceiter Journal.'
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THE MUSICAL WORLD.
[March 20, 1858.
THEATRE ROYAL, HAYMABK ET. — Under
the mnnageinonl cf Mr. Busknlouc. On Monday, March Mud. and durliuj
the week, to comme'ico at T. a x ni«ht* t-ofofo iho Eater holiday* THE
LOVE CHASE win be performed (<>r tlie I nt *ix nlai.-U. I» widen MISS AMY
SKIXJW1CK will appear aa Coiiauncv ; iho Widow Grcou by lira- Wllkiiu; l.ydbv
Mi** BulroiT. After which anew baltot by Mr. ! oc'areo. entitled JACK'S
■BITTEN FROM CANTON, lu which Mua Louiau Loelcrcq. Mr Churl** I-cdrn-o..
auid Mr. Arthur Lcdercq "ill appear. With ti e comedy of PRESENTED AT
COURT. 0 to (Troy Wcdderhuruo (hie ori«iu.il character), Mr. Buckidoiio. Cju-
eluding with the popular Spanieh ballet of THE GALICIAN FETE, by Fnnuy
Wniiht. Mr CI arlc« Leclcrcu. »ad lb* Con* de Mallet. On Thursday, Fridiy, »ud
Saturday, after the new bullet, and for tliiao Ibrco tiubt* only, the comedy t.f
A CORE FOR LOVE, la which Mr Buc ketone will »u«Uui his original character
of Mr. Sndjrrore-
NEV ARRANGEMENT OF PRICES — Orch-ntra Stall* (which may be re
taiuedthu whole of the evening, nnd for which tl ere will I* iiocl*rj,'efor booklugX
Ce. each. Fnur Pmca.— Drewl llnxo*, .'i*. ; Dp;«.r R>xc». 3t>. : Pit. '.'«. ; Gallery, la.
Kkx>k» Pm«r.-Dree. Boxca, 3. ; I'pper Boxe. : Pit, la; Gallery. ftd.
Print* Boxca, Two Guinea, and One liulntw and a hull each. Sr
ROYAL PRINCESS'S THEATRE.
KEAN.
UN
MANAGKMKNT OF MR.
LMt Bix Night* of the Pantomime.
ON MONDAY (last time this season) THE CORSICAN
BROTHERS; Tueaday. Thurwby. and Saturday f a»t llmoe fur the pra.ei.tX
A MIDSUMMER NIGIirs DREAM ; Wednc*da>, LOUIS XI. ; Fiiday, HAMLET.
And the Pantomime errry Evenluit.
ROYAL OLYMPIC THEATRE— This -vening, the
performance will commnce with TOU CAN'T MARRY YOUR GRAND-
MOTHER. Afier » bleb anew faiee. cniitled TICKLISH TIMI'.S To
with BOOTS AT THE SWAN" Commence at balf-poai 7.
THEATRE ROYAL, A DEL PHI. — This evening,
March Si'lh. RORT O'MORE. with new teeuery. drone*, and decoration*.
After which. AN HOUR IN SEVILLE. To concluJe with the nucvaaaful original
>aall*d TUB IRISH TUTOR
GREAT NATIONAL STANDARD THEATRE,
RIIOREDITCn — Proprietor, Mr. Jona DurjoxaM.
LAST MIGHTS OP MR CnARLBS DILLON, who la nightly received by
crowded bona** w.th the grvateat eiitbuavtitn. The new Faroe a irrcxt hit. Ou
Moie-lay and Thuraday, in* pert, rmfuieo will commence with PK1DB AND
I'ATlBNCB, cupported by tho ooni|xuiy. On Tucadiy, OTHELLO. Othello.
Mr. Charle* DOIou. On Wadneadajr and Rdurdnv. BELPHKGOR Delphi gur,
«r. Char lea Dillon On Friday, tho CAVALIER mid THR MUSK CT KB IIS.
Mr. OlirlM Dlrka II two rtsOH. To be fodowod by. erery etenlnit. Ibo now
» of MV FIRST DAY ON TRIAL.
E preparation* for P-iaaloii week .
CONCERT, under the direction of Mr. laaaeavn. with other
To conclude with n popul
Urmtpremratmn* for P imioi, week A GRAND VOCAL AND INSTRUMENTAL
TO CORRESPONDENTS.
F. Second (Darlington). Inquire of J. H. de Monti (Glasgow),
and Duncan Davison and Co., 244, Regent-street— The sugges-
tion of our correspondent is under consideration.
Fabian. — We agree in a very great measure with our correspondent;
but tee must decline to entertain personal controversies.
A Friend op Mozart and Modkstt.— We agree entirety with
our correspondent, but wehai-e no wish to prolong the discussion
with the gentlemen to whom he alludes.
THE MUSICAL WORLD.
LONDON, SATURDAY, Mascu 20th, 1858.
Havino chastised Mr.Dickcns.admonished Mr. Tliackcray,
belaboured Mr. Punch with his own cudgel, seared Tftc
Tunes, and shaken " Mont Blanc " to the centre, The Satur-
day Review is bent upon extinguishing another ephemeral
reputation. Mendelssohn is the victim offered up at tho
last hebdomadal sacrifice in propitiation of the God of Sleep.
Elijah has the sin of being wliat Mr. Albert Smith, in the
rough simplicity of his nature, designates " a good show."
Elijah has been given by the Sacred Harmonic Society
fifty times during the last ten years, without reckoning some
600, more or less, in other places. Elijah has drawn multi-
tudes to hear it ; multitudes have remained spell-bound
during its performance, and liavc loft with a determi-
to renew their sensations as early as possible.
Elijah, in short, is the popular oratorio of the present cen-
tury. This was enough to elicit the displeasure of our
grave contemporary, who, after long hesitation, has admi-
nistered a just reproof. The Saturday Review has opened the
floodgates of its ire. Mendelssohn and his oratorio are
annihilated !*
The soured hebdomadal which has performed thin
new act of retribution is for ever talking about " scio-
lists" (demi-savans), and philosophasters ; yet (we are
told on good authority) the history of British periodical
literature presents few instances of a more scioloas
staff than that which contributes to its pages. Our
experience being confined to music, we cannot assume to
legislate on other matters ; but on one point we are able
to substantiate in a great measure what has been said by
competent judges with regard to the general conduct of this
literary and political headsman. Music, as most of our con-
temporaries are aware, is an awkward theme to deal with,
unless some considerable acquaintance with the art, both
theoretical and practical, is at command of the writer.
About no subject whatever is the entire press of Europe apt
to write so large a quantity of nonsense. A periodical, how-
ever, started on the principles affected by The Saturday
lieview, could not possibly leave an art of such importance,
and of such enormous popular significance, unrepresented ;
and so Tfte Saturday Review has provided itself with a
musical critic. In this functionary two duties seem to be
vested. His first, independent of the aforesaid principles,
is to praise whatever may be done at Her Majesty's
Theatre (and really some of the articles on Mdlle.
Piccolomini are oddly out of place in a journal that
teems with sneers at popularities built upon foundations so
much more solid than hers) ; his second (and sterner), is to
raise the iconoclastic sledge, iu emulation of his confreres, and
dash in pieces every cherished idol of the nineteenth century.
A recent article, on Mr. Babe's Bohemian Girl (fancy the
mere name of such a flimsy piece staining the |iages of The .
Saturday Review .'). and Mdlle. Picoolomini's A rinse, may be
regarded as an example of how the special officer aecom pliskea
the former of the duties imposed upon him ; while a still
more recent notice of Handel's Samson, at the Sacred
Harmonic Society, furnishes a specimen of his ability to
fulfil the latter. With the praises of Her Majesty's Theatre
we hare no desire to meddle ; but wo cannot allow the
article on Handel's Sainton and Mendelssohn's Elijah to
pass without a word or two of comment. The sophisms,
and even the jokes of our contemporary are amusing enough
from a certain point of view; but there are things that
should be held sacred from such ribaldry, and Elijah is
As if The Saturday Review had not sufficiently entertained
its patrons with the varied banquet at which the remains of
murdered poets, philosophers, essayists and novel writers arc
served up, it must needs add, as a side dish, the body of a
great musician, drawn and quartered. Like Nero — the most
prodigal and dangerous of hosts — our Editor, leaning on his
elbow, thus addresses his ravenous guests: — " Pray, gentle-
men, commend this wine by your drinking, and let your fish
swim again. Can you think I am contented with the small
pittance of a supper which you saw just now? Is Ulysses no
better kuown ? But what then ! — wo must also show you
the love we have for the arts and sciences." And the next
* Lord Byron, too, (see last Number), is disposed of in n culumn.
But we aro only musician*, and don't care a straw i -
Digitized by Google
185
course is the oratorio of Elijah, which, farci d" injures tl de
Latin, is straightway served up to satisfy the craving of those
windy anagogues who nourish their Intellectual appetites
with the scotodinous matter contained in The Saturday
"Sic notua Ulysses T The classic query may ho flung
back again at the head of Tlte Saturday Renew, whose
anthroposophy, however otherwise comprehensive, certainly
excludes the descendants of Tuhal Cain. For aught we
know, the gentlemen who contribute to the periodical in
question may be as lettered as Hipparchus and A rat us, with
wita as subtlo fand as brittle) as Herraogones. Their
familiarity with books and the depth of their metaphysics,
however, are of little moment to us. We busy ourselves with
music alone ; and all we require of those who approach the
subject is that their discourse shall evince some little
learning. Now in his notice of Samson at Exeter Hall,
the reviewer does not exhibit the possession of this desirable
accomplishment On the contrary, he betrays a lack of it
almost unparalleled in a department of criticism with which
the serial press has ordinarily shown itself least conversant.
To begin with the beginning ; —
••The Sacred Harmonic Society consider* one performance in s year
auffieient to satisfy the public appetite for a work inch ai Handel'*
Suhhoh. It wa» given by the Society lust week, with the announce-
ment that it would not be repeated. Mendelssohn's FMjah had been
ahortly before performed two weeks consecutively, and that oratorio hat
been given by the Society not lata than fifty time* from tlio year 1817
to the preeost time, a* we learn from a recently printed atatenient. No
doubt the Society judge* on the whole juUly at to the average public
taste."
No doubt it can do thus much without the assistance of
The Saturday Review, which seems to be unaware that "one
performance in a year" is considerably beyond the allotment
accorded to Handel's Samton since the first institution of
the Society. But " the average public taste" is of course not
that of the Saturday Reviewers, who, as the Egyptians of
old, would fain reduce the arts to eompendaria. Painting and
music are alike constrained within the limits of their Pro-
crustean bed (utrosque parietes linunt) : —
"The admirer, of Webttcr will outnumber those of RaffaeUe , and
there will be a hundred people who can appreciate Wilkie for one who
cures about Albert Durrr. We do not mean that theae parallel* run
exactly on all four*. Mendelaiolin'a aim* in art may have been con-
siderably higher than thotc of either Webster or Wilkie. Hie teohnical
peculiarities are, however, very like theirs ; email detail, careful finish,
are hi] forte , instrumental colouring it need with excellent effect to
conceal the want of great melodic idea*. He composed for the nine-
teenth century, and has completely hit that taste for the te mi-grand
which prevail* throughout all strata of society."
By superficial readers the above may probably bo accepted
for profound criticism ; but well-informed amateurs of music,
who have also found pleasure and advantage in making them-
selves acquainted with the sister art, will at once detect its
absurdity. The comparison of Webster and Wilkie with
Mendelssohn betrays an equal ignorance of the arts and of
tho men who professed them. As well, indeed, might
Crabbe be compared with Beethoven, or Robert Burns
with Michael Angelo. True, these parallels do net run
" exactly on all fours ;" but the reviewer who ventured on
them might do so characteristically. Mendelssohn's " aims
In art" were unquestionably " higher than those of cither
Wobster or Wilkie," and, it would appear, higher than can
be scanned by the vision of The Saturday Review, which, in
attempting a catalogue of tho great musician's " technical
peculiarities," unconsciously hits off those of its own contri-
butors. " Small detail, careful finish are" their forte;" and
a show of scholastic pedantry may stand for the " instru-
mental colouring" used by themselves, with "excellent
effect, to conceal the waut of great ideas" on more subjects
than one. The last sentence about the " nineteenth century"
(which has chiefly sinned in begetting The Saturday Review)
is a famous example of " that taste for the semiyraiur of
which the writer complains, in a pun not even semi' decent.
In the course of some dull reflections upon Handel
we are favoured with this astounding piece of intelligence : —
"Handel, though pouesaing the fulleat confidence of the British
public, i* slightly archaic, and require* a little treatment to make him
go down."
Handel's animism, reduced to plain English, means
that, as he wrote more than a century ago, his language
is not precisely that of the present day — an objection
which may apply to anybody else, under the same cir-
cumstances,from Hesiod downwards. The allusion is therefore
a mere platitude, concealed under the "instrumental
colouring" of a Greek derivative. The last assertion is
scarcely worth notice. The Aftosiah has required no " treat-
ment to make" it "go down." It has gone down, for 120
years, as glibly as a pdte de foie grai down the throat of
a gourmet. " Slightly Archaic," though he be, the composer
of this immortal masterpiece has met with his deserts in
England. Heaven knows the English people have displayed
" emjouemenC enough for Handel. No poet, no statesman,
no warrior, ever had greater honours paid him. What, we
should like to be told, was tbe Handel Festival at Sydenham,
but the homage of a great nation paid to a great man I A nd
yet, after this, we are reminded, that Handel, being " slightly-
archaic, requires a little treatment to make him go down."
Perhaps the critic, like tho tailors of Tooley-street, relates
his own griefs in tho name of tho * people of England ;" in
which case he requires a " little treatment" himself, and of a
nature which it would be superfluous to describe. But the
art of saying little or nothing with solemnity was never
exhibited to higher perfection than in the following : —
" The hearing of Sainton ha* forced theae reflection* upon u*, and
more particularly the significant fact that it is not thought advisable to
repeat it. Yet tbe Hall wai scarcely perceptibly let* tall than on an
Elijah night, and the performance waa a very satisfactory on*. Some,
thing like a third of the music was omitted. But this cannot be ob-
tested to. Handel himself found it necessary to top ojfmany of tho
long recitative* which he had originally written ; and a conductor in
the present day may be excused for carrying this process a little further,
and expunging some Handchan exuberances, which aingor* of the pro-
lent day hardly understand. The work may be mora artistically com-
plete a* originally conceived and written ; but something must bo
conceded to the weakness of humanity, which necessarily wearies if a
performance be unduly spun out. But, taking the work a* performed
the other evening, how coloasal and maicstic it item*. There i* (tuff
in it to furnish forth ten Xlijnht. Mr. Costs'* additional accom-
paniment* may no doubt improve the general effect, but it i* not
by the cunning use of instrument, that Handel seek, to impress hi*
hearer*. In broad, clear, melodic outline, Its draws each character in
■uch a way that the physiognomy cannot be mistaken."
Tho argument involved in the above is " scarce/y per-
ceptibly" (rather slip -shod English for The Saturday Review)
intelligible. A great deal seem to bo meant at first sight ;
hut on closer inspection the spirit of the sentences evapu-
rates, and sn attempt to refute the statements of the
writer would be something equivalent to a sciomachy. Lord
Bacon would have exclaimed — " Magno conata nugat f' —
and thrown aside the paper ; and but for the half-silly, half-
malicious attempt to reduce Mendelssohn from the dimensions
of a giant to those of a dwarf, we should feel inclined to do
as much. There is no worse sign of the present age than
this itch for depreciating the greatest man that has lived in
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186
THE MUSICAL WORLD.
[March 20, 1858.
it— an itch experienced alike by pretended past-worshippers
and maniacs who imagine that, up to the present time, the
mission of harmony has been unapprehended. The one
party is iuat as obnoxious as the other, and the dull twaddle
published in The Saturday Review should no more be allowed
to pass unquestioned than the livelier paradoxes of Liszt and
Wagner. Each shonld be scrutinised with anxious poly-
scopity, and each exposed in its true colours before a too
easily deluded public The last paragraph we have quoted
is a tissue of fable* and absurdities. Handel did not find it
necessary " to lop off" his long recitatives ; nor are there any
Buch things as " Handeliau exuberances, which singers of the
present day hardly understand." It is well known, on the
one hand, that instead of " lopping off," Handel was accus-
tomed to add airs, duets, &o., to iiis oratorios, to suit the
caprice of this and that popular singer ; and, on the other,
everyone knows (except The Saturday Review)tn&t there is not
one of the pieces omitted from Samson which is a jot less
at the command of practised "singers of the present
day" than any of those which are retained. The admission
that a whole third of Samson may be expunged without loss,
coupled with the asseveration that " thero is stuff in it to
furnish forth ten Elijahs^ but for the manifest intention of
the writer to aim a blow at the reputation onjoyed by Men-
delssohn in this country, would be too ridiculous for notice.
In length, probably, Samson might "furnish forth" two
Elij<ihs; bnt of music, beautiful, expressive, and sublime,
Elijah might "furnish forth" at least half-a-dozen Samsons.
The sneer at instrumentation is stupid. Is the writer so
ignorant as not to be aware that " the cunning use of in-
struments," now constituting so important a branch of
musical composition, was almost as much unknown to
Handel as to John Sebastian Bach! — that it was not
brought to perfection till long after Handel's decease— till
Haydn, Mozart, and Beethoven, in short, had lived und
written, and died I If the reviewer is so ignorant he lias
no business to write upon music ; and if really cognizant of
the fact, that Handel could not use an art which was yet
unborn, he is simply disingenuous.
The most monstrous paradox of all is contained in the
opening of the analysis of Savwn: —
uV\xtt, thero ii tho grand line of demarcation between tho wor-
thipnrra of Dogon and those of Jehovah, which it miii>itaincd admirably
all through. The free jovial strain, of the one are controlled with
lolemn tone, of the other. MendcWtoh
Mendel.iohn feebly imitate* litis in
JMjai."
Musicians will of course treat this ipse dixit with the
contempt it merits ; but very few musicians are in the habit
of reading 7'Ia Saturday Revieic. There is not the remotest
resemblance between the stylos in which Handel nnd Men-
delssohn have contrasted the music of the idolaters and tho
truo believers. Mendelssohn's treatment is in all respects
aud more sublime,
paints the Dagonites in Samson as he paints the
Belites in Deborah. He makes them dance to a mo notorious
and incessantly repeated tune. That was his entire notion
of the matter. The Israelites sing to solemn harmony ; and
thus we have the contrast How infinitely beyond this is
the magnificent scene of the priestly contest before Ahab, in
Elijah, those who know anything of music (and, we may add,
anything of poetry) can attest
We shall not trouble oar readers with farther extracts
from The Saturday Jievietc's analysis, which is about as
commonplace as anything wo liave perused. Let it not be
supposed that we wish to take one atom from the o
ration due to Handel, who, if he had only composed Tfte
Messiah and Israel in Egypt, would have rendered it impos-
sible for auy future musician to surjMws him. Hut all
Handel's oratorios are not Messiahs and Israels; and bo-
cause we reverence Handel, that is no reason why we should
allow other illustrious composers to be robbed of their well-
earned laurels. We believe wo shall find an echo in every
musical heart when wo say that the man who has approached
the giant of the choir most nearly is Felix Mendelssohn
Bartholdy, and that the work which has forcod the world to
acknowledge it is Elijah.
The contributors to The Saturday Review were no doubt
born under Pisces — like the cooks and rhetoricians; and just
as Luciliua, the poet, could dictate 200 verses in an hour,
standing on one leg,* such is their fluency of composition
we will wager they can dictate as many columns of prosier
matter, standing on their heads. Now and then, however,
they get out of their depth, and are prone to hold forth after
the style of tho same Roman Emperor, in his cups: —
"Diamede and Ganymede wore two brothers, and Helen
was their sister. Agamemnon stole her away, and shammed
Diana with a hind in their stead. Homer also sings, how
the Trojans and Parentines fought together. But Agamemnon
got the better, and married his daughter, Iphigenia, to
Achilles, upon which Ajax ran mad." And this vein is
something like the vein of their musical critic, whose argu-
ments, instead of being served up as clear ns amber, undergo
the process of coppelliug, and arc " furnished forth" to the
reader in a recrementittous state. Nevertheless, Jucundum
nihil est, nisi quod reficit varietas; and if the Saturday
Review liad followed in the st | • of tho Athenteum it would
hardly, in its 125th week, have reached its present eminence,
and ministered to the delight of so many bilious and dys-
peptic I
WitKtf dramatic "readings" wcro new to the world, they
took the world somewhat by surprise. A man who, in every-
day costume, without any assumption of character, cotdd call
upon a multitude to gather round him, and hear him read a
book, such a man, in the estimation of the world, was blessed
with a high degree of moral courage.
It is an old City joke that the first banker was the most
impudent of the human species, inasmuch as he undertook to
make persons belicvo that he could take better care of their
money than they could themselves. In the eyes of City
philosophers, the first "reader" followed in the wake of the
first banker. He had to persuade his neighbours that, instead
of quietly perusing a book in their own chimney-cornera, they
ought to quit their comfortable homes, and pay for seats iu
the dreary hall of somo dull Institution, to hear him read it
instead.
However, in course of time, " readings," like banks, be-
came familiarised to the world, aud it was found that a large
body of semi-puritans, who objected to theatres, had no ob-
jection to hear plays read by a single individual. On what
ground, beyond absurd prejudice, the act of being present at
the imperfect execution of a work should be deemed inno-
cent and even laudable, while attendance on the perfect
execution of the same work is regarded as sinful in the
extreme, we do not pretend to explain. Certain it is, that
many persons who will not go to a play, will listen to a
"reading," and that to the illogical minds of these persons
• Ho
I us of the fart.
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March 20, 1858.]
THE MUSICAL WORLD,
187
may be attributed the prosjiority of so many non-dramatic
entertainments in this metropolis.
On the principlo tliat of two evils the lesser is to be pre-
ferred, the existence of London semi- Puritanism is not to be
altogether deplored. It is, at any rate, better than that
thorough-going Puritanism which would oppose every form
of art, high and low, as we are constantly reminded by the
squabbles that nri.se from timo to time on the subject of
sacred music. The provincial metbodists, and the London
frequenters of Exeter Hall, are constituents of the same
large party, and fraternise at the so-called " May Mooting* ;"
hut there is this practical difference between them, that the
former do their best to put down the "festivals," while the
latter are the strongest supporters of Handelian music.
Therefore let the semi-Puritans have their readings. It is
better that they should become acquainted with Shakspcare
through the medium of a" reader " than that they should
remain estranged from him altogether. Moreover, the
patronage of "reading" has led to the development of a
special talent unknown to our fathers. The excellence of
Miss Glynn, for instance, as a Shaksperian " reader," is well
known to all who peruse our columns, whethor metropolitan
or provincial.
Nevertheless, we cannot conceive that even the model senii-
Puriton is of opinion that a play read aloud in a lecture -room
is more attntctive than a play well acted on a stage. He
has a notion that the profession of acting is, somehow or
other, accompanied by moral laxity, and therefore, being of a
delicate conscience, he foregoes the enjoyment that would be
afforded by a combination of poetic and histrionic art, and
contents himself with the poetry alono. A tendency to rea-
der the icsthetical element always subservient to tho moral ;
and in case of a possible collision to insist on the absolute
triumph of tho latter, is a characteristic of the puritanical
mind in all its degrees and phases j from the fanatic of Crom-
well's time, who insisted that actors shoidd be whipped at
the cart's tail, to the fastidious patron of tho drama, who
would not object to theatres if such plays as the Oametter
ted.
Tho wnri-Puritan, therefore, when he patronises a " read-
ing," has exactly the same respect as the non-Puritan for
the poet's part of a production, and if the non-Puritan found
this port intolerable when presented through the medium of
acting, the semi-Puritan would hardly find it tolerable when
read behind a board of green cloth. Tho discovery of tho
theory that a play, that absolutely fails, when performed on
the stage — weii performed, too — can be attractive, when
simply read, was reserved for Mr. Westland Marston. His
play, Ann Dlake, admirably played by Mr. and Mrs. C.
Kcau at the Princess's Theatre, with all the tasteful appur-
tenances of that establishment, was one of the most un-
successful pieces ever shone upon by the foot-lights of
Oxford-street. Tho author, however, deems that Ann Blake
though defunct as an acting drama, may still flourish as a
reading-play, — and accordingly there are readings of Ann
Blake by Mr. Marston himself. Wonderful !
There is a statistical society, which holds its sittings in
the north-west corner of St James's-square. We should bo
much obliged if some intelligent member of that society
would find out for us how many persons in this metropolis
regard a reading of Ann Blake as an attractive entertain-
ment, with additional information as to tho views of the
persons on the subject of tilings in general.
MR. HENRY LESLIE'S CHOIR.
The sixth concert of the season wan given on Thursday
evening, at St. Martin's Hall, and although there was no abso-
lute novolty in the selcctioii of music, stilt the large hall was
densely crowded, the stalls extending more than half-way down
the room. In tho gallery and area there was hardly standing
room, so closely packed were the audience. The programme
consisted of the following pieces : —
Taut L
Madrigal-" In going to my lonely bed." A.n. 1EGO Edwards.
„ *' Flora gare mo," a.o. 1598 Wilbye.
Choral Song—" O gentle slocp" > „ T^-i--
Song to Ma> XornW ... j Henry Leah*.
Serensdo for m»l« toice» — "Clumber, dearctt " Mendelssohn.
Glee— " Here in cool Grot"— Mis* Bell, Mis*
Stanley, Mr. Eiovcttj aud Mr. Carr Karl of Moraington.
Motett— Arc Terum Mozart.
Two part song — "Tike thy banner" — Miss Ellen
Lyon, and Miss Lcffler 8. W. Waley.
Role Britannia Dr. Arne.
PA1IT II.
Psalm for Hoprano and Chorus—" ITear my
prayer"— Miss Hemming— At the organ Mr.
C. Ward Mendelssohn.
Serenade—" Blessed be the home " Benedict.
Grand duo for two piano-fortes on subjects from
"Lea Huguenots "—Mis* Cayley and Miss
Hemming O. A. Osborne.
Part songs for 1 — "Evening" Henry Leslie.
male voices, j — " The merry Wayfarer" , ... Mendelssohn.
Madrigal — * Wo happy shophord swoins " ... J. Xetherclift.
P.rt Song-" The Shepherd's farewell" Henry Smart.
God save the Queen.
Although we had no novelty in tho programme, there is no
denying that the selection was a most admirable one, and so the
audience appeared to think, for, with the exception of some
twenty (of nervous and fidgetty temperament), all remained
until the last bar of the National Anthem.
Tho performance was in all respects worthy of the Choir-
indeed, we think it the very best we have heard given by this
distinguished corps. The encores were numerous, but Mr. Leslie
very judiciously aid not give way to the demands of the audience
in every instance.
The Psalm of Mendelssohn was of course the feature of the
concert, and charmingly did Miss Hemming sing the toprano
solo, in spite of a bad cold from which it was quite evident she
was suffering.
Miss Ellen Lyon and Miss Leffler deserve honourable mention
for their performance of tho duet by Mr. Waley, who accompa-
nied the fair vocalists, to onr minds, a little degree too slowly.
The duo of Mr. Osborne was exceedingly well and brilliantly
played by the young ladies to whose care it was assigned.
On leaving their seate in the choir they were loudly applauded,
and, at the conclusion of the duo, were favoured with an ovation.
Mian Cayley bids fair to shine as a piauiste, and it is seldom one
meets a young lady like Miss Hemming who is capable of taking
a prominent phrt in a work so important as the Psalm of
Mendelssohn, and then shining in a piece so difficult as the duo
of Osborne. An announcement to the effect that a performance
of Mr. Henry Leslie's oratorio Jmmanud is to take place on May
7th, explains to us the absence of novelty in the programme,
for no doubt Mr. Leslie has enough to do in rehearsing his
oratorio, in order to be ready in a stylo expected from his choir.
The principal parts on that occasion will be sustained by Madame
Clara Novell©, Miss Dolby, Mr. Sims Beeves, and Mr. Santley.
These artists, with the choir and a select orchestra, ought to
ensure a good performance.
We may here call the attention of the musical public to the
prizes offered for composition for the choir. The terms are
stated in our advertising columns.
The next concert is anuounced for Thursday, April 8th, at
St Martin's Hall.
Madame Bosio and Siokor Taxueruk. — These eminent
artists have arrived in Paris from St. Peteraburgh, en nut* we
suppose, for Bow-street.
igitized by Google
188
THE MUSICAL WORLD.
[March 20, 1858.
ST. MARTIN'S HALT*
Mr. Hcllah'h u Orchestral Concerts" arc drawing to a close.
last but one of the series, took place on Tuesday
The tit tli, and
night, and although the haU was not so full as is usually the case
at performances of sacred music, the programme was decidedly
attractive. It began with Professor Bennett's overture,
entitled The Kaiadt ; which was well played, and received
with great favour by the audience. If anv composition from an
English pen merits a place near the works of the great masters,
it is this romantic and beautiful overture, which has now stood
the test of upwards of twenty years, and appears at the present
moment as genial, fresh, and masterly as when, in 183(5, at the
concerts of the Society of British Musicians, it was welcomed oh
the harbinger of a new era for English musical art. The hopes
which this and other efforts of the same period encouraged
have not exactly been fulfilled, it is true ; since, although extra-
ordinary progress has been made in the general cultivation and
appreciation of music, we arc still as far off as ever from what
was anticipated, viz :— a national school The iVaiads, and the
rest of Professor Bennett's earlier productions, nevertheless,
retain their hold in the estimation of all truo judges ; and what-
ever may lie hid in the future, they must always be cited as tho
first evidences of a latent power in the British mind to emulate
a highly interesting branch of art which tho Germans were
the first to develope, and which their great musicians have
brought to the highest state of perfection. There is a tendency,
both at home and abroad, to class Professor Bennett not merely
as a disciple, but as an imitator of Mendelssohn. The former is
probable, the latter more than problematical j but, admitting
both, for tho sake of argument — and comparing tho published
works of our compatriot with those of any among the sedulous
copyists of Beethoven's distinguished successor (whose peculiar
manner exercised a fascination almost without precedent)— the
difference between composers of the aptly denominated "Men-
delssohn-and-water school," and one, who with great natural
gifts of his own, has contemplated art from the same point of
view as the most illustrious of modern musicians, can hardly fail
to be detected. Tho other orchestral pieces were Mendelssohn's
A major symphony, the triumphal march from Beethoven's 7Vir-
psio, and the overture to Der FreischUtu The symphony was
admirably played and loudly applauded. Mr. Hullali wisely
abstained from taking the first and last movements too fast, as
is now generally the case, whereby they become in some places
almost impracticable. Beethoven's march has already been
heard twice at the Crystal Palace.
Miss Freeth, a pupU of M. Alexandre Billet, performed, in a
highly meritorious manner, and with great success, Mendelssohn's
Rondo in E flat, for pianoforte and orchestra. This rondo is
exceedingly difficult but Miss Freeth has evidently studied with
assiduity and zeal. She was loudly applauded and recalled at
the end.
The vocal Lata were Madame Borchardt, Miss Messent, and
Mr. Seymour. Mendelssohn's grand dramatic scena, " Infelice,"
was given with great expression by the first-named lady ; Miss
Messent gave Mozart's " Parto" with genuine taste ; and Mr.
beyraour, a new tenor, displayed some good qualities in the air,
" Fria che Spunti," from II Matrimonio Segrtto. All three might
bo criticised for certain shortcomings, but we have neithor time
nor space to give to their consideration. Curachman's trio,
■ L'Addio," was a remarkably good performance.
The concert was brought to a conclusion in splendid style bv
the overture to Der Freuehiiu.
The programme of the sixth and last night's concert will con-
sist of a selection from Beethoven's work, including the « Choral
Symphony." Miss Arabella Goddard is to play in the Choral
Fantasia, so that Mr. Hullah may expect a "bumper."
Mr. Hullah's "First Upper Singing School" attempted Han-
del s Israel M Egypt on Wednesday evening. The attempt was
more ambitious than successful. Israel in Egypt is at present
somewhat beyond the resources at Mr. Hullah's disposal. In
the elaborate choruses, " With the blasts of thy nostrils," and
The people that hear," want of precision and uncertainty
of intonation were painfully evidenced. Nor did tho short
fugued choruses, from " Egypt was glad" to » The earth swal-
entitled to high praise. The opening chorus, "
of Israel sigh'd, went well, and the fugue,
drink the water," was equally good. The e
lowed them," fare much better. Worse than all, the simple and
impressive passage in unison. " The Lord shall reign for ever,"
was so out of tune that the band seemed inclined to leave off
playing. In some instances, however, the choral singers were
'Thoy loath'd to
encore awarded to
" He gave them hailstones," was thoroughly deserved ; and the
applause bestowed on " He dashed them to pieces," and " The
horse and his rider," was equally well placed.
The soloists were Misses Banks, lan ny Rowland, Palmer;
Messrs. Pcrren, Santley and Thomas. Mr. Perren sang well,
and was encored in " The enemy said ;" but he must be admo-
nished not to " embellish " Handel's music with vulgar and
irrelevant cadences. Mr. Santley and Mr. Thomas both sang
well, and their vigorous execution of " The Lord is a man of
war," won an enthusiastic encore. The three ladies
guishod themselves by zeal and discrimination.
Tho hall was full, but not crowded.
at the
AMATEUR MUSICAL SOCIETY.
Thk fifth concert was given on Monday evening
Hauover-square Rooms, and attracted a very large and brilliant
audience.
The programme was as follows :—
Pabt L
Overture in D J. 8. Bach.
Aria ce'lebre'— Madame Pauer Stradella, a. b. 1667.
Aria—" Figaro"— Misi Theresa Joffenra ... Mozart.
Symphony — "Jupiter" ... ... ... Mozart.
r«T ii.
Fantasia — " Recollections of Ireland" —
Pianoforte, Madame Roclie Motchele*.
Songs—" Der Neugierige" F. Schubert.
„ '« Much* auf." — •' Bolero" — Ma-
dame Pauer Dosaauer.
lemian Girl" Balfe.
iiutrel Boy"— Miss The-
Jeffcrys Irish Melody.
Introduction and March Lord Gerald F
Conductor— Mr. Henry Leslie.
The overture of Bach is rather too much for tho amateurs at
present, but it contains no passages that are not well adapted
for the stringed instruments, and, therefore, on a better acquaint-
ance, the band might really give a very fair reading of it Its prin-
cipal requirement is steady playing, and this is not one of the
virtues of the amateur orchestra. By constant attention to their
conductor, however, they cannot but improve ; so with this short
piece of criticism we will leave the overture of Bach.
The glorious Jupiter Symphony was well given, particularly
tho andante. It was with the utmost difficulty Mr. Leslie could
restrain tho ardour of his forces in the Jtnale; but he kept them
in tolerable order, and all went well.
In the fantasia of her father, Madame Roche displayed great
talent, and on leaving the orchestra was greeted with loud ap-
plause.
Mr. Balfu's overture might have received with advantage
more attention from the members of the band, for there were
several slips which could only have arisen from sheer carelessuem.
The vocal music was excellent Madame Paner was in good
voice, and sang charmingly, receiving a well-merited encore in the
bolero of Dcssauer. Miss Theresa Jefferys, a daughter of the
well-known publisher, appeared for the first time at these con-
certs, and made a highly favourable impression. She has
evidently been well taught, and possesses a pure aud beautiful
tnezto soprano voieo.
The concert was brought to a conclusion by a well scored In-
troduction and March by Lord Gerald Fitzgerald.
St. James's Hall.— We understand that His Royal Highness
the Prince Consort has been graciously pleased to signify his
intention of honoring with his presence the concert for the
benefit of the Middlesex Hospital, which will take place at the
New St James's Hall, on Thursday noxt, 25th March, ls$8.
uigiiizeo uy uoo
March 20, 1858.]
THE MUSICAL WORLD.
189
MR. BRINLEY RICHARDS' SOIlifcES.
The first of these took place on Wednesday week, in the
Beethoven Rooms, before a numerous and fashionable audience.
The following programme will show the classical nature of the
Pabt 1.— Sonata in F major, No. 2, Op. 23, pianoforte and violin—
Beethoven; Aria, " Visni Toros," (TescoJ-IIandel j Grand Sonata in
O minor, " Didone Abbandonata," (Soena Tragica)— dementi.
I'o.t 2.— Trio in E flat, No. 1, Op. 2, pianoforte, violin, and riolon-
cello— Beethoren ; Sacred Sor.g, "The Fihrriin'a Path"— Bioharda ;
Lied Ohne Worte, K major, book 2— Mendelsiohn ; CharactcrUtic
piece*, No. 4 in A major, "Sehnell und bcwrglich"— Mendelssohn;
Pianoforte — Mr. Brink; Richard*.
We have said so much of late about Clementi's very fine
sonata, that it is enough here to compliment Mr. Richards on
the rufiued musical taste which induced him to present it to his
patrons, and the true artistical zeal which, as ins performance
betokened, he must have devoted to its study. It was listened
to with equal interest and attention, and greatly applauded at
the conclusion. The sonata and trio of Beethoven (in the former
of which he enjoyed the valuable co-operation of Mr. H. Blagrovc,
and in the latter of the same gentleman and M. Paque), were
equally successful. The beautiful romance from Mendelssohn's
second book of Lieder, and the brilliant presto in A (" Sehnell
und beweglich ") from his Seven Characteristic Pieces, were well
matched. The latter, played with the desired rapidity and
spirit, was an effective termination to the soiric. The singer
was Miss Messent, who, in the new sacred piece of Mr. Richards,
a moat expressive setting of some elegant words by ~
lleber, received the compliment of an encore.
At the next soirte Miss Arabella Goddard is to play J. S.
Bach '8 prelude and fugue, >i la Tarantella, and a duet of Men-
delssohn with Mr. Briuley Richards.
CRYSTAL PALACE CONCERTS.
The concert of last Saturday was exceedingly attractive, and
comprised, among other thing*, a novcltv of great interest —
namely, MoscheW Pianoforte Concerto, No. 4, a work of high
merit, aud now t>>o seldom heard in the concert-room. The
programme was as follows ! —
1. Overture, " Die Kntfiiltrung sua dem Serail" — Mozart . 2. Sccna
and aria, " Ah perfido," Misa Louiaa Vinning — Beethoven. 3. Piano-
forte Concerto, No. t, in K mnjor : Pianoforte, Mijs Arabella Goddard
— Moscbrles. 4. Sjmphony in D, No. 1— Gounod. 5. Ballad, "Why
do I weep for thee," Miaa I.ouif.i Vinning — Wallace. 6. Solo for
Flute, Mr. Sventden — Tulou. 7. Clarice, "Morceau dc Salon,"
Pianoforte, Mi« Arabella Goddard-Fmnagalli. 8. Song. "Too late."
Miaa Louisa Vinning-Pratten, 9. Overture. - Le. Franc. Jugea"-
Berlioz. Conductor— Mr. Mann*.
The name of Miss Arabella Goddard is now, we need hardly
say, a tower of strength in any programme, and the large number
who flocked to the palace on Saturday proved that a good name
is as attractive at Sydenham as in Hanovcr-square, or St. James's.
Moacheles' concerto, at a period when the composer was at the
zenith of Itis popularity anil resided in London, was in great
favour with the public performers. It is a fine work and
brilliantly written for the instrument. It is, however, like all
the concertos of its composer, as difficult to execute as it is
brilliant. Its performance by Miss Arabella Goddard created
the greatest enthusiasm, every movement being received with
vociferous and prolonged applause. Fumaplh's Clarice was
equally successful from another point of view, aud exhibited
Miss Goddard's highly polished graceful fantasia playing in the
most favourable light The style was as graceful and captivating
as the execution was perfect.
Misa Louisa Vinning, too, was a highly attractive feature.
She sang both her English ballads so well as to elicit unanimous
encores. That of Mr. Wallace is one of his most deservedly
popular, whilo Mr. Sydney Fratten's " Too Late " is one of the
liveliest and prettiest of the ballads of the day. Beethoven's " Ah,
Perfjdo," is less suited to the style of the young English artist,
who, nevertheless, sang it with the greatest care. Mr. Sventideu,
a skilful flautist, was much applauded in the solo of Tulou,
which is not the leu rubbish for all that. M Gounod's symphony
is interesting ; the first two movements containing many things
both spontaneous and clover. There are too many direct imi-
tations of Beethoven, however, upon which, on some future
occasion, it may be worth while to dwell. This, and the two
overtures (representing the very opposite extremities of the
art), were well played by the band, under the direction of
Mr. Manns.
SACRED HARMONIC SOCIETY.
Tmc performance of Samson, on Friday night, the 5th instant,
attracted a very large audience. That Samson enjoyed, in the
composer's time, a celebrity only inferior to that of the Messiah.
is known to every reader of musical historv. It is even saiti
that Handel himself preferred it, after the Messiah, to any of his
oratorios. Whatever consideration Samson may havo obtained
in Handel's time, there is no probability of its enjoying the dis-
tinction now. This oratorio is known to the modern public
principally by the airs " Total Eclipse," and '* Let the bright
eraphini,
and some of the
which are among tho
will
grandest Handel has written, The Sacred Harmonic Society do
not appear to count upon its attraction. It was last performed
in 1851 or 1882, we believe three times, and since been hud
aaido ; nor is it likely that the performance this
be repeated. In short, wo are led to tho inevitable >
that Samson is not exactly what Handel and his cont
regarded it. The reception awarded it on tho present i
will not warrant the Society in giving it a second trial this
season.
To the book, altered and adapted from Milton (very far from
Milton !) by Mr. Newburgh Hamilton, scarcely a word of
praise can be given. The great poet is not only spoiled, but
degraded by this forced alliance with an inane and vapid
spluttcrer of doggre). Had Milton been allowed to speak
for himself there was enough in Samson Agonittei to make a
really impressive sacred drama. Handel, no doubt,
clogged and fettered by his poet(!), and would have i
far higher in his music had he been left unshackled. In
his grander thoughts he has, however, taken his leading idea
from Milton, and is indebted for nothing to the Scot. Witness
" Total Eclipse," in which Milton's gold is set off against
Hamilton's tinsel. How grand, how expressive, how Miltonian
is the music ! Handel found kindred thonghts in Milton's
poetry, and rendered them as sublime in song as the poet had
done in verso. That Samson shows, in a great many instances,
the hand of the composer of the MessiaJi and Israel in Egypt is
undeniable ; but that his inspiration continually flagged is just as
evident.
The performance generally was praiseworthy, if not perfect.
In two or three pieces the chorus covered themselves with laurels.
We may cite, "Then roundabout the starry throne, " Hear, Jacob's
God," " Fixed in His everlasting seat," and " Let their celestial
concerts," as the most effective. On the other hand, " To man,
God's universal law," was not all that could be desired, while
the Chorus of Virgins, so exqaisitely amalgamated with Dalila's
air, " My faith and truth," was too frequently out of tune.
Madame Radersdorff, Miss Dolby, Mr. Sims Reeves, Mr. T.
Williams, Mr. Santley, and Mr. Weiss, were the singers. Mad.
Rudersdorff is out of her clement in this music ; but she was
encored in " Let the bright Seraphim," thanks to the magnificent
trumpet - playing of Mr. Harper. Miss Dolby sang for
the most part with her usual artistic excellence, but her
reading of the air, " Return. O God of Hosts," was some-
what exaggerated. Mr. Santley and Mr. Weiss both sang
well. Mr. Weiss's ponderous voice telling with due weight
in tne music of the giant Harapha, and fully he merited tho
encore obtained in the duet with Mr. Sims Reeves — " Go, buttled
coward, go." Mr. Reeves sang better than ever. The pathos
displayed in "Total eclipse" could not have been surpassed,
n is grandest vocal effort, however, was in the air, "Why does
the God of Israel sleep ?" which is more difficult and taxing
than any other tenor song by Handel Mr. Reeves's florid exe-
cution was quite as wonderful aa his declamation, and we have
Digitized by Google
190
THE MUSICAL WORLD.
[March 20, 1858.
uo hesitation in saying that grander Handelian singing than hit,
on this occasion, was never heard. The part of Samson is an
arduous one for the tenor — the most arduous indeed Handel lias
written— but Mr. Sims Reeves is the Sam son of tenors. Another
encore was awarded to Mr. Sautley for his careful and finished
execution of the air of Manoah — " How willing my paternal
love" — in the last part of the oratorio.
The Lobgemng and the Requiem are announced for Friday
night.
The " Passions " ahd tdr Prisce.— Field Marshal H. R. H
Prince Albert has intimated his intention to be present at the
performance of John Sebastian Bach's (J roue Pcutiont-Mutit,
at St. Martin's Hall, on Tuesday
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Rcndetitig It ao admirably aoft that It will lie to any dirccUi to, producing beau tifullr
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•eld by A. ROWLAND tk SON I, |_
and by Chemlata and']
MEYERBEEE.
THE FOLLOWING NEW VOCAL COMPOSITIONS
MEYERBEER
MAT a BKElt PUBLISHED BV
MESSRS. DUNCAN DAVISON and CO.:
THIS HOUSE TO LOVE IS ITOLT, Sen.ua !e for eight roieca (3 aopraoca, a. d.
1 con t rait oa, J teoora, and 3 t.tuiaeaX without aecompanlment, In eocol
aoore 9 6
Reiurnto rocal |Kirta to Uie above ., oach 0 t
•• We hare reoeirtd an Eogllali veraion, by John Oxenford. Ban., of Mcyorboer'a
bymcuo.il aerenade, ' Adlcii aux jeunea manda ' It la pnbUabod uudor the tiUe
of TUIa IIou« to Lore ia holy.' It la cornpoeed for eight roicoa, or. rather. In
cluht tarta; aln« each part may bo atrengiheaeil by out number of niloea It
U without aooompanlment. and diffcra, In that reepeot, from moat of the grand
dramatic cltorasee to be found tn M.yerlwor-. oporaa. mpperted by the orchoatra.
Tills purely vocal aerenade la mora after tho modal of the great contrapuntal
writem of the aoTcntcenth coutury— Ago»uni, Benevoll, li.iix.jdi , aixl Bcrretto—
who tiemtmthed to lie impcriahable Scgaciea. to the cancntc and fogued etylca,
for two, three, and even four ehoruK*. alnginz almultanonualr, each chorua con-
aialing of aoprano, alto, tenor, and lataa. lToao crJoaaal compoalUoua, ihoii.'h
nia»t<.i-plcoca ooutrapunta] contrivance, have l«ig atoee fallen into disuac,
aacupt aa examplee for atudy in the Muilcal OnnarrraU.Hra It I* doebtful.
Indeed, whethtr the ear alone (unleaa aaateted by the eye, and a view of the
loHltlon) would enable the hearer to follow and dietiuguiab the intricate awl
in»i>!vod wab of ao many voloea of aimilar character Intertwining and croasng
each other. The neareet approach to dl llnrtnoaa waa prubttbly arri'cd at by
placing the aereral dioira at ac me .tiitance apart from each other. Tide method
!iaa been trtol. In our timea. undtr tho direction of tlio t tlented an.i lame. iol
Mcn-ialaaohn, when he conducted the porfotn.a.ice of Bach'a 'Poaalon-Miiale'
aceordl'.g to 8U Matthew, enmpoa.-d for two orcheatraa awl three cborueea; but
the reeult wna not aatiafnetory. Tbeao retnark* are neoeaaarr, to explain the
peculiar merit of Mrycrbccr"» Beronadr, n-.w under review. In order to attain
clrarueaa. be con>>tltutea hla two choira of different maicriala— one choir c.nuata
or^awfc yoicea, fim and aecond eopreni, nr»t and atcood alU : the other choir
eonobte of vuiU volcea. firat and euond teuirl. fir.t and atcoml band. The Ural
verec La commenced by the male ebeir, and la afterwarda tekon tip by the female.
The nunc mualcal aubject la then divided Into phraece of two or three bora, and
given to tho choira alternately. Thirdly, both choira oorobmr. Ry ll.ee uicain.
Mryctbcer haa avddcd tbn confutdou which waa uiKwral lc from LL o earlier
compuettiona which tae have tncntiocied. Whilo he equala the OU aUatera in the
oarrta^e of tho voices, in the purity of writing, and profrrcKih n ul the pirt*. be
liaa lii>parte>l a charm of melody to which their cannna and fuguua never uttaaied,
and haa oilded a richutae of modulation which waa unknown to tliem. We
wt uIJ particularly Inatance an abrupt m'Hlulation, from O flat to A natural (eo-
hain.ool.! for double D Bat), and beck again to I) flat Tlie Etigtlah wotda aiao aro
nttlugty wedded to the muelc. We neci ecarcely add that weaironjly recommend
tbla Serenade to anch of wir local choral aaeociatlona oa have the advaji toze «f
female volece."— Liverpool Afail.
PRAYER, for four voice, (aoprano, alto, tenor, and baa.) a d.
with Engllan and Latin text, organ ad lib., in aoore 3 0
Sciau-ute total parte to the above each 0 S
We have met with few devotional aonga of late yi are *> calculated to beoomo
widely popular. The melndy la quite Uaudolie, and tlie harmonica are arranitod
with the moat roacterly akill ; while tho aubjeet, l<.ing ono which involve* no
(piertion of doctrinal ur aertarlan rilffctciicc, co«e.niond« iue f to nil 'who profeu
and call themeelve* Chriatlan.' We ahall not be eurprleed to And the bortuoniaol
lor.J'a rnvtr eugagiuu the attention of many a church and chapel choir; that It
will be widely patrvuiaid In demotic circke we feel aaaured."— Br<t<ot .Vrrrary.
a. d.
NEAR TO TUFF, (PrKa deto4K for voice, piano, and violoncello .. 4 t
HERE, HERE ON THE MOUNTAIN RECLINING (U chant dn Beryer),
for voice, piano, and clarinet, or harn.onmm .. .. 4 0
V The above two aonga are eminently calculated for ringing at public concerto.
NEW VOCAL MUSIC
"To-mc^ow "ha'lad,byC. J. Hargltt j «
"Hie '.Id WUluw Tree." ballad, by 8. J. 8L Lcgcr so
"Tlie Trouliarl, ur'a lament," by Loulaa Vamold t «
VOICF, PIANO, AND HORN.
"WnEN O'ER THE MEADOWH OREKX." by Bugene Vlvier .. ., S 0
V Hung by Mail. Viardot with dlatmguiahed auoceea.
VOICE, PIANO, AND VIOLIN.
"afOURNFVLLT. SINO MOORNFDU.T," by Q. CruweO, Op. SI .. S <
NEW PIANOFORTE MUSIC.
tDKR OIINE WORTE"bTC. J. llanttt SO
Bella Figlla"(Rigoletto\ by Jnlo. Itrttiac .. ., .. ., » «
aaricc,flM«cewdeC<mc»rt(j)layeribyMiaaAnaxUaOoddard).. ..4 0
A fiu.iiu.t'a Day," Romance, by Eughr.0 Motilui .. .. .. ..SO
by F.. A. Oomlnn | o
LONDON i
DUNCAN DAVISON & CO.
Dl La UfalBOJf BBANDUS, Dl PARIS).
J44, "fcEOENT BTBHET, CORNIB OF UTTUI <
Digitized by Google
March 20, 1858.]
THE MUSICAL WROLD.
101
NEW VOCAL MUSIC
BY
SIGNOR FABIO CAMPANA.
NEW ^VLBXJM,
3i im^ b> m 2T b s aa jr a,
ALBUM MUSICALE,
Containing the
f bound in crimson and gold,
Price 2Wrc ShUliwjt.
1. ITALIA
2. LA RONDINKI.LA
3. LA DESOLATA
4. RIMPROVERO
G. ALLA CAMPANA AX1UAMO Duetto.
6. PER L' Al'RE TACITE Duetto.
The above may be had separately.
••• «•« «.*
Aricttu.
ALSO, LATELY PUBLISHED,
SIGNOR CAMPANA.
SONGS.
i#i
1. LA LUNA,
8. LA PRIMA LAORIMA, UniMlll
3. IL MARINARO, Bnrcarolk
4. L' ULTIMA PREOHIERA, Romania
0. 10 T AMKRO, Rou
6. TOLA IL TEMPO,
7. AM AM I, Romania
8. M" AFPAR BULLA TOMB A, Arietta ...
>. d.
... I 0
... 2 0
2 o
2 0
NEW ENGLISH SONGS.
STEPHEN MASSETT.
" I REMEMBER THE HOUSE WHERE I WAS BORN"
"A SABBATH SCENE"
" I'LL LOOK FOR THEE, MARY "
"IT IS NOT AS IT USED TO BE"
" I WOULD NOT HAVE THEE YOUNG AOAIN "
i. d.
2 0
2 0
2 0
2 0
2 0
1 WHEN THE MOON ON THE LAKE IS BEAMING " ... 2 0
JOHN L. HATTON.
" PHCEBE, DEAREST" — Ballad. Composed for Sim. Reeve... . 2 6
" I STOOD ON THE BEACH." Composed for M'im Dolby ... 2 6
"HOW SWEETLY (4 LEA MS THE LIGHT OF LOVE"—
fur Mr. nnd Sirs. Sin
M. W. BALFE.
* SCENES OF HOME " — a domestic Ballad
MISS FRICKER.
"I DO NOT WATCH ALONE"
W. T. WRIGHTON.
" SPEAK GENTLY."
3 0
... 2 0
2 0
... 2 0
NORDMANN.
"THE NEEDLE," a Distich, by George Hodder. Embroidered
••• *•» >•« ».»
••« 2 0
... 2 0
DUETS.
1. LE DUE FANCTULLE,
a. UNA SERA D'AMORR, Nutturoo A Due Vocl (Second
•a* •••
TRIO.
MADRE DEL SOMMO AMORE,
IM • •>
1 6
2 6
2 (5
3 0
WltDOJf !
HOOSEY AND SONS, 28, HOLLRS-STREKT, OXFORD-STREET.
C. J. IIARGITT.
2 0 "THE LAST GOOD NIGHT "—Serenade. Composed for
Sims Reeves ... ... ... ... ...
" SLUMBER, DARLING, LULLABY "
E. H. PROUT.
-THE MOONLIT SEA"
R. S. PRATT EN.
'TOO LATE! TOO LATE I" Sung with
2 0
2 0
2 0
2 0
2 0
E. W. FAITIIFUL.
"THOSE DEAR OLD TIMES"— Ballad. Sung by Mi-- Dolby... 2 «
tOKSOHl
BOOSEY AND SONS, 28, HOLLES STREET, OXFORD STREET.
Diguizea
by Google
192 THE MUSICAL WORLD. [March 20, 1858.
NEW PIANOFORTE WORKS.
brinley richards,
brinley eichards" pianoforte tutoe.
PRICK 4a.
P best, the newest, and cheapest of all instruction books, containing 60 page* of full-sized mtwir, all necessary elementary instructions,
-ciscs,'and a great variety of the most popular tonne* as progressive lessons. Tl.c attention of Professors is expressly requested to this
I work; also to
BRINLEY RICHARDS' NEW SET OF SHORT PRELUDES.
PRICE 3s.
Intended as introductions to any pieces ; expressly written f"r amateurs ; and to the
NEW OCTAVE STUDIES.
PRICE 3s, Gd.
By the same popular Composer.
RICHARDS' Edition of Cxerny's Etude* de U Velodte, preceded by new exercise*, and a new study on tlie octaves, composed expressly s. d.
for this edition by Brinley Richards ... ... ... ... ... ... ... 10 «
Or in two Parts, each 6*.
Edition of Cxerny's 101 preparatory Studies, with additional finger exercises and other studies written expressly for Una
edition by Brinley Richard* ... ... ... ... ... ... ... •-• S 0
Or in two ParU, each 4a.'
... ... ... •♦• ■ 1
... ... ... ■■• 2 6
... ... ••• ••• 3 6
G. A. OSBORNE.
a. d « • d.
OSBORNE'S " Ireland," fantasia on favourite Irish airs ... 8 6 1 OSBORN K'S " Sol campo dclU gloria," from Belisario ... 3 0
Juanita," popular song by tike Hon. Mrs. Norton, arranged for the pianofort
Annie," Barker's popular ballad, arranged for tlic pianoforte
rand Fantasia on airs from " Ix* Huguenots." (Jnst published)
Scotland," fantasia on favourite Scotch airs ... 8 0 „ Schubert's Serenade 3 0
„ "II Pirata," fiutasia soloor dnct 3 o|
N.B.— In tbo press, ■ France and Knglnnd," fantasia* on English and French uirs.
ALBERT LINDAHL.
a. d. »• <»•
LINDAHL. India, a lament for the pianoforte 2 6 I LINDAHL. Switzerland 3 6
„ Le chant du cuptif, nocturne 2 6 | „ Germany 3 0
T. A. NAUMANN.
a. d. «L
NAUMANN'S I,:. Dansc dvs Sirenes 3 0 I NAUMANN'S The Mill 8 6
We're «' noddin' 3 0 | „ La Bergero ... ... ... IM ■ v
Comin* thro' tlkr rye ... . 2 6
D' ALBERT'S ALBUM FOR 1868, 21s.
ALSO
D'ALBERT'S TROVATORE WALTZES (just published), 4s.
D'ALBERT'S ESPAGNOLE WALTZES, -4s.
D'ALBERT'S SIBYL WALTZES, 4s.
D'ALBERT'S MARINO FALIERO QUADRILLE, 3s.
D'ALBERT'S LE BONHEUR POLKA MAZURKA, 3s.
CHAPPELL AND CO., 50, NEW BOND STREET.
EoW also by
BesjnwH«at2
i
otsd by William 8rw.cu
Ssturisy, atsrch ». KM.
Digitized by Google
a I) t W, o dir.
"THI WOBTU OP ABT APPEARS MOST MftXKXT IK MCBIC, BIKCI IT KSQUIBK8 NO IfATKBIAL, NO 6f BJECT-MATTBB, WHOSE xTFICT WTR
SUBSCRIPTION: — Stamped for Postage, 20s. per annum— Payable in advance, by Cash or Post Office Order,
to BOOSEY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 15.
SATURDAY, APRIL 10, 1858.
I FRICE 4d.
1 STAMPED SC.
SIGNORA FUMAGALLI, SIGNOR DI GIORGI,
mi l MR. CHARLES BKABAM (Conductor, Sigm.r rianeaU. A I mil*
tions for the province*, or the motropoJU, to be ad dreaaed to Mr. Charles Br aham.
Manager.
MR AOUILAR begs to announce that his Matinee
Muaicale wll lake place at the Harwvcr square. Rwai, ou Monday,
May the tttli. Fnrthor psrticulara will be duly wuvuuced.
MR. ALBERT SMITH'S MONT BLANC, Naples,
Pompeii, and Vesuvius iwj night (turpi Satur-la; ) at 8; and Tuesday ,
Th rrwiar. and Bat urday afte raoom at J. Places can be secured at the Box-office,
E.-J p'.lait-l » ., I.v.y. k«nsi I! aid 4 w.I I -it ;u. 1 'extra .. I..,rge.
CRYSTAL PALACE. — FLORAL BAZAAR for the
Exhibition and Sale of Spring Flow, rs, on Wodncsday, Thursday, and
Friday next. Uth, Uth, and Iftth of ApriL Open each day at ten. Admission, Is ;
children under twelve, liaf price.
MR. AND MRS. GERMAN REED (late Miss P.
Hort- n) will rpjxjat Ihelr a^Urtalnmeot every evening, except Saturday,
at Eight Hnturday afternoon at Threu. Admieeion, Is. and S& ; tHalle. 3a,
MiC'ircii without extra charge at the Royal Gallery of Illustration, H, Rcgci.t*
■trwet, and at Craftier, Bf*t*\ and C-..>, 301, Resell t-wtrect.
MR. CHARLES DICKENS will read hi. CHRISTMAS
CAROL for the BENEFIT of the HOSPITAL for SICK CHILDREN, on
Thursday evening. April Uth. at Kiutit o'clock, at 8t. Martin* Hall. Haails, as.
Area and Galleries. 2a. Od. ; Back Beat", Is. Plants can b«
had at St. Martina Hall ; the E«yptian Hail, Piccadilly;
Great Ormond-slroct.
HANOVER SQUARE ROOMS. — Those elegant t
convenient rooms LaTing been ro-dooonHed and entirely new lighted <
and
l with
the brilliant suu-Hghta, are to be let f„r Concerts. Public and Private Balls.
Baxaara, Mcctinga, Ac. No concert-room* can compete wlihUiem fur sound, fur
either vocal or instrumental music, or fnr public
tho Rooms, No. 4, Uain-ver-aquare, between the "
TRONIC SOL-FA ASSOCIATION.— CHORAL MEET-
ING, EXETER U ALU Tliuraday. April IS. TI>o choir of eight hundred
voice* will «og a eeUtctiwi ol Ktigllah >.'!««, part wings by Mcndrlsauhu. a chorale
of J. 9. Bach, and the "Amen" chorus from Handel's MESSIAH. A brief
lecture by Re». John Cur wen between the parts. Doras open at Seven ; to com-
mence at Half-past Seveu precisely
Tickets for Area. Is ; Western Gallery. Is. W : Reserved Seals, is M ; at
Ward and Co.. 37. PsU rooster-row ; and ol thi
PROGRAMME
MISS
ARABELLA
GODD ARD'S
WILLIS'S BOOMS, KING BTKEET, ST. JAMKS'S.
Fast I.— Sonata In E flat. Pianoforte and Violin (No.
Ocvddsrd ai,d M. Sainton) ; Grand Sonata lu D ena)or (I
Ronati cm, posed by Hummel) Hummel (Fianuf. rte
Pan Scberxaodo. and Fuga, In A minor — No. 16 fior
book 4 of P. C. Ortepcnkerl's "Complete Co lection a
J. & Bach"— (repeated t,y desire! J. 8. Bach (Pianoforb
r«RT II.— Sonata in A major (Op. 101). Beethoven
GoddaH); Grand Quartctt in F minor (No. S). ~
Violoocelo, Mcndelesohu (Miss Arabella Ooddard,
SlK Plattl).
The Second Soiree will take place on Weduoadae.
isj. Moiart (Miss Arabella
Ip. 1IWX (the I vat Pianoforte
, Mies Arabella Ooddard i ;
n book 9, and N». 2 from
f tho Pianoforte Works of
r, Mis* Atai-ella loddardX
(Pianoforte, Miss Arabella
rSil*-rfpti.!u*Ti<- sets lor the Series. One guinea
xlrte, 10s. ed. ; Unreserved Plaosa, 7a.-to be bad ,
15
Apill 28th, the third on
Reserved Places for a single
MUDIE*S SELECT LIBRARY.
NOTICE.
CE. MTJDIE has the pleasure to announce that the
• alterations in progn m at his Library are now sufficiently advanced to
provide iucr, ast-d accommodati* n for the Subscriber*, and greater fadllUss fur the
r.p.d exchaoire of kwoks Tbe supplies of the higher class of works, for the <
cu>ation of which tho Library was originally esUbliahrd. an alao largely increas
and will be further augmented by the addition of mors than
Tboummd Volumes I" ti e course of the present and enauiin; season.
M», 410, A all. Nxw Oxroau Stsist.
A>C SO At 21, Moaxcv Stssr, 1
April. laM.
PHILHARMONIC SOCIETY. — The Subscribers and
the public are respectfully Informed that the FIRST CONCERT will take
place at tho Hanover 8o.'iare Rooma. on «■ r,day Evening next, tho l»th of ApriL
Programme: Hinfonia in D No. «, Moai "
UpV. O. Cu«4i.a, Stemdale BeuneU ; O.t..-.
In A, No. 7, Beithoven ; Concerto In a No. a. v
FreischUra. Weber. Vocal performer*. Madame
ductor. Proreasnr 8tarndale Bennett. Mus. Doc. To begin al Eight. Subscription
f r the season. Three Oulnsas ; Single Ticket, 15s ,— to be had of Mesara. Addison,
pianoforte.
Hoiller, and Lucaa, J10, Regent attveL
ST. JAMES'S HALL.— The Vocal Association, Con-
ductor, M Benedict.— Ou Friday next, April ltth. will be performed the
whole of Locke's music to MACIiETII. with the Ei.tr'A.tee compoeeil for the
Stau, Perfoet,, rince in honour of the Mimv of the Pnuocaa itoval by M. Bene-
dict Also, the overtures to Oboton »' and "Onlllaume Tell^' Flute oonoert-
stOck. R S. Prat ten. with full orchestra; Part-songs, Kuekea, Abt, Benedict,
and Luca sfarensio. by the Vocal Asst-cia'ton »d 300 wiioaa. A r til res already
engage,]— Madame Weiss. Madlle. Finoli, Mies La-celles, Mr. W. Tbomas, and
Mr Weiss. Flute, R Sidney Pratten Band and Chorus of 400 perlormera
Further particulars will be duly announced Tickets, 2a. ftd , is ; Balcony Stalls
(numbered). 7s. 6d. ; Hofa Stalls. 10a. 0d., to be had of Messrs. Cramer, Beale, and
Cbap|<ell. 201, Regout-.tieet ; Mr Hiunro nd. Regent street . Messn. Sams'
Idbrary, St JamesWreet ; Mews. Leader and Cock. 63. New
«!>«. Chapi^ll. SO, New Bond-treed ; Mr. R. W. OUivier, IB ~
Messrs. Keith and Pro
Old Bond-street
V.
unpcr rnr raTnoiraoE or
HER MOST GRACIOUS MAJESTY THE QUEEN,
II II I I THE PRINCE CONSORT,
axra
THE ROTAL FAMILY.
,ax begs most respectfully to announce that he is open to sngagamenU
with his highly approved, interesting, pleasing, and instructive
MUSICAL ENTERTAINMENT,
DR. MARK AND HIS LITTLE MEN,
of thirty Instrumentalists, sad a ma
whole forming a meet complete nud unique
JUVENILE ORCHESTRA,
Utile Engll.h. Irish, and Scotch boy*, fn.m I'.ve t,. slxloen rears of age, wlro play
.reticVelection., soloa, dueta, quart- ta. quadrilles, marches, and porkas;"aoS
». Ac . lu a m.at effecti
*Uig
and to whom he gives
is h^y^proved
I wlfed^^oo?
BflJ S ng*,
gratuitous general and musical education in order to
system of musical education, and with whom he
excite an interest for and help to establish musical mnUtullotis <
servatoires i,f Music" for little children In every town, city, and village of this
great empire
All letters address, please. Free Trade Hall, Mau:bester. or to tjia>
mentioned places of engagements. CL-^— ^
Dr Mark and bis Mttle Men will perform at the Market Hail) Lilt,*-*. Apr£ 11.
Dr. Mark and bis Little Men will perfmn at the Tr wu !^llr^Dl^rele^sVc*»*,l,,
Dr Mark and his Utile Men wi l perform at the T era liall.-*\«B( *
Dr Mark and hia little Men will perioral at the M.vhaaiof
iK-.tRv^y"
X r-
ft a
226
THE MUSICAL WORLD.
[April 10, 1858.
TIT AD A ME LBMMENS SHERRINGTON
IvJ- to town fir the — W— — 4B eammuniottioi J to be oddt
Park-glrost, Bay* water.
to T. 11yd*
MISS (X)RELLI has returned to town for the season.
AM cominui.ioatlon* for *iig*gcnicnt* to bo ivddrc**od taH, J.
Bii«hirlgh»m.«»t*
0 THE MUSIC TRADE. — Wanted a Shopman for the
I^Trijk. Apply to Fo..ytu Blotter* Muaic Warehouse. ( ft. An;,'.-
TEACHER OF THE PIANOFORTE— A My receives
rnpd*. or attend* aehooia ai d private famine*. Highly s.tiafa. tory t« -ti.
monmS»orr frm ico» — Tctii... twr <ju .rter. a Guinea ad ..bn f. or by the leaaoa.
Addj,** A. B , can ol M' »»r». Ilc.Bcy latd Hon*, at. Ilollca str-.et.
WORCESTER CATHEDRAL CHOIR.— A Vacancy
haa • ccurre.l In the Bom Diriment of the above Choir, which it la
t tonllup c* ThurMlar.tho S»..d
1 tvfttS,
«tl>. 1S58,
above-named day.
t.. appear pernoualiy ut
I'ldatv* *'c, rtou Mi l b,
T L. Wheeler. Precentor,
t I ho luorutiii- ktvicu at
SOCIETY OF BRITISH MUSICIANS. — The Fro-
feaai. n ia reaprctfuHy Informed that the above Society baa removed !!• offiuoa
and cxten.lro dbrary to Wnrnum'a Kua'c Hall. 16. Score at rcot, where all j ar*
UcuL-in- may I- ■ blamed on Wednesday* and Tbutaday^ Mwiwn "
R
OYAL ACADEMY OF MUSIC. — Tho Easter Term
ttota. n Monday tho 10th April, lfcv.*.
for admission rontd attend at the luatilution for examination on
. tho ITlh ln*t. at S o'clock.
By older of tba Cotumlltce or Ma'inirmcnt,
Academy of Music. J QIMiON, bcciotary.
■en-»tre*t, HanovaT-iqnax*.
April sib, IMS.
CHEAP MUSIC. — The Verdi Album (11:1 pages), Cs.
Mend- l**o*m'« Song* without Worda. edited b, J W. Davison 1 101 page*),
"»■ 6d . cloth aud gold. Laurent'* Albntu ol Dance Muaic (75 piigc*X II
Tr vitureand La Tiavtata, complete (or the pianoforte. 2a. each, lu cloth loo
dona* for the violin. la. Cuwas 100 meloxllm f ■ r celiccttiu*. la. Bk*
eonipleu oncraa fbr violin, la. t.ich. Dalfo » new aiugn.g method (12 pa.uk,
Any • i i: poet Iron. Ilovocy and Soua, Uollefl'»trcct.
CONCERTINA CLASSES. — The increasing popularity
laua For tho i urpoao ot In, patting instruction lu this
utiactpntinted with music, and oa a meant of au
■out to pel
agreeable port-
to hold a c'a«a
', the Ifttna b:»
each to be fixed at .uch a rata a* will admit of all peiaon* Joining thorn. Mr,
C**c 'ruita that » permanent o.ar* ..f instruction, at n mtdvmte ro t, v> t It l*, the
moan* of rendering 'be Coi ccrtma ••(111 u .-r- t« era ly popular, f ting naaute4
tbat iia many peculiar advantag. » owr other inotrumenta will ultimately gain It
Bra,uceu.tboaealro,.dy »«u,,,>. hat advanced. Mr Cm: propone* t5 hold » c a«.
for ladl-o lu the afUrnoou, an I ooe for ccutb o eu In tlio cvciitnv, tb- i,.,rn» b^
the preference with all fttnaicnia auxtr.ua to es&l
aa poaeible P'tac a d a-roua at Jonoi.g titKm* eta.
mublcate wltb Mr. Caae, lo iLe care • f Booacy and Soi
y F
With aa lltt-c ttouMe
are loqiuatc l Uj com.
>, lloUi»-Btrot-t.
H
ER MAJESTY'S THEATRE — Tho Theatre will
o|«mi on Tueaday next, April 13. wh.it « III ho prolmrd (tir t ilmo at Ibia
ThoJi'r.) M yerbter'a opera of ICS Hl'OUENOTS (fill L>>tiuttl) Vacntluo
jbaj a. Titlena: tl c Qtiwu of K»v..rre. Ma-illo Ortoanl ; the I'airt. Mad Ludoui
Laudl : a«jnl da Xainrl-. big. Ob glli.l j Mnrrel. V aim I ; foimi . f Nerc,.,
!.„■!, i- n ; and CtHint or St. Brie, HI* TW ...ttt. Ondiwior. big AMItl
Witl. aceucrj-. coiliely i-«w and oriiiuoJ, by Mr Maial oll. Dt\»*», etittreivii^w
and taken (rom the be-t au> t.orttitei, Im M .d Coi.»r«. and executed hv M ijninya
ail ! Mre Moaterman. The tnrm cu-cene and l,.il.|. i,ul b.llet by XI 'Ma«^. 1
Description ut tno Sooi orv :~Ac- I.. H. • no let.— Tunr ,in— ttehvti iu tlieCoatle
of the O uul do Netera. Ihla a« na lu.a been eoa i«oe.| in the nenuia»t,.* atyle.
•n-f Fr.ncUI. foena Jn l.-Park and CeeO..- or Chei,. -w»ui. co„M.,a>«.| f,om
aketenee n ».te In th- vloii.llv of Aubola« A<1 II — Parla-Tho Pre-aux-L letea
■Mi View of Part. In 12T». fr.M., the ploMaa I f 8. Hdve..^. A t ill -Pa'ta^
TheCoMlo of lie Xe»e..- Interior. Old French Gothm a yle, with lict.alm.nce
eoriehmeot*. Act IV — P , i— Chapel of the Uo^ucin c» — A Qtutrtier of t ana,
fn»ui tbe ctcldiiKa oi 8 S Ket re.
The Vationu A 'thcm will be tany after tho opera— the prli cip.il aoiiraiio iKirt
by M t'llle Tltiena . • r r—
lb - rder tluit ih (feat work. THE nDGCENOTS. may bo prr.lu.ftd with the
fullut effect, no Wvcr'ia-erueut. except tbat luci ieutal to the oiwra w.ll be ctvon
on t e Brat night •
T.i'tf 1 Wrerleetraent by M Mae* I, ent tlet I.E nENX'OI DE
I. AMOtllt. will la.. pr.i U&-I . n Thond.y, li b ilia ont (It bfinir a Ki<b*crintM>u
ma I oi lieu of Saturday, Jtt . Julyi, lor toe flr't app tni.ee of Madlle. TocchltU.
On Tueaday Ai til iu. M idlle. Pico lom'nl >ill make h-r tirai u| i uarance thl*
Hn\u\ in Doulxeiti'.opiia ol DUS PASQUALE. and e.iorily after In
LUIsVMILl.bK.
»)» itijSr*"^ B°M* h'*™ b8cU tl*rrc<i for lb* V"11^ Prio tlx and
•b* fuU proepectu. sf the ae*«u trnoctment* mty b. had at the Box-oflie..
HER MAJESTY'S THEATRE-SEASON 1^38.-^
1h* appr ' ich ' T anot; or aeaaou lav* ti|>ii> the D re t on of Dor Male>ty%
Theatre the *elcmn* dn.y • f aoKnowledatntf theoootli.un.l kiudnea«»i>doi«t!d i^a
by whlca It* friend* haw n. v„ t uled U> aupply a .uio gua.oalec of auco^ and
a P<uM*iit allmubi- to new elertioua.
The pa«t . c.ir wa. dl*tinrfui>he.l by ovenba whirl, <-all for cafieclal reoognitlr*,.
long enjoyed n
Britain.
Tb-' Director ha* a_alu to rncord til* graiofut appreciation of the noble ai d
munincc'it enciMir 'gem- nt w^iich, after achieving the re^atabllt.btii<ut ti^
tbvvttr*. bos MBfJau.d, with dufcatnunatlnu taate. to giil I.- and sustain tho efforu
nu 'B in cicli ^ut\a"aiiv ■ y^ni to Ul 'IhtAln tur 111*. t>|afia .-r Lemdou ita rittiiivp iLa
auiong the united natilutu.i.a ■ f Kurojtc. That pcanriuii la now a'unly reocgnie d
in every cotit^ncnlal carpal, and the af pr .vliig v. id . t »t th attdieuoc or Her
M deaty'e Theatre ia utdvur-al y accepted a* the l.i^lieet toatm~.otiial which an
artlat can prnduoe.
Tno la»t j.« h»» ccnt'lbut d to rgtcud, as w.ll aa to lierale, Uin lnt!u»u«ee of
th^ i at-->h|jahtnent, and lo*xlubit it hi the laipeat Bcuec aa a uati.au] fnatituit'tt.
The >ubavrtt«i«, by whiate eOccivo enc.>urauoawBj| nurin< the *o.<»au ih*
txnetlinnit ol a auppletnetitary x rl » ol popular |'wrform*n e« «a* alone ini tered
l««ubiu. wi l have tno aru<ifn..t>ou of knowing thai they have Dot uuly eocurcd
aiul imppovod for tlun.aolvra their a.viut..u.ed rwioatl-n. but lure b.en th*
mean* ..f eouMTtng itpoti a wllrr circle tbe refund enjoynienu ol tbe big on
uituudil art.
I ho operatic loat'ir. t or the ln.t ieun, nui.t atdl be freah in tho nioroory ol all,
B -hi. a o:( er addUfuiia to the talent aeeured In femier yu na, tin rcaount* of la*
Ihmlro were enriei cd by ti n «e,pil ubai of a tenor W)kw« nrtlatin gcuiiiA a, d
anrfnta-iug a*e»tt)e*a of vote*' were inai.nl .neoualy rccevmitcil h. tho Jtui.Tn.nt
of musical eannauBcura, luid by the iue*,inrttve apjTeei.tlou of every lorcr tt
molo.1).
Tho I>|p!cti. n have been fortuna'c rrto'itflt to re-inin tlio Invalnaole aid „f
Ma.llle. I'>ia?oloii4ni, Siir, <iiu„>.tnl, and all tho vocjifl.ta wl o couiributed to i .ut
eiKx>a*oa; a',.| ,a able toamuaince, In tlio aj-pruaehiug de^but of Ma'ilk Titxna,
event vib.e'b li la l>e!leve*l will diating-.i is- , the a, 11*011 e.r I5jS aa tin: flrrt
ajipearanr* . .f Slg. UHulIni luorkrd that of lgJT.
Ill* aeldooi th ,t nature laviahea uu nua ptra.w inl the varied gift* wb,rh aro
nee cal to form a iTtit »o|Taiio A voice whrao ngiatcr elttiilce it tori, im tan
rank la of the ran at onler. Tho nolcJiu* qtiolit) and power, a hh-Ji are n»l oe*
etocntbl than an extended rtari t 1. ion ar.uv. :y mmc >tiinu,uti Muaic.J ti> w.
loiige, executive flnali. and per loci Int-natlou are iudiapcnaable; and to tin*.- the
prlnia donna ahould oeld dramatic force ni,>| a<tn| tability. and a 1 .nrc me.*inj of
peraonal mic», Kveu tlioac rate codowmcut* v.111 not auffie-o unlcavi they on
iiluiniuiil by the Hie „f tciiius.
How neatly the 1 hp ideal ia apprixirhed by ]
more nearly it may lureilur 1c r, ucud 111, :, 1 the ,
which llaa developed the po»«i a of an many 1
wil have au t-ariy opp, rtu- ity ol judging.
The Director baa a4a.11 ti e (uttafactlou of 1
bin ..riiii <• fikuida wn hin 1 h- Ti eaitv. lor t
hav.. 1 uable.i I1I111 to rreortl the eumpletiou
deriatir.11 irom th.- perlonuaucea ante an <o <t.
Karh r> 1
by uncuaa;
ti.,' pul
OPERA
Me«di!c*. TlteroM Tllkca (ttnucipal a-prann of tho laitierial Opera Viejui*),
Pp. 1 a. 1 itMv i, I 1 -j. 1, 1 ti.. Sal 1, Mil in, od 1 rim i|ioi t 1 .;: o< of Italy, hay
6rat appear,, nee), Ghhni (ol the priucpal thoatrca ot ItaJy, her llr-t apiaaranca*
Horulina, Graui'viia. Sla! uue- Alia r.l. and Medio Piceoiuniiiil. Sign Glugiiat
Iklurt, Muttiuh (■ f l.i Soda, Mll.u; Tc.itto Itcgtu. Turn; and Rnyn! Ti.eab*.
M.ulri l, htafirati.piaiaraiitai!, B-.ucvcnt.ino, llc*.|. Al ll^hleri, M.rvuriali. CatialL
Vial ttl. and I k it ttL
bmujroaa or tur. Jlraic ann CuMbncTiiM.— Ihealiill
aoie.i 111111 ei. reexiru tne eaimp.
•11 Irom th.- perlonuaucea antiaii
r preaentntion will 1 e made aa <
oalug excrtlol.*. to meet the 001
Jug hi* »incereirrati!u,!a iaal|
lime aeal and d.ve<io.i whle*
Hber .*uaun win.eut a abif*
... yah
,g.,gvl ,b,riug he paa, ailcceaaflllKiut. r|Htf.,rtilaoeea, ha-
reU n hia valuahl,
1 rvica •
5^
B»; and Signer Dace ti. who-e t»'entrtl ex., ieaa* h .ve
liae Iweo re-ctigngoel. and Kill arrive imtuediately after
lu
given general a«t>.ractlon. 1
tbe termiuatwu uf tne Ita'lan Opera Stmanii at Pari*.
BALLET.
Moadilc* P.»cchini. Anctta Orainl ( f 1* r*> nto\ Venice, Uor flrat aprrvaDM k
Enelan iX R' lia Krn.»(lija B'octtl (her ftiat nipt lanceX Pimj ,.U . Morhwhi.
BoMtietti. M.ne-Tagli ,ui, ami Mad.m • B,iaiti M. Duraml, M Allrrel laro /of
the A, ad, 11 .ic Imperial • I alia hi* nr»t a|.p, aioiioc The Corps de Unlet will be
roui|«aeat < f lSi ,|u „f the School of liuvimctioti and other* actec-ted with ca *.
Ditaret. r uf the iie -Ikk>1 .,f Iti.lriiel on an i Mal'iv d- Balh '. M. M *sa,t ; Hayrumr
de la D«ow. M. Po it; laadcr of the Hallet. M Norland. Au ,
*U.i boon tffoet.il with ti e euiuicu; Maltre dc atllet, Nf. BsU.
Ti 1 nJpert . ra wil. . «t • t ■ - '<■ ■ tiou Ir, m the v> ,rka u! Xluye I ecr, I- -l-.w,
Vcrill, llonUettt. Kcaaiui. and M"/atl
The firat »• rk to he pro ycel will bo (Tint Umo at thll Taeatre) Jlryrr-
boor* gr.nd opera of LKS Hl'OL'ENOIs— Valc.itlm. Madlle. Titicna; Baviil
SiK U.ugUni— which r a- been fur a long time in active pr, paiation. and will ta)
j,r. .luoo i on a scale 111 d « itii au eS ct vvuithy <«■ thl* gr»« work. The mlu r u
Well a» tl 0 principal part«, wl I be efhKtleely filled. Th .ceil ry h a Ueu ptc
I aratl will great can- Tho filat act will ecaiipruo a accno, diawn tr Ul ti* ur.. on
the pictnrt*i|u* lauks of ihc- bare, the locality of th sciloa Tho , tl er bonks
wi I pn aeut reatuifB .,f (rrc.ii tub reer The drosses wi 1 b-- ht.tornally conoct.
Sh> rtly alt 1 will b. pio-Iu ea ifirat timo ai this The-nci Vei.'ti't v|«r» et
I.UISA M l I.EIt. I.ui*. Mi.lcr. M >dil«. Plcoolonuul The libretto fcan*! as
tie celebrated drama ■ < Schl lor " KataUe oud Ltebu."
Oth. r noveltk- are iu c ntwnrlatinn mid atuoi,Ka; them. aLould the 1
u.enu 01 the aeuou rmit. n ia intended t p.oduco not..«,a.,,aua <4 MAll
Toe lugngement ol M,oll e. Titioua will enable the Directlcn to 1
woras lait Uve u t been givtn (or ceor*.
A NEW BALLET by XI Muateit, i« in active Trepanation, in which
Poecbiui, who ha* arrived in L ndou. will ap.^ar, oullihd 1'l.tL li- DE CllAUIb.
' s uorid favourite. M .dlh . Matl- Tugtioui, w II arrive carl. 111 May.
tuf Tuiriy Nif ut*. and die Unu. » ill be a* 0
- guinea*; One Pair, 15* gutea.**; I
Ti e Sub* riptiun .nil cm
Pit Boxes 100 guineas; t<ran<l lur. i^K
fair, IVO gun***; fit Bull., as
uigmzea Dy VjUV
April 10, 1858.]
THE MUSICAL WORLD
227
8T. JAMES'S HALL.
I concert in aid of the funds of the Middlesex
Hospital took place ou Saturday evening, the 27th ult., and drew
even a more numerous audience to the new muaic-hall than the
first. We append the programme, which was, on thU occasion,
exclusively secular :—
i' ■ : : ! — Overture, " Leonora" — Beethoven. Quartet, " Over the
dark blue waters" — C. M. t. Weber ; Aria, " In dir»en liei"gen Hallen"
— Hosnrt ; Part-long for eiulit voices, " Thin home to lore is holy"—
Meyerbeer; Duet, (Lea Diamans de la Couronne) — Auber; Concert -
stnek, — Pianoforte— C. M. t. Weber j Part-song, " Sleep, gentle lady"
— Sir Henry Bishop; The Music to Shuktpere's Midsummer Night's
Past II.— Quartet and Chorus, (Euryanthe)— C. M. r. Weber j
, "The Spirit's Song"— Uaydn ; Song, " I am a roamer" (Sou
Stranger) — Mendelssohn j Solo, Violoncello — l'iatti ; Recitative
and Air (with eliorua), "The Queen's greeting" (May Dav) — O. A.
Macfarren; Duetto, "O la belta imirmntinciito" (Bctlcy)— bonizctti ;
Fandango, Violin, with orchestral 'accompaniments — Moliquc ; Duet,
"Bull' aria"— Mozart ; Part-song for male roiee<, Soabian National
Air, "The Three Hoses ;" Coronation March (Lc Prophets) — Meter-
beer.
The above selection afforded universal pleasure, although it
was infinitely too long. We must not, however, be critical on a
charity concert. The part-song of Meyerbeer — "This house to
love is holy" — was a highly-interesting novelty, and, doubtless,
will bo heard of often. This, and all the choral music, was
intrusted to the members of tho Vocal Association. The solo
singers were Mad. Borchardt, Miss Dolby, Mad. Sherrington
Li-muicus, Miss Kumble, Sig. Luchesi, Ilerr Deck, Mews.
Montem Smith, Santley, and Weiss. Tho solo instrumentalists
were Herr Moliquo (violin), Sig. Tiatti (violoncello), and Miss
Arabella Goddard ( pianoforte).
The band was as numerous as could be expected uudcr the
circumstances. By "the circumstances' we me.m the very
confined space afforded by tho orchestra, more than four-fifths
of which was monopolised by the great organ and the chorus.
There being no room for a pianoforte, a ''supplementary plat-
form," to apeak politely, or to speak plainly, a sort of foot-stool
was manufactured for the occasion. Upon this was placed Miss
Arabella Goddard, who had almost to "elbow" the public But
nothing could spoil her magnificent playing ; and the audience
not objecting to have so near a view of her " magic finders,"
received her with enthusiasm and honored her with a regular
" ovation" at the end of the Concert-ttuck. The whole scheme
of the orchestra must nevertheless be rectified, for more reasons
than one, if St. James's Hall is to assumo the position of the
first music-room in the metropolis, which we sincerely hope it
may attain. At present there is no use in concealing the fact,
that however favourable may be the acoustic dispositions of the
hall, the arrangements in the orchestra ore so ill contrived that
it is impossible to pronounce any opinion ou thu subject.
Mr. Benedict was the conductor. We are glad to hear that a
very considerable sum has been realised for the Hospital by
the two splendid concert* instituted under this gentleman's
direction.
M. Hammer. — A pianist of this name is about to give a
concert in Paris. By all means let him come to London. St.
James's Hall will "grab" at him. M. Hammer ! How many
eminent virtuosi might be named after him I
Mcsic WITH Tunes 1st it. — Several weeks had passed, and
the legitimate opera season had closed, but a few extra nights
were being given, at playhouse prices, and the works of Mozart
and Beethoven, which are quite good enough for vulgarians,
had succeeded to the noises invented by Signor Verdi for
destroying all the voices of Italy. Mr. Philip Arundel had
procured a box for a Fidelio night, and Mnrgaret had expe-
rienced that singular sensation of elevation, and of pleasure of
which the soul refuses to be ashamed, which is felt by the young
and unworn mind when brought into contact with a creation of
genius. The opera was over. Aunt Spencer had, of course,
been terribly bored ; she liked music with tunes in it, as her
definition wenU— (Th* (hrditm Knot, by Shirley Brooks).
VOCAL ASSOCIATION.
Tn« first of a series of six grand concerts was given on Wed-
nesday evening in Su James's Hall by the members of tho Vocal
Association under the direction of Mr. Benedict. The weather
was fearfully inclement ; the rain never ceased to descend in
torrents ; and yet the music-room was crowded by a brilliant
audience. The cause was the nevcr-lailing attraction attached
to tho name of MisyDEUBsoiitf , from whose compositions the
whole programme was selected :—
the New Year ; '
Mendelssohn.
Meudo'ssolm.
McnuVl»»u!iu.
Mendelssohn.
FAST I.
Symphony in A Major
Choral Part Songs — " For
" Hunting Song".,,
Concerto, Violin (M. 8ainton)
Finale-" Loreley "-Solos by ]
PAST II.
Overture — "Calm Sea nnd Prosperous Voyage "...
Onuid Scena— (MaJamo Castellan) "Inlelice" ...
Capriceiu ltrillautc, pianoforte (Miss Arabella
Goddard)
Choral Part Songs (male voices)—" The Hunter's
Farewell ;" " Eastern Drinking 8oug"
Part Songs — "Owert tboa in tho csuld blast ;"
"I would tbat tny lore" (Madame Csutellaa
and Miss Fauny Huddart)
The Wnlpurgis Night— (Solos by Miss
Mr. Winn, and Mr. M. Smith).
Conductor — Mr. Benedict.
Of the familiar, often played, but always fresh and enchanting
symphony, it is uuuecessary to say more than that — like the
mucli less frequently heard overture, in which a calm sea and *
pleasant voyage arc so poetically illustrated — it was thoroughly
enjoyed. Nevertheless, we could willingly have dispensed with
the symphony for the sake of hearing the Walpurgu Night, the.
longest and most important work of the evening, jfrsf. As it was,
a great number of the audience left before the Walpurgit Night
began. The fact is, as a morning contemporary has observed,
there was too much music at this concert, by at least half _ an
hoar. The ear cannot liatcn to, nor the miud be impressed with,
so manv pieces at a sitting. Tho music of Mendelssohn must
be heard with deep attention, and this in itself involves a kind
of mental task which, at last, becomes fatiguing. Concert
projectors should take into consideration such indispensable
conditions of the human economy.
The choral part-songs were admirably selected, and tho
members of the Vocal Association afforded the utmost gratifica-
tion to their subscribers by the manner in which they executed
them, one aud all. Of the two-part songs allotted to Madame
Castellan and Miss Fanny Huddart, "I would that my love
could silently flow " (as exquisite a melody as ever presented
itself to the imagination of composer) was encored, in spite of
a strong aud sensible protest from the majority of the audience.
We are glad to observe that a Bteady opposition is being or-
ganized among discriminating amateurs against this abominable
system of encoring, which has been a pest in our concert-rooms
time out of miud.
Madame Castellan gave the fine scena, "Inlelice," with energy
and feeling, but did not completely realise the intentions of the
composer.
The violin concerto was superbly played by M. Sainton,
who, moreover, took the finale in the genuine "pretto" time,
which to the tcherzi of Mendelssohn is indispensable. The
prest French violinist achieved a genuine success, and retired
" covered with well earned laurels."
The Capriccio Brittantt iu B ininor,for pianoforte and orchestra,
with Miss Arabella Goddard at the pianoforte, was one of the
most perfect performances ever heard, tn spite of its gloomy
character, not absolutely relieved by the bright and characteristic
episode a la marcia with which the principal subject is alter-
nately contrasted and mixed up, this capriccio can be made as
brilliant and effective as either of the concertos — which Miss
Goddard (whose " temporary platform" was this time raised to
the level of the orchestra — a manifest improvement) proved
triumphantly. Her whole performance was as animated, as
Digitized by Google
228
THE MUSICAL WORLD.
[April 10, 1858.
instinct with fire and energy, m it wm graceful and expressive
wherever the passionate character of the movement yields to
those gentle touching and melodious phrases that contrast
with the rest so charmingly. Miss Goddard was enthusiasti-
cally applauded for this masterly display, and never was
applause more justly bestowed.
One of the marked successes of the evening was the glorious
finale to Lorelei, in the solo parts of which Miss Stabbach exerted
herself with commendable seal. The audience were enchanted
with this noble piece, every bar of which is an inspiration of
genius, and testified their delight by the warmest demonstrations
at the end. The Walpurgi* Sight — alas ! — we were unable to
hear, since it was nearly eleven o'clock before it commenced,
and the audience had already enjoyed fine music enough to
satisfy the most inordinate craving. Mr. Benedict directed the
orchestra and chorus, and accompanied the two-part songs ou
the piano, with that artistic earnestness and consummate ability
for which he is justly famed.
MR. HENRY LESLIE'S CHOIR.
Mr. Leslie and his redoubtable choir gave their seventh
concert on Thursday evening, at St. Martin's Hall, when,
although the weather was ns bad as if the forty days of St.
Swithin had been concentrated in one, there was a crowded
audience. After this, who will say that the inhabitants of London
are not " musical 1"
The concert began with the part-song "O, who will o'er the
downs so free 1" by Mr. Pearsall, which, although composed no
earlier than 1832, baa (its merits considered) been performed a
vast deal too often. At the very best, it is a pretty tune smoothly
harmonised To pretty tunes, smoothly harmonised, we have of
course no objection ; but to hear them once now and then is
quite enough. J. Bennet's " Flow, O my tears," composed 257
years earlier (in lfi99) is nearly 247 times better. Coming
after tho other, it was quite refreshing to ears attuned to
harmony, and able to appreciate the noble art of vocal part-
writing. The next piece was one of Bishop's moat conventional
and hacknied glees " Blow, gentle vales," sung by Miss Lucia
(Lucy would be more melodious) Poebroke, Mrs. Dixon (not a
bad contralto), Messrs. Begaldi, ». Bushby, and Matthews. If
" Blow, gentle galea" were scattered to the winds we should not
be sorry. Rarely has Bishop twaddled so much as in this mono-
tonous five-part glee. Then followed two part-songs for male
voices by Mr. J. L. Hatton, both of them very weak specimens
of his talent. The first, u Though long years have passed away,"
is somniferous to poppification ; the second, " Our ship now goes
with a pleasant gale, ' is extremely common-place and boisterous.
The latter, nevertheless, was so admirably sung, that it was
" encored," and Mr. Henry Leslie (who ought to kuow better,)
in spite of the admonition of Punch (which we append) : —
" THK IXCoaS XUIBaJtCI.
" Certainly in one respect, at any rale, we agree with s conlemporarr
that I lie new St. James's Hall ha* been most promisingly opened, and
the occasion gate betokcnmeiit and »ign of a new era in our musical
entertainments. The respect which we refer to i» that on the night of
the Inauguration Concert the programme wta gono through without
thare being au encore. A* far a* our experience enables us to judge,
Ibis fact is unparalleled in concert! uow-a-night* ; and on tin. account
alone, if for no other reason, the opening of the Hall descrrcs a special
mention in our world-read columns. A performance of such promise
reflects a like credit upon all who took s part in it, whether tocxlly or
instrumriitally, or indeed auricularly. The audience did their parts as
well aa band and singer*, and the result was a snccesa bemud the
wildest hopes o( the well-wishers of the Hall. To inaugurate a Concert-
room without suffering sn encore is an achievement such as even the
most sanguine would hare hardlr dared to dream of; and errry one of
thoae who had a hand or voice' or ear in it, we heartily congratulate
upon the triumph they hs»e won.
" Encores ore not solely matters of bad taste. They result from
greediness more ercn than from ignorance. People hare a tendency to
try and get a* much as they are nolo for their money, and are especially
delighted if they can manage to get something more than what they're
paid for. Tour shop-huntres* is charmed with half-anounee of over-
weight, or an inch or two of ribbon more than has been charged her j
and person* who contrite to swindle an encore are gratified by thinking
that they're got a something gitcu in, and are apt to pride themselves
upon their aharpnea* in so doing. Jiow it may do these people good
to take this ill conceit out of them j and the be»t cure for Ibeir cheat-
ing is to show their fancied sharpness only prove* them to bo flit*. It
m»v bo a.»umed that the getters up <d Concerts know pretty well tho
money'* worth of what they hate to offer; and make allowance in their
estimate* for the chance of being asked to gire a trifle orcr-meeaure.
Caterer* of music, in drawing up their programmes, reckon tho encore*
a* part of the performance, and so (horten their selection, iu order to
make room for them. They bate to pay their ur title* for a fixed
amount of work, aud of course must keep the quantity within the stipu-
lated limit*.
" Herr Splittsckull is rngaged to sing four song* per night, and si
he'* *ure to be encored, he is announce'! to sing two only. Herr
Splittsekull know* the current talu* of hi* note*, and of course will not
part with them without their aurrous equitalrnt. He is not a whit
more likely to gitc a song in gratit, than a pastrycook would be to let
the buyer'of a bath-bun take another without paying for it. In per-
sisting therefore to encore the Herr, the public in real'ty gains worse
tban nothing. It gets two song* sung (wieeover, instead of four distinct
and fresh ones. It think* to cheat the Herr, while iu lact it cheats it-
self, getting two stale buns and paying for two new ones; and live
verdict we should bring in would be, Serve it right.
" We perfectly spree with our conlemporary ufure»aid that Mr. Owen
Jones ha* shown both taste ami skill in the internal decoration, and the
St. James's Hall niny be pronounced by far the most complete and
highly ornamented Concert-room in Loudon. Nevertheless, as there is
nothing which iWA could not improve, if allowed to take hi* way
with it, wo think if Mr. Owen June, had consulted us beforehand, we
could hate *ugg<e»t«d an amendment in the way of decoration which
might bate pleaaed the audience ns well as the .peeialors. We should
hate proposed that on the walls and ceilings of the Usll, and especially
conspicuous upon the orchestra and organ, the word* should be —
'•Bo tPncorfa 3UotofO,
" All caterers of concerts should take this as their motto, and em-
blazon it on all their programmes and admission ticket*; and efficient
M.C.'s should attend at the performance*, to take care that the rule be
strictly carried out. Anybody willfully ileraanoing an encore, or aiding
and abetting any swindler who might do so, should be taken up and
•entenmd to attend the House of Commons etery evening for a week,
to cure him of hi* wish to hear the enme things orer twice. If this
tremendous punishment were rigorously enforced, we tiuuk that the
encore nuisance would speedily be checked; and Mr. Punch and other
sensible and rightly thinking person* might And it possible to go to
concert-rooms in peace, witliout their hating nightly to do battle with
the fools who clamour for encores.")
was inconsiderate enough to yield to tho demand of a cla-
morous minority. Nevertheless, if Mr Punch and the Editor
of The Time* continue to support us in this matter, it will
be a case of " Mutical World against Encore," and there can be
little doubt as to the issue.
After Mr. Hatton's part-songs (e*pocially bis "Tar song"),
and tho other preceding pieces, one excepted, the violin sonata
of Beethoven in U (Op. 96) was like the rain which drenched
the Jews after the three years' curse of Elijah. "Thanks be
to God" might well have been been sung, ingratitude for such a
relief. What a genuine inspiration is this sonata ! — written,
too, just near the period when idiots began to suspect Beethoven
of being mad. Never did genius declare itself at once «o
simply and emphatically. It is a pity that nearly all the violin
sonatas of the great composer should be preferred and oitener
played than this, which is one of bis very finest ; and thanks
are due to Miss Arabella Goddard and Mr. Blagrove for intro-
ducing it and playing it with such admirable taste and skill.
The adagio etpreuivo seemed to please the audience best,
although' the whole cre.ited a marked sensation. Thia is iutel-
ligible enough. Slow movements (especially in little known
works) are always thought the most ol, because their meaning
is more easily appreheuded ; but a familiar acquaintance with
the sonata Op. Ufj must bring with it the conviction that the
allegro, tchtrzo, and finale are one and all equally fine, if not
finer, than their slower companion.
Mr. Henry Leslie's "National Song of Defence," composed in
1851, just after the coup-detat, and performed at Mr. HuiLsh'n
(with a view of terrifying Napoleon III. out of his threatened
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April 10, 1858.]
THE MUSICAL WORLD.
229
invasion of England 1) is a spirited setting of some irregular
verses by the Earl ol Carlisle, which are about as poetical as the
prose travelling bookB and prosy speeches of that fluent orator.
It was of course (being Mr. Leslie s composition) well executed
by the " choir ," and by the solo singers (Misses Hemming and
Cazaly, Mrs. Dixon, Messrs. A. D. Coleridge and W. Simpson).
The audience were so much impressed that another " encore
was raised, and Mr. Henry Leslie was again, iu spite of the ad-
monition of Punch (which we have already appended) inconsi-
derate enough to yield to the demand of a clatnorouB minority.
Nevertheless, although the organ was well handled by Mr. J. U
Ward.and the pianoforte eagerly manipulated by Mr. J.C Cal-
cott (Calcott, Callcot, or Calcot), we confess that the combina-
tion of two such utterly antagonistic instruments in the accom-
paniment did not exactly please us. At the aamo time Mr.
Leslie knows that we are '•eclectics," and that we have an ear
for Tmmanuelaa well as an ear for Elijah, and an eye towards
Judah juBt as we had an eye towards Chrutut.
Part II. commenced nobly with two very fine, simple and
crandly harmonised Chorale*, with organ accompaniment (Nos.
I aud t from Mendelssohn's FeU Oetang), which were splendidly
suoe by the choir, and which did not got " a hand" of applause.
Mr Leslie himself appeared surprised at this ; but a glance at
some items in Part L might have explained to him the seeming
anomaly Mr. Leslie, and all such men as he, must either
resolve to educate the crowd up to their own level, or descend
to the level of the crowd. These are the only two paths open
to public men— the oue the path of a teacher and benefactor to
his species, the other that ot a quack and pretender. M endel -
archil's Chorales were rendered xmpouiUe by what had gone
before
What came after was not better. So stupid and trivial a
' Vfe ce
has
EASTER AMUSEMENTS.
What came after was not better. So stupid and tnvn
four-part song as that of "De Call" (Qui diablel—peut ttr
monsieur?)-- that of "De Call," called "Oft when night
>irs from the Ytprtt Siciliennc*
Blagrove, and played by Mr.
, was followed by Mr. Oeorge
rest bestowed," has rarely been heard by a civilised audience.
And yet, look at the sequel. It was so well sung by Messrs. A.
Lester, Taylor, Harriee and Stroud, that it was "encored, and
Mr Henry Leslie (who ought to kuow better), in spite of the
ndmonition of Punch (which, as we have already wM. we have
appended), was again inconsiderate enough to yield t
demand of a clamorous minority.
A fantasia for the violin, on airs from the
of M. Verdi, composed by Mr. Blagrove,
Blairrove iu a masterly manner, was folic
Allen's part-song, "I love my love in the morning/' which by
no means improves on acquaintance-being at the W flippant
and common-place. S. Webbe's manly and vigorous glee, The
eighty conqueror of hearts" (sung by all the male voices of the
choir)f after that trivial effusion, was as welcome as a Havelock
to a lonii beleaguered Lucknow. , „_
Then came another instrumental solo — M. Thalberg a Home,
a-weet home," played by Miss Arabella Ooddard, and, as usual,
in wcl a manner as to turn "beaters' leaf" into ingoU
of gold. Miss Goddard's execution of this piece was
nothing short of marvellous, and the enthusiasm it excited
was followed by the one unanimous "encore of the whole
Miss Ooddard, however, had as usual perused the
oal lucubrations of Mr. Punch, and would by no means
ent to do more than return to the orchestra and respond to
the audience by one of her most graceful courtesys, accompanied
by one of her sweetest smiles. Were her admirers dissatisfied I
Certaiulv note-on the contrary, they saw at once their indis-
cretion, and redoubled their applause. Other artiste should
take example by Miss Ooddard. ,
Mr. Henry Smart's delicious "Ave Maria" (which cannot be
heard too often), and Mr. Leslie's arrangement of Rule
"a" brought the seventh concert to a close.
Ws remember no previous Ea»ter in which there hss been such a
lack of nuveltir* at Die theatres. Dniry Lsne has closed its doors
altogether, Mr. K. T. Smith doubtless thinking no fortune was lo be
made just now by an Easier piece. Wat he deterred by the sudden
blooming of the aeaion ? by the opening of the two Italian rporas T
bv the announcement of the Philharmonic Societies, the inauguration
of St. James'* Hall, the innumerable concert* advertised, and the bias
towarda musical entertainment » in the anromcr months t The answer
it plain as road to paruh churc h. Mr. E. T. Smith i> one of the very
alirewiieit of munageri, and Drury Lane closed ita doors at Kaetcr.
Sir. Kohson pursued a different courts at the Olympic. He took no
heedofEa-ter at all; but, having gone into retting qusrlort during
Patsion week, opened hi* theatre with the old piece* on Ea»ter
MonHav. We mav conclude that no novelty was demanded at the
Olympic. Mr. rSu'ck.tone ha* provided ono of hit moat brilliant and
telling Easter offerings, in the form of "nn entirely new snd original
mj thologieal oitratacansn,'* termed Pluto and Proterpine, by the author
ol Atalanta. The piece it capitally written, aud the scenery aplendid
in the eitremej the last «cene being a marvel of the scenic and
dccoralire art combined.— Like Mr. Rolison, Mr. Charles Keen ignores
any deference to the Easter holidays, snd although he hat produced
two new pieces no concession is made iu the shape of cxtruraganxa,
burletque, or trare»tic. The new pieeea are fareet— one entitled The
Stock- Erch ingt ; or, The Qretn Butintn ; the other. Samuel is
S-arrh of Jlimstlf. Bmh are omu.iug and tmnrt, and both were
tuceetsful. Fait! and Marguerit* waa the principal pieee, Mr. Charles
Kean appearing in bia original uarl, Mepliistophrles — At the Adelphi
the return of Madame Celctte, Messrs. \\ obiter. Wright, Paul Bedford,
aud Co., hate allowed of tuc retumption of the Pour SlroiUrt, as
leading pieee. The after entertainment contitled of a new version, or
moro properly alteration, ol Boieldieu's comic opera the Caliph o/
Bagdad, with nearly all the mu»io omitted. A young lady, Miss
Koden, made her dibut with most decided tucoe.a in the principal
soprano part. She pnaaestcs a charming voice, and appears to
have the true dramatic instinct. She wa« most liberally applauded,
,,| J J .1 . .» ■ •»;>!, knnnii.1. Af i-i.'lr... MMMfltlttttSad :
but.
C (lie i rue uiniiinnu ~ ~ — — - - — - — j rr — ■
ailed, snd showered over with bouquets, of course premeditated ;
I, in spite of preparation and fricndiy prejudice*. Miss R.iden has
doubted talent, and will be heard of lo more purpose anon. — The
Hkuri BiVRTim.— "This celebrated author of studies for the
piano," (says La France MueicaU), " has been for some days in
Paris! M Bertini lives at Grenoble, where he has made for
himself a mild and gkrioiu retreat" <■ une doua: et
... purpose u...
Strand Theatre opened under tho management of Mis* Swaubnrougb,
wilh a new, but not original comedy by Mr. Slerling Coyne, entitled
Hothing Venture, Nothing Win, and a burlesque on the opera of Fra
Diaeolo. Mr. Ijeigh Murray, who it of the company, wat taken tud-
denly ill, and could not sustain the principnl part in the comedy ; so it
had to be read, which did not enhance the merits nor tend to tho
tucceu of the piece, which, nevertheless, was successful. In the bur-
lesque, Mist Swanborough tupportcd the part of the Brigand Chief—
nee I we ssy how ? Between the play and burlesque an addretf, written
by Mr. Albert Smith, wat apoketi by the fair managerest. It was a*
follows: — „ ...
" When in the forum of Old Borne they found,
Ono morn, a chasm wide yawning in the ground ;
And Marcus Curtiut to the margin ran,
Seeing an opening for a nice young man;
So I to-night, prepared to be solfhurl'd
Into thit void in the dramatic world,
Appear before you. old familiar friends j
But here, I fear, analogy all ond*.
Into this gulf, unlet* you will oppose it,
I plunge to keep it open, not to close it.
Yet not without much trembling do I come
To welcome you to this, our little borne.
The Urania's Home, I might long tine* have said.
But the p >or drama - bankrupt and half dead-
It bouselest— fr.endlcss —drifting to decay,
And her poor children live as beat they may,
So that the Drama'* Temple now might ch '
The Drama's Almshouse* as filter name.
I found our little craft in it* worse dsyt,
When it Wat settling down upon its ways.
But the Leviathan was launched at laat ;
And to by minor worries ne'e,- downcast,
Taking advantage of the fltst spring-tide,
Into ihe stream at length I saw her glide i
Then got her under weign— tsw Isnd grow
Set all the canvatt, and cast off the painter.
Our crew it smah ; but they have been all
In the good wUl of each I can confide.
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230
THE MUSICAL WORLD. [April 10, 1858.
Yet on our course, commencing full of fear,
Uncertain yet as which the way to ateer.
By tour assistance, aid the little band
To land at last upon a Ihendly Strand.
And let u« hope on this, our opening night,
Your cheers will hearty be, your censure light ;
And we will make all adverse tide* to weather,
•A long pull, Btrong pull, and pull all together.'"
At Sadler'a Wella music took the place of the drama, ilarilnna and
Tie Beggar' i Opera being printed on Easter Monday. Mia. Over
and Mr. Henry Iiaigh were tho atari in Wallace's opera, and
Mr. Russell Grovcr, a name aa little known a« it is inharmonious, was
the Captain Macheath. Tho indefatigable Mr. Tully is director and
conduetor. Tbo Surrey Theatre rejoices in drama, Optra, ond
extravaganza — all new and original. The first belongs to the romantic
School, and is entitled Confettio* ; the second is more properly an
operetta, or ballad opera, than an opera proper , and the last is an
nnmistakeablo extravaganza, ainco anything more extravagant never
was perpetrated. The intcreat of the evening wan concentrated in Mr.
Henry Phittipa, the once renowned English barytone, who, like other
renowned barytone*, more renowned than he, has long fallen from hia
pride of place. Mr. H. Phillips had been previously singing at the Surrey
Theatre in the entertainments given during Passion Week. — The
Magician, Professor Wiljalba Frikoll, has entered upon a new season at
the St. Jamea'a Theatre, and has been delighting his vititora with a new
trick, "The Shower of Tap," which, if possible, ia more baffling and
surprising than any he haa yet exhibited. The Professor's stay is limited
in England, so that those who desire to see the wunders of his handi-
craft, should lose no time. — At the t'aiitcrbury Hull, Mr. Augustus
Braham continiica to edify his audiences nightie. Tho capital pro-
grammes provided by Mr. Jonglunans, the musical director, would do
no discredit to more lordly and pretentious places.— Tho Alhainbra
Palace, in L-iecsler sqtmro, has lieen converted, for the time boinjr. into
aCireuj, and hither Messrs. Howe and Cuslnug have transported their
immense equestrian troupe, amounting to about two hundred urn and
horses. The horseninntio, tumblmgs, aud aerobnt performances are
prosttui >u». A band of Bedouin Arab* attached to the Irunpr go through
some wonderful feats. Moreover, the two clowns, Jim Myers and Joe
Pentium), arc capital. Jim is the best jumper, but Joe beats him
hollow iu jokes. There ia no entertainment better woith aeeiug in
London, and none more sure to please the holiday folks, than the
performances of tho equestrian company at the Alhanibra Palace.
Mr. and Mrs. Howard Paul at toe Adklpui. — To make
amends to the frequenters of the Adelphi Theatre for the loss
of their dramatic recreations, curiously interdicted by the
legislature in Passion Week, ami to compensate in some measure
for the departure of Mr. aud Mrs. Barney Williams, and the
absence of the regular troupe of the establishment, occupied
with engagement* in tho provinces, Mr. and Mm Howard Paul
opened the theatre with their popular entertainment. " Patch-
work'," on Monday the 29th last, and gave their performance five
times during the week, the Lord Chamberlain and regard for reli-
gious feelings preventing their repetition on Ash Wednesday
and Good Friday. " Patchwork" is a most lively ami attractive
entertaintneut. The lady and gentleman divide the characters
between them, the lady, however, as a matter of course, taking
the lion's share of the vocal performance. One of Mrs. H. Paul's
most successful assumptions is the double one of Mr. and Mrs.
Doubledot, in which, by dressing herself differently on both
sides, she represents husband and wife, keeps np a conver-
sation, and sings a duet. Kiting an excusable caricature of the
brogue, the portraiture of au Irish girl, Mary Doclan, ia happy
and striking, Mrs. Howard Paul, who may be remembered us
Miss I'Vatheralone, haa a deep toned, powerful contralto voice,
aud sings with much taste and skill. Mr. Howard Paul's deli-
neation of Yankee characters is inimitable. Nothing can be
better or more true to the life than hia Jonathan Bang, which
never fails to create the utmost mirth in thu description and
realising. The entertainment is well written, and is altogether
one of the most amusing of thu day.
Trie Sisters Sophie asd Annie. — These two talented and most
industrious young ladies have been displaying their eccentric
powers in an entertainnieut entitled "Sketches from Nature,"
at the Surrey Theatre, during Passion week The fair sisters
sustained no less than eighteen characters iu costume, and sang
no less than sixteen songs each night they appeared. Each
sister has her style and peculiarity. One is serious, tho other
gay. The elder sings the sentimental strains, the younger the
light and joyous. Miss Annie inclines to laughter ; Miss Sophie
to tears. Like Minna and Brenda Troil in T/n Pirau they
might be denominated "Day" aud "Night" "Day," we
surmise, is the ehiefest favourite of Apollo; but "Night,"
perhaps, is more favoured by Melpomene. Annie creatsss an
immense impression by her singing such popularities as * Bonnie
Dundee," "Chit-chat, the "Barcarole,"' and others. Sophie
produces her best effects by her dramatic and vocal powers in
conjunction. The entertainment was of the most varied kind,
and embraced a range of characters that would have done no
discredit to a novel by Dickons or Thackeray-to say nothing
whf.tsoevor of Mr. Albert Smith. The most attractive of these
were "Biddy Maloney," "Horatio Crawford," "Margery
Muggles," and "Mrs. Minerva Stronghead," by Sister Sophie ;
and " narry Clifton," " Mrs. Saylittle," " Miss Dolorous,* and
" Maria," in The Child of the iUgimeixt, by Miss Annie. The
singing of the " Halaplau" in the last-named character, with the
drum accompaniment, made a furore. The applause the first
night was frantic; the encores too numerous to mention^ Never
was success more genuine and unanimous than that achieved by
" The Sketches from Nature ;" and never did two artists exert
themselves to more purjtose and afford more general satisfaction
than the Sisters Annie and Sophie.
Mtas JtLiA St. Gkorue's Kktertai burnt. — The doors of the
Sadler's Wells Theatre being closed during Passion Week,
against Mr. Phelps and Shakspere, by statute, was, nevertheless,
by tho wisdom of our rulers, rendered accessible to entertain-
ments, concerts, soirees, re-unions, and all other auiusomenU,
musical, monological, choregraphic — anything, in short, except
dramatic — of which Miss Julia St George availed heraelf, and
introduced to tho Islingtou and Pentonville public select speci-
mens from her entertainment, " Home and Foreign Lyrics."
Miss Julia St. Oeorge was received, on Monday, by the north-
eastern inhabitants with more than the usual distinction con-
ferred on favorites. Tho fair lyrist possesses peculiar claims to the
favor of the Ialingtonians and Pcntonvillian*. Her metropo-
litan dramatic career commenced on tho boards of the Sadler's
Wells Theatre, and hence the unwonted enthusiasm of the
audience on Monday week. " Home and Foreign Lyrics" is
perhaps more diversified than tho majority of musical and
dramatic entertainments. Characters and lays of many nations
arc introduced. Miss St George goes round the world in search
of amusement, and the visitors are made recipients of what
she is supjiosed to have seen in her grand tour. Amid the cus-
tomary quota of humorous songs and characters. Miss St. George
makes a dash at tho grand aud impressive by her assumption of
Sappho and Joan ol Arc, aud comes off with flying colours by
her vigorous declamation and energetic singing. Ihe music is
all original, aud has been expressly composed for Miss St
Georgu's entertainments, by Mr. F. Duggan. The author of
" Homo aud Foreign Lyric* " iB Miss Amelia B. Edwards, the
popular novelist The entertainment, given, we believe, for the
first time in London, was eminently successful.
Mh. Chakucs Cotton's MoxooiiArnic Ehtrrtaijiiirxt. — At
the Prince of Wales's Hall, Hegcut-strect, Mr. Charles Cotton
continues to deliverto crowded audiences his very amusing enter-
tainment, entitled The Itote, Mamroct, and T/iutle. Mr. Charles;
Cotton rends well, is a capital mimic, sings like an artist, and
has a good voice. In his descriptions he haa an evident leaning
to the laud of St. Patrick, and his imitations of the countrymen
of Billy O'llourke .and Lord Palmerstoii, if uot true to the life
as regards the brogue and humour, are exceedingly amusing and
striking. Chief ol thu Hibernian delineations are Mike Con-
nolly, one of the --cb, or Connaught Hangers, returned from
the Crimea minus a leg; aud Tim Itaggarty, the Irish ballad
singer. But the " Hose " aud " Thistle claim Mr. Cotton's re-
gards as well as the " Shamrock." The Scotch exemplification
is not particularly happy, but tho specimens of English idiosyn-
cracy are excellent Mr. Cotton goe.i out of his way a little to
sing one of Verdi's boisterous scenaa ; he sings it forcibly, how-
ever, and proves that ho has studied, vocalisation to some purpes*.
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April 10, 1858.]
THE MUSICAL WORLD.
231
DRURY LANE THEATRE.
Tn« fourth And fifth concert* under the Pvne and Harrison
management do not call for much notice. At both, a selection
from The Hoee of UuttiUt was given, consisting for the most pnrt
of the pieces enumerated in our lust. At the Inst (on Saturday)
therewcro eight encores, four for The Roteof ('(j«riY/«,the others for
"Lo! here tho gcutlo Lark," sung by Miss Louisa Pyno (flute
cbUigato, Mr. R. S. Pratten), " I dreamt that 1 d welt in marble
hulls, " by the same (harp, Mr. Trust,) and two new ballads
Introduced by Mr. Harrison ;— a patriotic ballad entitled M The
heroes that fought in tho ranks, and a sentimental ballad (to
•ome very graceful verses by Mr. W. Brotigh), called "I will not
weep for thee," with both of which the aiioicnee were evidently
pleased. Mitt oh these encores ! Mis* L. Pyne. still suffering
from indisposition, and already down in the bills for six perform-
ances, was actually forced to "repeat four of them, and thus had
to sing no less than ten timet during the evening. The svstem
is utterly monstrous, and should be abolished by Act of Parlia-
Tho other singers were Miss Susan Pvne (who sang the
charming bolero from the Crovn Diamonds with her sister),
Meaan. St. Albyn, F. tiloveraud Honey. The Jupiter .S^mphon*
of Mozart was well performed by the band under Mr. Alfred
Mellon's direction, at the beginnlug of the concert ; and this
was tl>e on/,/ piece of boml fid. classical music in the pro-
gramme. Tho selection from Lucre.ia Hirtjia (a pot-pourri
of the same calibre as tho Trotatore Mentioned in our last), and
solos for clarinet anil ophicleide, admirably played by Mr.
Lazarus and Mr. Hughes, were the other instrumental features.
On Monday Miss Lou ion. Pyne, Mr. Harrison, Mr. Alfred
Mellon, and "troupe," Ml Umlon for Newcastle.
MADAME LANCIA.
(From ottr Turin Corrrtpoutifiit,)
As you will have learnt from tho extracts I sent ynu from
the Turin papers, Madame Ltuicin met with a favourable recep-
tion on her first appearance, and I certnlitly inuat do her the
justice to add thai she tai surpassed the cx])ectAtious of her
friends, and of ,Sig. ltieci, who, as 1 have mentioned before,
thinks most highly of his young pupil. It is to be regretted that
•he wan unable to make her dfbut in an opera in which there
was a larger pcopo for tho display of her histrionic talents, as
they ore known to bo of a very high order ; but, although high
tragedy may likely enough be her forte, yet there is such a
charm and fascination in her every movement, and so much play-
fulness and animation about her acting, that in light porta, such
.is Rnsina In 11 Barbiere, she cannot fail to ph ase. Even before
she had made her dtbut she appeared destined to make a/,trore;
and.had she been a singer rery mueh Inferior to what she has
proved herself. I hare no hesitation in saving that she wonld
have obtained a "success." for so much" anxiety had been
excited, and every one seemed lo Imvo heard of the personal
attractions as well as of the talents of tho new can tat rice, which,
added to her extreme youth,* rendered the interest still greater.
A burst of most enthusiastic applause greeted her on her first
appearance, audits duration fortunately give her time to regain
her self possession, which evideutly abandoned her when she
found herself, for the first time, face to face with an audience.
As soon as silence was imposed, she commenced " Una voce,"
and, though her voice trembled on the fiiat few notes, it soon
becama firm and melodious, and the musical critic was rejoiced
to di'tcct the presence of some very valuable qualities in the
young artiete. A round of hearty applause followed tho cava-
tlna, which was renewed with Increased vignur, and universal
cries of " brawl" and "bit" at the close of tho cabaletta; anil
when the audience perceived, by a nod which the young lody gave
the conductor, that she waa about tocousent to their wish, "brttra,"
" bt and other cxnrcssious only to be heard in an Italian
theatre, resounded on all sides of the house. 1 need not mention
every circumstauce connected with her first appearance. Her
■ingiiig was admirable throughout hi every lespect — in execu- I
• At tat tiae of her U4M the had net completed her 17th year. . |
tion, style, and expression. Of course, she made an Immense
deal of her duet with Figaro, in which she was admirably sup-
ported by Signor Grandi, of whom I have spoken before, and
was called on before the curtain an unprecedented number of
times in the course of the eveuing, after the true Italian
fashion— were I to say twenty times, you would declare mo to
be guilty of exaggeration, but really it would not have been
many short. On tho night of her benefit she waa able to revel
in the full display of her unparalleled lyrical genius, as a selec-
tion from Semiramtde 'wus given, for the purpose of introducing
her in a part particularly suitable to her fine voice and style of
singing. She produced an immense impression, and, on appear-
ing to receive a well-merited ovation, was presented with a
bouquet (without exaggeration, as large as herself), which, it
was understood, was presented to her in the name of the direc-
tors. Between the acts she held a regular levie, which waa
attended by all the most eminent coyno":cn'i at Turin ; amongst
others, the composer of Don Chieoo, which in Italy is considered
thu best opera b'-ffa written since II Barbiere. It seems the
general opinion of all those who are capable of judging, that,
with her splendid voice (and the term tpiendid may be accepted
in the fullent meaning of the word) ami her genuine dramatic
feeling, by study and perseverance ehe will attain to the very
highest position In her profession.
Mnilame Lauc'.n is an extremely yomi" lady, with good eyes,
good teeth, long, waving hair, and decidedly pretty ; her face
is full of intelligence, and her eves, like those of Lola Montes,
are at once soft and terrible — nrns that are either veiled with
tears, or flashing lightning and poniards, aha is not tall, but
somewhat inclined to embonpoint ; she ia wonderfully active,
aud runs about the stage with a vivacity that is quite amusing.
Although her height is much against her figure being suited to
the stage, she is so full of energy and dramatic action that, with
her commanding look and her magnificent voice, in a year or
two 1 shall expect to find her a most admirable representative
of such parts as Norma, Lucres!* Borgia, &c.
It has seldom been my lot to hear a fresher or more melodiona
voice : its compass is remarkable ; naturally a soprano, it de-
scends to the lowest regions of the contralto, and I am inclined
to think that it is u|miii her lower notes that she relies for the
greatest effect. Her organ is so sympathetic that it goes to the
heart at once, and produces aii irresistible emotion. Her
| pathos, sensibility, ami energy nru equally remarkable, and her
singing is distinguished by a clear and refined execution and
true aspnaaloB.
Just before I left Turin it was reported (hat Madame Lancia
had Iter u offered an engagement for the approaching scison at
Htr .Majesty's Theatre ; but this I kuow is not the case, and if
you hear the report in England you may contradict it with safety.
Since her debut a friend of Mr. Lumley has been seen much
hi her company, aud it is probably this fact which gave rise to
the rumour I have mentioned ; but her husband — aud he ought
j to know — gave me to understand that, in consequenco of Tier
extreme youth, he had been advised not to expose her to the
wear and tear of operatic engagements during the whole year,
aud that therefore he had decided on her appearing only at
I concerts in Loudon this season. She will return to Italy early
in the autumn, to fulfil some of the numerous engagements
which have been ottered to her.
[Wo accept this very flattering account of Madame
' Lancia on the credit of our correspondent, with whom wo
beg to leave tho entire responsibility for its correctness —
Ed. M. W.]
Brighton-.— At M. Duty's Military Concert last Saturday,
the band of tho Inuiskilling Regiment, under the direction of
Herr Ernest Hartiuaun, performed selections from Rossini's
Mabat Mattr, and some compositions bv Mendelssohn. Madame
(Jury and Herr Neuzcrling, M. Jullten s new cornet player,
were the solo instrumentalists. The lady played the popular
fantasia on Trurtata, composed by herself, in her most brilliant
manner. The military band executed several Morfeaurt tho
most admired of which was, the " Alexander Romanoff Walts/'
by Laurent.
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232
THE MUSICAL WORLD.
[April 10, 1858.
PERSEVERE, OR THE CAREER OF HAVELOCK.#
By Johv Oxbspobd, Esq.
Hard to climb the bill of fame ;
Hard to win a glorious name ;
Hard to clutch the Laurel crown,
Hard tbe toil that earns renown.
Yet tbe soldier murmur* not,
Patiently bo bears his lot
For, ever in his ear,
A toft Toioe whispers, " Persevere !"
Hark, throughout the land arise,
Women's shriek* and children's cries ;
Dull inaction now is past,
Soldiers, win tbe priie at last !
Roused as by the thunder's l"
Is the soul of Uavclock ;
In accents loud and clear,
Britannia bids him " Perse T ere !"
On to glory hastens he,
Luck now, at a blow, is free ;
Thankful crowds are pressing round.
Blessings through tbe air resound.
" Soldier, well thy work is done ;
Soldier, well tbe prise is won !"
Tbe wreath that ne'er grows sere,
Soldier, thou hast found it here.
Soldier, ended is thy task,
Further guerdon do not ask ;
Thou hast gain'd tbe laurel-wreath
Twin'd about the plant of death.
Sleep ! tby fame is watchful still —
Countless hearts with hope to fill]
In each desponding ear
It shouts thy motto—" Persevere 1"
• The words of Mr. Charles
a new
ROYAL PRINCESS'S THEATRE
UNDER THE MANAGEMENT OP MR. CHARLES KHAN.
ON Monday (last time this season), HAMLET, and
SAMUEL IN SEARCH OF HIMSELF Tuesday. WtdWI.r. Thur«t»v
V\?«FJ'lt& THE STOCK EXCHANGE i re. TI,o Green Business, FAUST
and marguerite, -nd bamuf.i. in search of himself . o» bX,.
SEARCH OFPmMaElLFaWUP,r,,'• tn*°Aj LBAK> "d 8AMUEL IN
ROYAL OLYMPIC THEATRE — On
.rtn»"JS.,v£,Cvri! 10-.'h' '*rf°™«»w nnmnisiirs with von can t maf
TOLR GRANDMOI HEIL Afi.r » hlch a new fa-ce, cn i.tlwl T1CKLLSH Till
To eoududc with ROU18 AT THE SWAN. Cotnm.no. at half-pat 7
THEATRE ROYAL, ADELPHI. — On Saturday
T^iTl"}!?* n*1™10"1' ,h* Performance will commence with the ropnlar dram,
of THE W STROLLERS, After - hlch will 1* produced a ^r£nd .^Ud
<R?3S*8ffiul5fa baodaSu' with MW *— *
ST. JAMES'S THEATRK — PROFESSOR WIUALBA
FRIKRI.l.*— laftMt Week iMlt tW<- mwl U* to V™4ti»+nr FrikiLi'.. Amu v4.,.s» sW
H.^e.;Tw,,iHouJu? oe «"V<»".- - t^M^inizsx^
Hsr Most Or.niou« Maje-tr <he g«wo wid Court, »t Wl.ds..- Ciwtk anotn
!!*'!■ W'Lg Mo 'dsy, April 11 Knrw SWdlw, « Eight; Wedn^lay, ,„d
Baturdajr altsmooiia rt T .tw, Stalk, Ikv ; Bslouuy Beau, 4s. ; Boxes 3a. :
^"lif J'^T1*"f*JBo*0" "d P**"* "cured at Mr. Mitchell's
GREAT
NATIONAL STANDARD THEATRE,
MloKKDlTCH —Proprietor, Mr. Jonx Douolass.
't,°!,..*,r P**,P*" Mr Tick Robinson, sod Mix Atkinson,
.o «u. cess or Stirling . ,,,-w t.lc ol •n,-.,1,i,tmcnt ; the new •ornery ti» Inl w.th
, Ph'i -f''''""* 2" S"n:1'* ""' TuesAn. THE BRIDAL MeUntlus,
g'^'.^A *£»!»"*•. rV.lerick IU*r iKv^n.e M.» Atkinson On
Wrtjne-isyand Frt,|»y. to com me c. ->t RICHELIEU Mr. I'hsli-. Mr Fr\<ttT ck
WilUn ti'i ?'?t At> 'IT"' T"ur*"'*>' (first time,. THE MAN OF THE
_i!vi!L_^ r,H"rtlns« Mr rwsil-B On S»tu,da». a Pluv. m whi I, Mr Phelps
■*• loootua.ide every evening- with THE SEVEN CASTLES OF THE
TO CORRESPONDENTS.
AmoucCB Mubictjb. — Prof wot W. Sterndale Bennett hat written
six pianoforte concerto*— No. 1, in D minor ; in Efiat;
No. 3, in C minor ; No. 4, in F minor ; No. 5, tit F minor ;
No. 8, in A minor. No. 4 and No. ft" have been played in public
by the composer, but are not printed. The two which Mist
Arabella Ooddard hat performed are No. 3 and No. 5 (No. 4
according to the catalogue of published workt). She hat played
the Caprice (in E) several timet.
MARRIED.
On the 3rd instant, at Knutsford, by the Rev. R. Clowes, Vicar.
Robert Harnett, Esq.. R.AM, 129, Albany-street, Regent's Park, to
Kate, youngest daughter of Mr. Stdiieley, Aigburth, Liverpool.
DIED.
On Monday, April 5th, at 26, Somerset-street, Portman-sq
three years and nine months, Rosalie, the beloved child of 1
Mori.
Kbbattm. — In our last it is stated that Mr.
s fourth pianoforte concerto at the fourth
It should bare been at the firtt.
was to play
THE MUSICAL WORLD.
LONDON. SATURDAY, Aran, 10th. 1858.
The Leeds Musical Festival
course now the chief topic in
is of
of
being decided on, it
Leeds aud those parts
Yorkshire within the immediate smoke of that salubrious
city. The local press is already beginning to talk very big,
as though there had never been a festival at Bradford, and
as though no such thing as a music-hall, and no such thing
as a great organ, existed in any other part of the world.
One paper finds everything couleur de rote in the appoint-
ment of the committee and officers; another finds everything
couleur de brUme ; but both are seemingly of opinion that
there never was and there never could be «uch a festival as
the Le«ds Festival must naturally turn out — under any
circumstances.
We hope this civic confidence may be verified ; bat we
have our doubts. The month of October is, we understand,
selected for the historic immortality which the Leeds Musical
Festival is to confer. Following this, it would be only in
keeping to re christen October, " Leeds" — in accordance with
the manner of the Roman senate under the Empire, who,
when Nero or Tiberius had detected a conspiracy and
punished the conspirators, called the month of the discovery
after the name of the emperor. But the month of " Leeds"
is a very inconvenient month for London " reporters," who
generally get their holiday just then, and if compelled by
duty — instead of seeing the brown leaves scattered in the park
of some hospitable country mansion, or the autumn sun
reflected on tho bosom of the Rhine — to pass " the fall "
under the dingy atmosphere of the dingiest of manufacturing
towns, will doubtless feel inclined to view the proceedings
with a hypercritical eye. The praises of the Festival must, in
that case, be exclusively trumpeted by home journalist*, The
arirtrtrcAt of the metropolis — mindful of their purgatory, and
groaning for the lake, the forest, the mountain (or the cafe J
— will be chiefly on the look-out for faults. Perha|«, however,
the great Loudon paper* (in consideration of the health of
their unisit-al critics in ordinary) may dispatch parliamentary
aud general reporters, to take'dowu, in short hand, so much
as they can understand, and consign to oblivion whatever is
not brachygraphically amenable. For our own parts, we
have no idea of abandoning Venice and the "Eternal City"
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Apbil 10, 1858.]
THE MUSICAL WORLD.
(included in the proposed scheme of our next autumn trip),
for the Leeds Festival, but shall requost our furious corre-
spondent, " An English Musician" (who abuses everything),
to act as our representative ; and we take this opportunity
of stipulating that he be furnished with the beet places at
every performance, morning and evening. There never was
a more unhappy notion than this of holding a provincial
music-meeting in October !
To have done with the question of egotism, however— an
article signed " X," and entitled " Round men in Square
holes," from The Leeds Times (April 3), has been forwarded
to our office, for what purpose we are unable to make out.
It is a rambling incoherent essay, from which we are able
to gather that what is to be actually done at the anticipated
paragon of festivals is as yet altogether undecided. The writer
(apparently in the "opposition"), lost in the labyrinthine
mazes of his diction, wanders about, unablo to find an outlet
—or, in plainer language, a meaning. He wants everything,
and wants nothing. Leeds is about to enter the arena with the
cities and towns of England most " distinguished in musical
annals, famed for the works they have originated — works
undying- — imperishable as long as soul, sentiment, and inspir-
ation exist." A " bright realisation" is anticipated, for " that
Leeds is musical no ono can deny." But, if any one was
rash enough to question that great truth, he would be fairly
smashed by the logic of " X," who thus unburdens himself of
his argumentative diarrhoea :—
" Witness, for instance, the excellent Uste and judgment oierciied
by the persons who frequent the pit and gallery* at the Theatre Royal
whenever musical performance*, or performer*, are submitted to the
test of public opinion. Witness, again, tho critical and fashionable
audience* which in 'auld lane sjne' graced tho full-dree* concert*
given in our Music- hall, few reminiteencet of which, we are sorry to tag,
now remain. Witness, also, the reception, good, bad, or indifferent,
given to the peregrinating parties who, under the auspice* of a societ y ,
or, under distinguished patronage, are continually appearing before
Leeds audiences. No doubt, the spirit of music is fairly imbued i» what
we may term a Leeds musical audience. Who that remember* Cats-
Hni, Braham, Incledon. Peganini, Paton, Part*, Malibran, Salmon—
ire were giant* in those day*),— and many, many others, can forget
inward glow which thol through the soul a* thrte partite enchanted
ana astonished their hearers."
The fact of Leeds being « musical" is, therefore, established
beyond dispute. The illustrative arguments ore incontro-
vertible. But this vein of gratulation is speedily followed by
one of lugubrious uncertainty. Leeds is musical, no doubt ;
but Leeds has not yet gained the reputation to which it is
entitled; and there seems to be a question in the mind of " X"
whether the Festival, after all, will effect thus much for the
great manufacturing town which throws a dusk over so
acres of Yorkshire pasture, turning evergreens into
browns, and ainsi de suite. The experiment is about to be
tried. A music-room has been built, an organ has been
" ordered," and each will have a very important part to
play in the forthcoming event, which is to glorify Leeds and
extinguish Bradford. Neither the music-room nor the organ
" ought to be" inferior to any in Britain ; but " X," with a
candour that entitles him to be hailed " XX," insinuates
(if he does not openly admit) that a good deal remains to be
proved : —
" We are now entering a new mimical existence. Ws are on the ere
of establishing a musical reputation or of sinking in the scale. It, there-
u* to look with bright anticipation or with doubtful
> as to the retult. Upon our success or failure depend* our
I position. We have, at an enormous cost to the inhabi-
a room and hare ordered an org.n; neither of which
t
• Only "the pit and gallery" ?i
ought to be inferior in it* capabilities, and in the objects for which it
wa» designed, to any other* in the United Kingdom. // remain* to be
seen whether the pertone to whom thete matters hate been committed
were the proper parties with whom the responeibilitiet of such under-
takings should reef. Time and experience can alone test the matter.
Right or wrong, it is now too late to alter. The plans have been sub-
mitted, aocepted, and are now being carried out. Public opinion will
soon be expressed upon the result*. A* we said in our first sentence,
we are now going to take a new position."
Something ugly lurks under all this. Leeds is not of a
mind; divisions reign in the camp; "XX" (we have
invested him with tho extra initial) is not psychologi-
cally satisfied, and howover he may feel desirous of
assuming a stoic indifference, a cynic contempt for the
Festival Committee " is fairly imbued in" his soul. After
a quantity of suggestions, very few of thorn feasible, as to
what should be performed at the Festival, he proceeds
(somewhat in Erclea' voin) : —
" Leeds should take s step far, very far, in advance of Bradford, or
it* character as the metropolis of the West Biding most, in a musical
point of view, sink in the estimation of the public. On the committee
appointed to carry out the Festival everything depend* as to it* success
or non-success. The chairman, rice-chairman, secretaries, and com-
mittee, must be men, each and all, thoroughly acquainted, not only with
vocal and inetrumental music, but with the capabilities of the artiste to
** 'W1'; they mutt be thoroughly acquainted ifith mutical tatte and
muticat opinion; they mutt know they are now on their trial. Tho
publio are their juror*, and on their verdict they must stand or fall."
Of course Leeds must go far (" very far") beyond Bradford j
no one can doubt it. But how is that desirable end to be
accomplished? If simply by the Utopian idea of a committee
entertained by ■ XX," it is not likely to be accomplished at
alL There never was such a Festival committee, and there
never will be. Were it possiblo, however, Leeds would have
a committee of musicutns — the worst business-men in the
world. These might stand for "round-men in square holes"
much more appropriately than the unfortunate members of
the Town Council, against whose musical ignorance " XX "
inveighs so savagely : —
" A glance at the name* of tho principal officers of the committee
will satisfy any practical musical person that sufficient ear* ha* not
been taken in selecting the proper parties to carry out the object in
view. Prudent and proper generalship, under competent commander*
who understand the nature of tho duties devolving upon them, may
place Leeds in the position it ought to be, but incompetency and im-
potent/ will carry along with them degradation. The mixed nature of
the general committee, half being (elected from the council and half
from the inhabitants, was a bad mote to commence with, and may
lead to unpleasantness. Why does not the Town Council attend to
its sewerage, lighting, police, hackney coaches, and scavenging ? The
idea is certainly rich, when we think for a moment of partiee who do
not know one note from another, nor a march from a psalm tune, nor
a polka from a msxarka, nor an oratorio from a cantata, being stuck up
as director* of musical taste. It U an old saying and a trite one,
' Fool* rush in where angels,' Sec. However, as some time must elapse
before all the necessary arrangements can be made, we can, per lisps,
afford to watch calmly and serenely."
If "XX" be the "angel" he would wish us to under-
stand, we advise him to " watch calmly and serenely" He
may, perhaps, find the committee not quite such " fools " as
he imagines. At all events it is to be hoped they will not
be induced to accept many of tho hints contained in the
subjoined extract — the last for which we can find space :—
" Mendelssohn, Spohr, and others, are names written once and for ever
on the tablet of eternal fame, and their works are identified with the
places where the musical taste and energy of the leading inhabitant*
originated their conceptions. Is Leeds to be behindhand ? Is there
no one now who can secure for himself an etcutcheon in the world of
fame I Cannot Leeds boest the proud position of hating cau-cd one
' to be added to the many imperishable
%d theatres I Surely it
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334
THE MUSICAL WOULD.
[April 10, 1858.
appointed to manage the Festival ihould it once communicate with
Meyerbeer, 8pohr, 8iht* ( we know Hilat hat for tome time been think-
ing' of writing an oratorio, »nit tba title has been filed upon), end
other treat continental composers. Don't, for Heareii's sake, let as
have the aame oratorio! performed, which hare been hack; eyed orer
•nd orer again at the gardens, and at the cheap concerts, nntil their
greatnttt and beauliet hat* been marred with each an acmmnlation
o f all thai it had, common, and indifferent, at to make their repeti-
tion now a complrte tvrfeil. One of the hackneyed oratorio*, either the
Xlyak .Veuiah or Creation,— that will be quiio enough."
The last J Art of the above hardly tallica with a previous
extract, vindicating the right of T«ed« to be regarded as
" musical." Such performances of great works aa " XX"
describes are sadly at variance with the definition. It ia
consoling, nevertheless, to know that the author of Bound
Mm in Square ilofa does not object to one " complete
surfeit," but will allow the patrons of tho festival to hear
a good performance of The Messiah, AHjah. or The Creation,
aa a set off against the cruel massacre in the tea- gardena.
We are disposed to think that, with leas talk there might
be a likelihood of more wool ; and that if the Leeds pre**
would calm its excitement, the Festival would have just as
good a chance of being creditable to " the Metropolis of
tho West Biding." What a pity "XX" himself ia not a
" round man I" Had that been the case he might hare tried
to square his proportions to the " holes," like the scavengers
of the town council.
I* the OdU von Berliehingen of G6tho there is a well-
known seen*, the speakers in which are Got* himself and
his little boy Karl. Having paid particular attention to
geography, tho urchin shows his proficiency in that branch
of knowledge by gravely stating that Jaxthausen is a city
and castle on the Jaxt, and has belonged for two centuries
to the lords of Berliehingen. Hereujion Ootx asks him, who
is the lord of Berliehingen ? but is only answered by ft stare.
" Through sheer learning," exclaims honest Ootx, " the boy
does not know his own lather."
We are strongly reminded of this scene, by the following
letter, which has been sent to us by an " Amateur of Music
and other A rU" : —
Sin,— What is the meaning of your sneers at eotnio writer* ? Tn the
hellet tittrtt no man can attain eminence who ia not a coinio writer or
a pott, and if you will take tha trouble to examine the career* of the
tnott eminent tioTeliitt and dramatist* who hare flourished in Kngland
and in France duiiug the la*t twenty-fito year*, tou will find that the
best of them have not merely possessed wit, but' that they hare been
"wit*" in a professional sense, and Iibts contributed largely to comic
Journal*.
I will mention three raaee ia proof of my assertion i— Balxac, a con-
tributor to Figaro; Thackeray — /Vara; Jen-old — Punch. In other
words, the flrat norelist and the first dramatist in England, and the
only |rre»t novelist modern France ha* prod need, not only wrote comic
art it-loss, but wrnto specially for comie journal*. You know, too, that
Alehouse Karr made hi* reputation by Ins comic periodical, Let Uuipei,
and that roulie*, Kne, and n number of other F rench writer* who,
deseiredly or not, afterward* at'sinrd great fume, commenced, with
Bj'zae, thVr literary career in the Figaro.
W ithout stooping to fact*, it would be ea*y to »how lhat, among the
qualities which ooubine lo ! tin the talent of th* noreliat or drainatiel,
wit and humour must ncce**arily hoid a high place. The author of
large experience who po»»cs«cs these ^limbic gifts uses tlnru in an in-
direct manner — that i* to say, Instead of ridiculing his neighbour, he
ridicule* a elas* in which hi* neighbour is included. But th? tom!2
writer usually applies them point blank to the last book he has read or
the last man be bas met. In other words, lie adopts the stslo of the
oom I c Journal.
But who are these comie writers who sneer nt high art? Had Ba'tso
Bo admiration for Bossinl, Schubert, and Motart f Does Thackeray
sneer al Baphacl, or Jerrola at Bhakspmr Do the pages of Dickens
snd Hood provs thsss eminently comic writers to bo Insensible to
beauty t
If you can mention the name of any "comic writer" who sncurs at
high art, I venture to say that his own art is of the very lowest, and I
denr h-forehand lhat such an one can he a comic writer (it all, for he
mu»t be deficient in perception. He mist write, and he may occasion-
ally he comic, in a style which no man of taate would tolerate, but to
•ay lhat a man of such dull mental tision can be a "oomic writer," in
the full sense of the word, is to lay that a blind dog cm be an excellent
pointer.
Now here is a well-informed gentleman, who knows all
about Balzac, aud Jerrold, and Thackeray, and Dickens, and
Alphonso Knrr, and, doubtless, could write the biography of
every one of them, if occasion required, and yet has never
in his lifo heard of such a thing as a cotuic writer who ven-
tured to aneer at high art. Nay, with the Mueical WorUl
before his eyes, expressing sentiments that completely har-
monise with his own view?, he takes us for bitter ad veraarie*
Good Amateur, we an- holding out our hand in friendship,
and you think we are clenching our fist. Thus did the
benighted traveller, in the old fable, mistake tltc kindly hand-
post for an ill conditioned ghost. Read more attentively,
good Amateur,— read first, and, if you will, object after-
wards.
As fur tho names of those who sneer nt high art, it is—
Legion ; as you will iiud out if you mix iu the literary society
of Loudon.
he will recollect that, although his mind is strong, the world
is still stronger, and that all attempt to mould the latter
according to tho pattern of the former, must necessarily
prove a disastrous failure. As far as this accommodating spirit
goes we will bo wise aim). The world has become continued
in a contempt for the old-fuahioiicd way of keeping holiday ,
therefore will wo also despise the merriment of onr
fathers.
Decidedly we will not bewuil the suppression of tlust
complex evil called Greenwich Fair. We will not regret
the disappearance of gingerbread-nuts, that mado us sictc —
of bad licer, brewed especially for fair-time — of lucky bags,
that compensated for the absence of blanks by the allowance
of Bone but worthless prizes — of round-abouts, that made us
giddy — of sw ings, that made us frightened — of Crowns and
Anchors, that astouuded the calculating mind by shewing
the vast amount of vice that could be crammed within a
comparatively limited space— of exhibited monsters, that
offended the nose even more than they disgusted the eye —
of obese tract-distributors, who were a greater nuisance than
the nuisance against which they protested — just as Theseus
was more intolerable than the monsters he slaughtered.
For the disappearance of this aggregate of every deadly and
venial sin — of this mass of cheating, charlatanry, harlotry,
and hypocrisy, we will certaluly not shed ■ single tear. Do
tho mourners for the past distinctly recollect that filthy and
obscene crowd, the constituents of which wire apparently
drawn together for no other purpose than that of inflicting
mutual inconvenience )
Surely they do not, or they would no more shed tent's of
ink— —
[We say advisedly " tears of ink fir the honest reader
who devours with his eyes the printed lament of a paschal
journalist must not, for a niouieut, imagine that Wars of
anything but ink are shed on these occasion*. Neither must
he think that, because we ourselves thus grow indignant on
the subject of Greenwich Fair, there Is actually a frown
Digitized by GoogI
April 10, 1858.]
THE MUSICAL WORLD.
upon our brow. We never were in a better humour than at
tbia moment; and if Greenwich Fair — (bless its old heart) —
ii revived next Whitsuntide, we (shall be the first to welcome
the resuscitation. ]
Surely they do not, or they would no moro shed tears of
ink at the disappearance of this gigantic abomination than
at the decease, ages ago, of the May Day revel*. Gracious
heavens, what a nuisance must an old English May Day
have been ? What villainous antics must have been
perpetrated by those clod hopping louts who lyingly Baid
that they dwed round a Tom tawdry thing called a
May-pole, and whom modem ballad-mongers persist in
calling " swains " ! What an incarnation of vulgar conceit
must havo been that poppy-cheeked minx called a May Day
Queen, and how hideous must havo been her English ! Then
how drunk — beer drunk, — must all of them have been early
in the afternoon, and how manifold must have been the vices
towards nightfall! And when they went as far as a dragon,
and a Saint George, and a Robin Hood, and a Maid Marian,
frightful indeed must have been the spectacle ! — That dragon
must have been the shabbiest of properties ; — those mythical
personages must have looked like the dregs of a bal mtsmpsi
held at a penny gaff, with dresses furnished by an insolvent
costumier. Enshrined in Mr. Macfarren'a music, " May Day "
Is a thing of beauty. May Dny is beautiful in the nine-
teenth century because Mr. Macfamn's music exists and the
revels don't. May Day was horrible in the seventeenth cen-
tury because Mr. Macfarrun's music did not exist, and the
revels did. Blessings ou our old friends the Puritans ! They
have shown themselves right in both respects. They put
down the revels, and they go to hear Macfarren's music.
And now, having complied with the fashion of the world,
we will seek to amuse ourselves and accept such dramatic
entertainment aa the present Easter affords. Shall we go to
the Haymarket, and seo Mr. Frank Talfourd's admirably
smart burlesque, illustrated by Mr. Calcotfs extremely beau-
tiful scenery I Or shall we refresh ourselves with Mr.
Keau's Mephistopheles at the Princess's ? Or shall wo hear
Miss Roden at the Adelphi ? Or shall wo study the firm
adherenco of the Hoots at the Huu.t (" bunt*" being Robson)
to tho Olympic bills ? Or shall wo admiringly contemplate
Mist Swan borough and Miss M.Oliver, at the Strand, which
is now converted into nan- bijou 1 Yes, that's tho word.
So, having arrived at ati accepted common place, we bring
our lucubrations to a close.
JULLIEN AT BRIGHTON.
(Abridged from the Brighton Guardian.)
It needed not the overflowing room, or, moro properly
speaking, rooms, with which M. Jullien was complimented at
his Grand Concert on Monday evening at the Town Hall to
provo the popularity of this Prince of Musical Couductors. On
several other grounds, however, the success of the undertaking
in Brighton is a matter for congratulation both to M. Jullien
himself and to tho town. It was understood that tho sole party
interested in it wu M, Jullien himself, who thus, in a moment
of difficulty caused by his enormous loose* In connection with the
Koyal Surrey Gardens, appealed to his patrons of " lang ayne "
to rally round him with their smiles and presence at his embar-
cation on a renewed voyage of speculation. It is something for
Brighton to have been the town honoured by such a man for
such a purpose ; and we feel bound to record our entire satisfac-
tion at the enthusiastic manner in which the inhabitants testified
their appreciation of M. Jullien'e preference. The applause
which greeted him when he appeared in the orchestra and took
up his position as conductor, was of the heartiest and most
legitimate character, honourable alike to tho donors and the
recipient.
Beethoveu's overture to Leonora opened the concert. The
execution and tone of M. Duhdme in the aolo parte of the over-
ture were perfectly fascinating, and it ia no compliment to say
that Reichart's flute passages were marked by consummate taste.
The next piece was the Jetty Trefft Quadrille, which was greatly
applauded, and promises to become a great favourite. Miss
Louisa V inning Bang " Taoea la notte," from It Trotatore, and
was honoured with an enthusiastic encore. The Andante from
Mendelssohn's " Italian" symphony followed, every point being
brought out in the most maaterly manner. Mozart's air,
" L'Addio," was aung by Miss Ranoe, whose voice (contralto)
p,. ■*>•».,•« gr.-m power in the sWNt Botes. "Tho Fern Leave*
VaUe," by Jullien, played for tho first time, succeeded in every
acceptation of the term. This was followed by a solo on tho
violin by M. ltomcnyi, " aolo violinist to Her Majesty," who was
recalled. The first part of the performances concluded with The
Campbells are Coming Quadrille, by Jullien, suggested by an
. It was also played foi
slodies so judicio
wore received with great applau
episode at the siege at Luck now. It was also played for the" first
time, and the merry Scottish melodies so judiciously Introduced
Royal Italia* OnsitA.— Mozart's Don Giovanni is to be
produced in the course of the season, cast as follows :— Donna
Anna, Grui ; Elvira, Mnrni ; Zerlin.i, Bosio ; Lcporello,
Formes ; Commandant, Tagliafico ; Masclto, Roncoui ;
Ottavio, Tamberlik ; and Don Giovanni, Mario.
Philharmonic Concerts* — At the first concert (on Monday
evening), M. Sainton is to play a violin concerto by M. David,
which will lie interesting if only as a novolty.
M. Hekri II krx is to play at the fourth" concert of tho Con-
servatoire. The piece he has selected is his new concerto
(No. C>), for pianoforte, orchestra, and chorus.
RoetolNl (it ia reported) has composed a milodie for violoncello
and pianoforte.expreaaly for tho Belgian violoncellist, M. Servais.
Tamkkhlik in Paris— Tamberlik (le farceur.') has taken
Paris by assault with a C sharp in alt— just as Duprer took
Paris with a C natural. Roasini is the medium on this occasion
as he was before. Instead of saying " Uoesini's Uudtaume Tell,"
it has long been tho habit, among elevated Parisians, to say,
« Ut dt pourine." It will now become equally the
i's Qtsih," to say " Bessini's Ut ditrn."
The second part commenced with a selection from La Tra-
viaia, the cornet and flute receiving eapecial marks of com-
mendation. Mendolasohu'a duet, " 1 would that my love," suug
by Miss Vinning nud Miss Ranoe, was well received, as was also
the Andante from Haydn's Surprise Symphony. Mr. Rcmenyi
again favoured the company with a solo, the Carnival de Vinise.
Miss Vinning sang Frank Mori's ballad "The May time is
coming," for which she was very warmly applauded. The Kiss
J'oiia, by Jullien, was played for tho first time. The recurrence
of the peculiarly suggestive noises at intervals during its per-
formance caused great merriment. Uerr Reichart's solo on the
Hutu was very successful, the lateness of the hoar only pro-
tecting him from an encore. The concert concluded with — also
for the first time— tho Old Bog Tray polka. The highest
possible satisfaction was expressed on all sides.
Last night M, Jullien was to be at Portsmouth.
»lth entire
Tnr. Pnornr/r at Olooau. — Meyerbeer need no longer be
apprehensive alwut the future. The Prophets has been played
at Glogau, under tho direction of Noldcn, and
success. After this MM. Wagner and Aldini
tcrire contre tui.
M. Wrodlxwsei has not yet decided on paying London a
visit this season. Mdlle. Ida Bouillee — 6 uns d* ces rartt
pianii'es <jui riunissent" every possible quality (according to our
revered contemporary, La France Musicals)— it equally un-
decided. So ia Mdlle. Lauglume, notwithstanding tho praises of
in. M. Juh
It
•i
M. Daniilo in LOrphfon.
M. Stamaty.) has
is curious to reflect on
Jules Frin, the pianist (pupil of
ilng to Loudon.
in that
had any idea of
in
igmzea Dy
Google
THE MUSICAL WORLD.
[April 10, 1858.
RECOLLECTIONS OF CALIFORNIA k AUSTRALIA.
BY A MUSICIAN.
(Co»ti»*edfrom page 199.)
Urox the left hand ride of the street, (Calle de
they call it) was a house, upon that house was a signboard, to
that house was a door, in that house was a shop-window filled
with wigs, blocks, bottles < f perfumes, and the various greasy
DMtineiwea that are to be found in all barber's shops. There
could be no mistaking the proprietorship of that establishment.
It was Figaro's, I ara positive of it, or if wasn't Figaro's shop,
what the deuce did Doctor Bartolo's house do exactly opposite ?
for then it was, in the third entranco P. S, with a practicable
balcony, and envious bars in front. If it wasn't Figaro's shop,
what was Rosina doing in the balcony with that same old fan of
hers that I saw Ronzi de Begnis play with (I am ashamed to
say how many rears ago) t I repeat it, if it wasn t Figaro's
shop, what fit of enthusiasm set me howling " Ecco rideule" till
Rosina in the balcony looked aa black as midnight (and lovely
black eyes she had too), ami made a motion very much like
calling for a policeman 1 If it wasn't Figaro's shop, why did
any twelve, no not Apostles, but Disciples seize me, and carry
off bodily, but for the fear of Figaro rushing out and
igar
incontinently depriving me of that appendage which is my pride
and delight! I mean my beard. Figaro a myth t Stuff and
nonsense, Sir ; he lives, and moves, and breathes ; and will as long
as the name of Rossini has a place in tho Annals of Music, or as
long as gratitude for his delightful works exists in the breast of
one true artist. But, says the reader, what have Havana, and
Figaro, and Doctor Bartolo, to do with a tour in California and
Australia }
Poco (tempo, poco tiempo, SefiAorf You are now in a Spanish
country, where nobody ever hurries himself, and if you had to
go over the same ground (or rather water), you would be glad
enongh to linger over some spot that had the charm of (at least)
a spico of artist-like feeling about it, before plunging into the
inevitable money-grubbing propensities of El Dorado. 80 come
to our hotel, and after a delicious dinner at six o'clock, and a
more delicious cigar afterwards, let us adonize, and take a stroll
upon the Fhvza de Armas and hear the bands play. The
promenade upon the Plaza is ono of the institutions of Ha-
vana, and fairly divides favour with the Opera (without the
Opera no Havanese could live a month). You are in a large
square — nearly aa large as Lincoln's Inn Fields — beautifully
paved in geometrical figures, and laid out in parterre* of
lovely tropical flowers; in tho centre are four magnificent
specimens of the paima reale, or royal palm ; on one side of the
square is the palace of the governor, a row of tiendae, or shops,
and on another tho chuich which contains the mortal remains
of Columbus. In the centre, near the palms, are stationed two
military bands of about a hundred each in number, who are
admirably drilled ; they play from half-past seven to eleven
alternately, and I must say that the best E flat clarionet player
I over heard in my life was a member of one of the bands. The
style of music consists entirely of operatic pot-pourris arranged
by their band-masters, who are generally Germans, and, of
course, excellent musicians.
The scene is perfectly enchanting : beautiful women in full
evening costume (short sleeves, low-necked dresses, ttc., in
short, as much undressed as compatible with absolute decency) ;
a glorious moon overhead (" as big as a frying-pan," as an un-
sophisticated gentleman from Pike County, Illinois, remarked
at my elbow) ; the lovely temperature and stillness of the
atmosphere — so still that the wax candles uoon tho desks of
the performers burnt quite steadily; thousand's of well-dressed
and well-behaved persons of both sexes smoking Buch famous
cigars, and not a bonnet in all the island, except, perhaps, upon
the head of some melaucholy female on her way to California,
who, during her short stay in Havana, comes on shore to make
herself miserable, in a dowdy bonnet, heavy stuff gown, aud
(Aorresco referent) stays, or corsets, or what other names
ladies call the abominations. All are superbly dressed, with
and upon the
of jewellery, the dark hair simply braided, 1
a black lace veil, which is worn with a grace
none but a Spanish woman possess,*. W 1
hark I
o'clock strikes, and off go the bands playing altogether the
melodies of the negroes: none of your would-be sentimental
abortions called negro minstrelsy, but downright African airs
(and very comical ones, too) used by the negroes upon the
island at their balls, where the style of dancing is of the liveliest
description, as far surpassing in breadth of action the cancan at
the close of a carnival ball, outside the Paris barriers, as the
same cancan wo uld go a-head of Mr. Spurgeon's idea of a lively
set of quadrilles.
So off we go; bang, bang; jingle, jingle. Everybody goes ;
the sound of the bands grows fainter and fainter, as they thump
away to their barracks ; the Plaza is deserted, — all are off.
Where t Home ? Not a bit of it, madam, they are gone to
Domenico's. And who is Domcnico ? Come aud see. There,
at the corner, so brilliantly lit, through tho arches, there thev
all sit. Ladies and geutlemen, all drinking, all smoking, all
jolly, all polite, and all sober; for the tipple of this fairy land
never inebriates. Claret or chablis are the most fiery beverages
used here — those most in vogue being iced sherbets, and nume-
rous delicious fruit ices known only at the tropica and to
Domcnico. Well, there they sit, and chat, and smoke, and sip,
lulled by tho drip of the fountain in tho centre of the large
mosaic-paved courtyard, tho moon shining through tho open
square in the centre, only dimmed at times by the silken
awning that is drawn across the opening if the night de*
should be too heavy.
One by one the little pattering feet of tho ladies are heard as
they cross the courtyard to retire, the cite grows by degrees
more empty, and, after correcting our fiery northern stomachs
(" unused to the melting mood " of water ices in the month of
January) with a horn of capital French cognac, " to bed, to bed,"
aa Lady Macbeth and Mr. Pepys say, the said bed being nothing
more than a cot covered with a sacking, one sheet, no mattress,
and a hair pillow j aud these beds made up in the large dining-
room of the hotel, as the city was full of visitors. There were
about forty in this room, but as all the doors and windows were
open, and a gentle breeze had sprung up, we all slept in the
most cherubic style until five o'clock in the morning, when we
were awakened by sundry young damsels attired in the " dusky
livery of the burnished sun," each with a delicious cup of coffee,
a manchet of snow-white bread, and the never-failing cigar. I
immediately arose, awakened a long Blab-sided Yankee friend of
mine, with whom I had made friends on board, and off we
sallied for a swim, if possible, at all events a good cold tlotuh.
(This is a Somersetshire word, and a most expressive one, aud if
it isn't in tho dictionary it ought to be.)
{To be cammed.)
WEBER'S MONUMENT.
(From tike Xmr Witntr Murittrituf.)
The model, by Proferaor Rietschel of the city of Dresden, for
the bronze statue to be erected at the side of the Theatre Royal,
in memory of Carl Maria von Weber, will be completed in a few
days. That this mark of respect should have been originated
and afterwards carried out where this high aud creative genius
executed the most important part of his labours, is but natural .
but it is also the duty of the whole German nation, for whose
musical fame throughout the world Weber, in conjunction with
Mozart, Haydn, and Beethoven, worked so gloriously, to take a
more active part in this project than they have hitherto done.
Something has already been effected, with brilliant success, on
the grandest scale, and in a true feeling of art, to facilitate tho
commencement of the plan, by a committee formed for the pur-
pose. The interest evinced in the proceedings, especially on the
part of the theatrical establishments of Germany, has not *
at all general or sufficient, while there has hardly been
shown by vocal artists,
excused, as no
M source of the
the singeps engaged in them. Of tho many
female, who have achieved, and are still achieving, triumph*
Weber's operas, there is not one— not a single one— who 1
made the least sacrifice for the above object, with the
This is the less to be explained *.nd
atic composer has proved such a fruit-
■essful results to German theatres svud
em. Of the manv aitiffera. male aud
in
has
Digitized by LaOOQle
April 10, 1858.]
THE MUSICAL WORLD.
237
of Madame Ncy-BUrde, who will shortly again sing Rozia in
Berlin, having previously given up for the monainent the
money she will receive for so doing. Ought it not to have
beeu a point of honour with all the many operatic estab-
lishments in Germany, and for all i>s great and very great
singers to have contributed to the completion of a monument
to that great master, whoso ever young Der freitchuii, and
Prteiota, touch old and young with everlasting freshness ;
whose Euryantht and Oberon, especially the former, belong to
the most elevating and charming productions of art : whose
war-like songs (LUtzow's " Wilde Jagd," " Schwcrllicd," etc.),
inspired, in their day, the German nation in its noble struggle ;
whose still more numerous instrumental compositions for piano-
forte, violin, violoncello, flute, clarionet, bassoon, etc., are found
in all ranks of society ; and, in a word, whose works hourly
afford us all the deepest and nioat noble enjoyment 1 Ought it
to be a matter of such indifference to the German people gene-
rally, leaviug out of consideration their musical representatives,
to interest themselves in the speedy completion of Weber's
monument 1 The committee still want 3,000 thalers for the ex-
penses of casting. If this sum, which, compared to the number
of the master's admirers, is small, be not forthcoming, a touching
mark of Germany's appreciation of herraost popular composer, will
be out of the question— a fact which could not bo reconciled
either with the deep love for art possessed by the German
people, or with tho veneration manifested in all times for the
memory of the great advancers of art The committee in Dresden
will certainly receive with gratitude contributions for their
noble object.
• VnwKi. — On the 22nd aud 23rd March, Liszt's solemn mass
won performed, in the Redouteu-Soal, under the direction of the
author, by the chorus and orchestra of the Imperial Opera-
house and a great number of the pupils of the Conservatory.
Some of his very warm admirers offered him, during his stay
here, a conductor's desk of chased silver. This handsome piece
of furniture does not weigh less than 75 kilograms, and is a real
masterpiece of finished workmanship. According to a computa-
tion, which we have every reason to believe exact, it in worth
more than 15,000 francs. M. Roger is still pursuing his suc-
cessful career at the Karnthuar-'lhor Theater. The following
are a few particulars, but little known, concerning the early life
of this celebrated singer. M. Roger held a completely subor-
dinate position in a commercial establishment, lie waa received
in the liouse of a lady, a widow, of a certain age, who, having
heard him sing, was struck by his voice and advised him to take
lessons, which might enable him to procure an engagement as
chorister at the Opera. As Roger was not able to afford, out
of his moderate salary, the necessary twenty francs a month, the
widow advanced them, and, after a certain period, tho young
virtuoso waa engaged as a chorister. After migrating, without
any marked success, to the Optfra-Comique, he returned to the
theatre at which he had first appeared, and it was not long, thanks
to bis talent aud a proper feeling of ambition, before he obtained
the first place. Out of gratitude, ho married the widow, who
was the cause of his elevation, and who, treating hint more as
her child thfin her husband, takes the most touching rare of him.
Roger has been heard and admired in most of the capitals of
Europe, and, though the Paris Opera-house may, perhaps, be
rather too large for his voice, is greatly esteemed and liked,
especially by the ladies.— Humorut.
Attkmptkd Suicide by Sickor Bobco.— Siguor Boseo, tho
" Wizard," had been performing nightly in the Assembly-room
of the Freo Trade Hall, Manchester. On one night he had, as
usual, a crowded house ; his performances were as clever as
ever, aud nothiug extraordinary was noted iu his demeanour.
On returning to his lodgings something appears to have induced
him to attempt suicide by throwing himself into a pit in a
brick -croft, about a mile from his lodgings, behind St range ways
Hall. He was followed by his wife, whose screams, when she
saw hiru iu the pit, attracted a policeman. With some difficulty
the officer succeeded in dragging Signor Boseo out of the water,
and conducted him to the police station. He has Bince recovered:
from the ill consequences of thu act of mental aberration.
M. FETIS ON THE PRESENT STATE OF MUSIC.
Iw the fourth and most recent of this series of articles, M. Fetis
turns bis attention to the dramatio branch of tho art. He points
out how operatic composition is the most attractive to young
composers aspiring after fame, tho theatre affording the widest
publicity, and being the surest road to popularity, while it is the
only field in which success is remunerative. The theatrical
career, however, is full of delusions, and when much time has
been wasted in overcoming the difficulties of obtaining a start,
tho result is too frequently only a series of vexations,
ending in failure and disappointment M. F6tis describes here
a peculiar feature of French theatrical affairs, rendering it diffi-
cult to ascertain when really a success has been obtained or not
Absolute failure, since the organisation of the claque with all
its deceptive arsenal of counterfeit demonstration, has become
impossible. The public, seeing their judicial functions so com-
pletely wrested from their hands by these impudent actors
before the curtain, have abdicated their right of summary con-
demnation, and no longer hiss their disapproval — but merely
stay away. So generally adopted likewise is the system of pro-
ducing these artificial successes, every party concerned contri-
buting his share in the deception, that all are in turn made
dupes, and neither author, actor, composer, manager, nor jour-
nalist, can discern a genuine from a sham success, save, at the
em I of many nights of performance ; for the multitude of strangers
arriving by railway to the capital will always supply a certain
number of spectators, whatever the work performed.
Another difficulty, oven supposing success be actually and
bond fide realised, is to determine to what element of attraction
that success is due. Seldom will it be the excellence of the
music, so few aro those endowed with a sincere love of tho art,
and capable of appreciating the real beauties of a work, sup-
posing it to possess any. The character of tho music, indeed,
has come to be a secondary consideration with managers, who
possess little judgment iu the matter ; and reliance is rather
placed on some novel peculiarity in the book, the voguo of a
great singer, or tho opportunities afforded for splendid scenery
and dresses, or startling mechanical effects. Thus a composer
who lias once obtained a footing on the stage, need trouble him-
self but little about the intrinsic merit of his work, which is sure
to succeed — until it dies a natural death. To this fatal facility
of success is duo much of the degeneracy into which composi-
tions for the stage have fallen. Artists have learned to despise
their art when they have seen it thus converted into the mere
accessory to an evening's amusement. One work follows
another ; each in turn is condemned to absolute oblivion, not
so much as a concert piece remaining, while even tho very titles
arc forgotten.
Bad as things are, however, all hope must not be abandoned.
Nil desperari is as good a maxim for the artist as for tho
patriot ; but matters have gone too far in Paris to afford the
ie;nt chance of success for any reformatory movement which
should commence there. The manners of a people are not to
be altered by an open conflict with them — they must be
indirectly operated on from some remote point. Parisian
managers aro too fondly enamoured of the system at pre-
sent existing, with all its traditional usages, to be dissuaded
from it. It could, indeed, scarcely be otherwise, whatever
might bo the result financially, or in mere show, of their
mode of operating. Being ignorant in all that concerns music
when merely properly executed, they cannot be brought to
measure its power and effect They can only be guided by great
names— but when a man has won a name he is near the end of
his career, and thus tho future is left unprovided for. It is possi-
ble to imagine, however, a manager conversant with music and
devoted to the cause of true art, who should constantly draw
round him all the young and rising talent he could discover, en-
couraging and guiding wherever there was promise, and thus
bring back the time when operas were written and heard for
themselves, and not as accessories. But this is a dream, aud no
such a manager will ever flourish in Paris.
Having pointed out the evil, the remedy is to be considered.
There needs little ingenuity, writes M. Fetis, to discover it, for
I experience has pointed it oat The centralisation of everything
Digitized by Gc
238
THE MUSICAL WORLD.
[April 10, 1858.
in Paris haa stood in the way of progress with French dramatic
music, while iu Italy the multiplicity of theatre* haa afforded an
excellent field for practice. From tbeae have sprung a succession
of composers of the first rauk.aud a long list of Italian towns may
be cited as having produced the greatest artiste. True, it may be
•aid these theatres arc still in existence while thore is a manifest
decadence of Italian art. But in addition to the special causes
for this already pointed out, Italy is absorbed, and haa long been
so, by serious preoccupations, taming away public attention from
art and its cultivation.
The great number of towns in Germany possessing lyrical
stages all of equal importance corroborates tho view which is here
taken. German composers, from Mozart downwards, have written
their most successful works, and have written indifferently,
for all of these in turn ; whereas French composers have only
been enabled to gain a reputation in Paris, which in matters of
art has swallowed up all France. M. Fetis bad early taken into
consideration this disadvantage for the future prospects of his
pupils at the Conservatoire, and had recommended, iu order to
obviate it, tho endowment of five great provincial towns with a
subvention of 6O,0(>0 or 60,000 francs, for a theatre, in which
should be produced three operas iu one or two acts, and two in
three acta, composed by laureates of the Institute, nomiuated to
that effect by the Minister of the Intorior, on the report of the
Chief of the Theatrical Department.
From the numerous essays which would have thus been
brought to light, M. F6tis considers that many productions
would hare resulted of distinguished superiority, and the fre-
quent opportunities of practice afforded would have caused
composers to acquire a great freedom in the art of
writing, while, in their turn, these would have greatly improved
the executive powers of the choruses and orchestras by their
advice aud supervision, and counteracted the bad habits which
vocalists acquire in the provinces. Tho public of the provincial
towns thus favoured, flattered by the appeal to their judgment,
would have taken an active interest in the scheme, aud, by
exercising their free suffrages with a vigorous independence
unknown to the tolerant Parisian audiences, would have ren-
dered success more valuable by the mortification of an
Bbusskls — (From a A'atii* Corrt*pond«nt). — The journals arc
in estacies with another pianist (pupil of M. Louis Lacoiube),
who is to extinguish (if we may believe the Flemish and
Walloon critics) Mad. Clause, Millie. Caus*etnille, and even
Mad. Pleyel. The name of this new pianist is Mdlle. Delphine
-•not Gay, nor Fix, nor Champiguon, but Champon ! Va pour
Champou ! A new wonder, aged 16 (yui reunit, &c), who plays
(of course) Mendelssohn's concerto in G minor, and (not of course)
Bias's concerto in C*, and (still less of course) M. Lacombe'a "Mi*
tiude en ociavtt." When you hear " the young aud teuder
Champon" yon may judge for yourself. Fur my part I detest
the piano and abominate pianists. G.
A Nkw Opeba ur Richard Wagnbr. — The assertion that,
io addition to the A'itbrJutu/en, Richard Wagner had finished
another new opera, which he wishes to have represented first in
Prague, is, according to the Zeittchrift fitr Mimic, doubly erro-
neous. To begin with : the NieMungm is not all complete, but
only the introductory evening and the first two principal even-
ings (lih«ingold, trWi-yre, and Young Siegfried). The last evening
(StffMmF* ZWi) has yet to be composed. It is true that
Wagner has put off workiug at this, in order first to complete
the book and mnsic of a new opera, the subject of which is kept
a secret by the author. But it is another mistake to assert that
the new opera is already completed. The impossibility of this
will be immediately apparent to every one, when we inform
them that Wagner did not begin the libretto until the middle of
August, last year. It is, however, a proof of his enormous pro-
ductivity that, within a apace of four months, he has not only
finished the
act He
journey to
i« entire book, but, likewise, tho music of the first
was prevented working any more at his task by his
i Pari* Vi^tLtrrhAimiAchti MiLaiL'zritun/r.
> in C sharp minor.
one of th»
has a maguifi-
ceut Guarucriua, given to him at Vienna, in 16iG, by Baroa
ViEUXTBMra' Violins.— Vieuxtemps possesses
finest collections In the world ; for instance, he 1
Pereyra ; two Stradivarii, givuu him at St, Petersburg, by
Count Strogonoff; a Stradivurius presented by General A.
Lvoff; a Maggjui, by M. Wolkolff ; an Amati, by Count Mat-
, •* - ' -»ttr- ' *' 1 1 1 / - - j .... i y — - - — ■
thew Wielhoraky, and a Maggiui, by Count Ferdinand Troycr,
of Vienna. His favourite instrument is a Maggini ; it is upon
this that he plays at courts, or when he wishes to produce a
particular sensation. Ilis collection has been estimated at
thirty thousand francs.— (Juide Mmical.
ADVERTISEMENTS.
SPRING AND SUMMER PARIS FASHIONS.
MADAME LEBARRE,
dbsiosoi or FAKitiost roa tub KMrsrjs scosjm
Beg« to Kate thu h«r FL'l.I.HIZKD PAPHR MODKI* of all the wvreltie* for
the irowut uaiuu are now ready, luade up in the tii.at brilliant clo-ir., nod las
trimming, cxaet iu every particular, tu»t tho effect • the article, ahuti mill
up. may In Instantly *cen A Flat Palim). to cut from. i« c-ren with <ech
article iu a Sot ; and l-.r the convenience af l-vliea who don l vt-.it Pari*. Ma lama
IV ami ha* e.' ai ll.l c i mi Agent iu I«ou.lun. from when all her ' New Model.'*
may be bad nUauitauccuJy w.tl. Uicir appearance li< the French cap-ial
4t * d
Twelve sHirl.-. in box. Including Mant*!«t*. D-vlle*. Jaerjucltee,
Hie.irea.aa-ICUU.lim-. Dregful Trimmed .. ..110
Six .Into, .litt .. box incl.i led » 10 6
Or. free per poet, hi packet. f<ir .. .. .. •• 9 H S
Single Model* foi warded. port-free, to any r«»rt of Uio United Kingdom St the
following pric » :
1 stsnls'ela 5. el. ; B*li... I.. ; I. 6d ; JaeriucUs Bodies. S. ; and
Children'. Pat erne, for Boy or liui, 1. 61 each
Ordcn mu.t be aw. m pan id by a renilU.ni.-e ( P.atofXoa Order or Sump.) piy-
aid.- at the General Office, to AUBLtl I.EUAUKK
Itxx en D*r»U— 0, WANSFOni>PI..UB, Oakley .quire. Camden Town IN W X
within ten minute, of tb« Great Northern. Camden Town, and North-Wertera
Raflwara
PRANT AND GA8K (lat* Williams and Co), 59, 60,
VJ «l. Si. Oi ford-street, s. 4, and ». Well, .treet. Wbob-aalr ai.d R»tail Silk
.tax
■qrectfully annouooe that they are now . xhl
Mercers and General Diaper.
Iu every dcp.r toot ail unu.i
Biik Go-d. of cvrry 'icacrtpUon, at fully -.'5 \
H-Tcrsl lot. at floui.ced silk vbet. it 38a 6d . ui.
of new anoy .ilka, »i :'»• 0-1 . aud 32* IU. the
many of winch are w orth 3.. SI l cr y*r-l ; 400<
from S» (I I to 12» M , pri-Tlm. pricre. li« 64.
flounced barege rube, equally cheap All good. nurke 1 In plain Sgurea. at whole-
aai.< prices for ready mcuey. Patten.* re-rwardid t.. tho oouuUy The new pro-
mUea adjoiulag are solclj dcrorcd to Oer.cnd "
t .w I tat year-, prtooa
•ward*, rrry dioai- ; VK) pieces
« of twelve yaria wide width.
iu. d flounced .■ ualin d ea ea,
H». «d. A larye pvirchaao of
CURE OF CHRONIC COUGH
BT
DR. I0C0CK8 PTJLM0NIC WAFERS.
hlealor l, October SJ. " Gentlemen, I can .p
will, cona-ieuoa. mnlcuUrly ..f the Puluio-.lo Wafer*, «llh »blch I liar, not only
b.on rel ev d, l.ut cured ■ f a chrouic wiuUr ronsh Hundn da of bosca I have
»ld, and .till II. Mile I. a* great a» over 8lfue.r, J 8«»ni.rr."
DR. LOCOCK'S PULMONIC W AFKBS give lnatant re tef and * rap d cure of
aithma, c- nauuii.tlo.., coughs and all di». rdera of the breath and lunga. To
.iuger* aud pubi c »|>cak.r» they are inv.i ual-1- for dealing aud itr njtl niej
lb* v. Ice ; ib y hare a pt.-a^nt U>tc Pr.ce la ltd.. 2a »J, and 11* per box.
8«> d bv ..11 in«d..'ine vend -ra
CAUTION.— E«ery box -fth- ganu ne medicine h« t-.e worl*. " DR LOC OCR'S
WAFKR8" la "htto lett.T. on a re I g.ound in tb- O .rernmcat rtamp. aud with-
out whJcn word* dl«
I7A8Y MUSIC FOR CONCERTINA AND PIANO.—
MA IS number*, jtrice 1*. a»ch. Popular Kocroutlmia, arrang.4 by Oeorg* Caaa.
rK»cli<x.ntali..iortl|ia.oa) 1. Wgnletlo : '• La donna « n .blle•.'• au-l "Ouea>a
oq-elU- S. II Trovat-te: "II bal-n." and ' Ah! die la moru* (Tro .baScir-a
ttong) S. Luciadi L-.rnmennoor: " Frti ,-oor.am* " »ud •' Tu eh* T>to . aplegaatt -
I. Seomambula: 'A 1 la let now" and "HtiU w gently." 4. Norma: - Deht
■.on «»"• a. Hclw tou ol the tri'.*i topukir Valacs, by O Albart. 7, Polka:
" L E-.fant" by IVAIbeit. 8. Va *e (.ui.g by Mvlame OwakrV Venauio. ».
Frencii Aire: " Partaut ptoir la Rync," Manvlllaiae," and "Mourir pour la
pari*." 10, Irish Air-: "The Harp tint .nee through Tab's Halls " "St.
l"alrick'* Day." aud "The Uat Rc»e ot Summer." 11. Scotch Air*. " BsrsUBBS
non lee." "bloe B IV. of rW-tland,- " Ani.lo Unrie," and '■Oomln' Ulrv/
gjfcj 1 1 Amenoan ^Aira j Jituuta, * "0
Digitized by Google
[April 10, 1858.
THE MUSICAL WORLD.
*
299
ORATORY HYMNS by the Very Rev. F. W. Faber,
o,rnpo*o>l, and by p~rin.*»lou ,|«dle*t«i to Hi* Rniiienee Cardinal Wlwmau,
Archbhdiop of VcataOWcr. by W. Boh dt>,«a. dhoeiar of the mu.ic at the
GVetoiy, I oadau. Fl'tt 8 rlu, eouulnlng It hymn*, pnoo I*., wit pott free.
U» J"D : Ewer and ., 380, O.furd-aUMt. .
BUSSON'S ACCORDEONS FLOETINAS AND
OROAX-AOOORDBONS.— Th« Sadat, de. F-cmn b Pari* baa hist
received a fre.li aeeoftui-'i.t ol lbs*, •upurtor tr-ateum, nt», which on offered la
Uw trade at r*dae»l prion for omIl— 1(H), Clwapaida, Luudoo.
TUST PUBLISHED.— A TE DEUM and JUBILATE.
aipcwed by E-limi
J, Norfolk-yilU.,
T. Chlpp. Pr.ee I*, octtwa
To bo lu>d only of the
[IBS JULIA ST. GEORGE'S SONGS. — Sung by her
L In " tlnme mid Foreign Lyric*." The mutt attractive entertainment of
the.lay-vidu public |-re».. Th. «h.iiooithonm*tchyJ. P.
ud Co . M, Al.WelT^t. N. W . .ml ah "
M'
1L' LA*cl O
n, n.yJ->,
kmiMrClU
. ; Homo,
W VINCENT WALLACE'S LATEST PIANO-
• FORTE MUMC — StyrienU*. S*. ; P.iitaala on Ro/a Wlf\ and W./re
i" iioddm," 3*. ; CJnl .p brilbol do **llW, 3*.; KiuItIi of Klokwli, and I 'in o'er
, ..r p. 1,1 .i i v •• l. :». , Hi i.. i.'.. .t I* .• .t. c n.»' .-> I II.- Ua* o'
0»wri,-, 3e. ; Aula Robin Urn. mid Tti-j l«Mtl« roan, .'* ; John Andrr-on, n<y '
and Thou h-irt b it ma mr. Jamie. 3*. ; Charlie i* my darling, and Tb*
nre coiling, a* ; Roalin coille, a;ul A Highland lad my love ww bom. 3e. .
nut borne, Sj. ; The banks of Allan Wuler, a*.— Lojiil n, ltobttft Cock* and Co.,
Sew Bwltu^tUU Urccr, W.
BRINLEY RICHARDS' LATEST FI A NO FORTE
MCH1U — Chime- await,, iNaulihil bell*, 'it. ; No! cor f'lb non ml aento,
»itb vui-mt o.i*. S». ; Tito N .lad * .Iroam. 2*. ; Warbling* at era, i*. ; Tlio echo
hoc iroe, £a ; Marie*, nocturne, op. 110. *■ : Hereuade, op. 91. 2a. ; Ihe farowull,
romance, a*. ; The Fairi, a' ,<•»*, S*. ; In abecnoe, romaiic '. Ja— Iy>U'!oll : Hubert
Cook* and Co., Sew Uurboftouvitrecr. W. N.ll -Piano* for Uiro at 12a per
mouth and upward*.
PIANOFORTES. — DEWRANCE'S COMPENSATING
riUN> rmiv u„w bo (van «t the de|ot lis. Solw, square By the application
of this principle n hwTirr airm* can be lined, the result of which 1*. tluit the full
imaer of a grand la oLUIiod I'rnm a «,tbi*,u In.tnnneni, *t tlio aaino ttuw tb*
»ir» and the frame on wliloh tl ey iire »tnii g expm d and coutr,ct with L-banite
oi temperature equally niid to^rtiier, no that the noocaaitv f-ir frcjneut tunimr, ua
In the ordinary inatniriicnt, i* entirely obviated l or nilncaa und r>undneaa of
1041C. alth cxUAuidlnary |H>wer« ol modulation, thoee inaininicuc* arc qune un-
equalled, at tlte enme titnc the price i* no higher tbiiu that of an ordinary p,iuu>.
K EATING'S COUGH LOZENGES.— A good speech
or ua i.ft<tf ttvo ^ong ram ot bi given if tlio vocal organs *ro in *o unaonod
coa'U'iou, or tctcl with U utscTtewor imutlun. To rt inody th«t Utter, *i*d i»
pn4«co u.i--ir>-)»r>iL» estiin^intion, ertry j'Uh'lc chur icter, whcttKr n( tlm bar, the
Senate, ur iLv P»ilpl', -houiU Utvro ut hni*d Kkati^c'h Couch Luzckom, winch, are
patroiii<el by the ai -j.'Miy i f f o lotperai r'ar'L*n>ei)1, It.* fi«noh, tu<l th«
lcud'Kg tncDiDor* of the 0]>eratio Corps, lor allectitnitf of tiie Tltroal or Cliest,
luid for Wirjt(jrOoit>-li, t'lOi are unfailing. l*rt*|Nircd and 80VJ in boxca, It lid,
and fas U M. ca n, br TUOM AH KRAUNG, ChumlaTt, *c. T». St, Paula
I by .11
GREY HAIR RESTORED TO ITS ORIGINAL
COLOUR — N'cural(ria. Nervn,,« Headach", llhouinaliiim, and Slifl Joint*
cured by V. U. HMtRIKti 8 PATENT MAGNETIC! COMB*. HAIR AND FLESU
I1RUSUE3. The.v require n>, preparation, =.re alwuy* rvady for uae, and cuni.ot
pet out of order Biiuhea, Us. and 16a. ; Comb* from 3s. ed. to 20a Grey hair
tod buldnaa* prereuuxl by f. M. II.'* Patent Pnic live Uruah, |,nee 4a and 6a.
Offlcc*. II, Boa t,|ih •ll-.tn.'ct, Loi'don lilnai rato.1 pamphlet* "Why Hair
become* Grey, and it* li ui. J , jrati*. or by poet for four *tamps. Bold by all
chemist* and perfume re ol repute.
PERSONAL GEACES.
plait, orti..flo«WgVr».».
mallr pleuin* by the
In ,ir»-Wll. ti.Q bair.
tflU t of
ROWLANDS' MACASSAR OIL.
■ll'^P^bt^tl'atitwUIli*in»^uiiwUoB,f
I* n
ROWLAND 8' KALYDOR
prepaiation of unparalleled eSdmry In Irnprovlmr and beautifying the akin
prc*cmne; them from *verv v1cl«a|tiide oi il,o weather, «t)d
ROWLANDS' ODONTO,
OR. PEARL DENTiPRIC&
la alike lnv.Iui.Vle for IU tcautifytng «. . d pmerratiTQ effect, on the teeth and gum*
CAUTION. -The wrapper or label of each hear, the name of " ROWLANDS "
preceduit; thai, of the article.
Sold try A, ROW LA N D <v SONS, SO, Hatton-f i
and by Cbeioista and Pcrfamcrs.
V Atwrt */ rpunern wiitarioa*.
MADAME OURY'S
NEW PIANOFORTE
OBKHON, Pollt* d« Solon *
ROBERT. TOI QUE J'AIME
MES SOUVENIRS D'ECOSSF. ...
VAKTAISIB ON PRUSSIAN AIBS
SECOND
LA MIA LKTIZIA ...
ANNIE LAURIE ...
LE ROSSIGNOL VALSE .
II. TROVATORE, Fautakuo
LA TRAVIATA, ditto
RIGOLETTO,
EDITIONS.
•. d.
3 o
4 0
4 0
4 0
... 8 0
... 8 0
... 8 0
..4 0
... 4 0
... 4 0
toiDom
UOOSKY AND SON8, 28, HOLLE8-8TREET,
NEW VOCAL MUSIC
SI
SIGNOR FABIO CAMPANA.
a
8.
4.
6.
6.
7.
a
9.
10.
11.
12.
ITALIA,
LA RON DIN ELLA, Ar.au
LA DESOLATA, Rotomna.
RIMPBOVERO,
LA LUNA, 1
LA PRIMA LAORIMA,
1L MARIN ABO, BarcarolU
L' ULTIMA PREOHLEBA. Itomawa
IO T'AMERO,
TOLA IL TEMPO,
AM AMI, Romania
M* APPAJB SULLA TOMB A, Arietbt
t o
0
0
0
o
0
•
0
0
0
0
•
DUETS.
13. LE DUE FANCIULLE. Duettino 2 6
14. UNA SERA D'AMORR, Nottnrno k Doe Vod (Second
Edition) 2 6
15. ALLA CAMPANA ANDIAMO t 0
16. PER L'AUBE TACITE 2 0
TRIO.
17. MADBE DEL SOMMO AMORE,
3 0
LOXDOKl
BOOSET AND SONS, 28, HOLLES^STREET, OXFORD-STREET.
uiyiti,
3d by Google
240
THE MUSICAL WORLD.
f April 10, 1858.
MEYERBEER
THE FOLLOWING NEW VOCAL COMPOSITIONS
MEYERBEER
hate asm rnumiD by
MESSRS. DUNCAN DAVISON and CO.:
THIS HOUSE TO LOVB IS HOLT. Serenade for eight voices (i sopranos, a. d.
Icontraltoa, 2 tenore, and 1 baeaes), without accompaniment, In local
•cor* • - .. .,36
Separate vocal part* to Hie above each 0 •
" We hart received an Eogllah Tendon, by John Oxenford. Eaq,. of Meyerbeer's
bymcLeal serenade. • Adieu aux Jeunes mane* ' It U published under the title
of •This Homo to Love la holy.' It ta composed for eight vo'oea, or. rather, in
eltthl [Arte ; alnoe each part may be strengthened by any number of voicea. It
is without acromiionimoni, and differ*, in ibat respect, from moat of tb* grand
dramatic choruses to be found in Mvycrbocr'a opera*. Mipported by ti c orchestra
This purely vocal aroiido U more after the model at tbe great contrai-nntal
writer* of the aeTenteenth century— Ago.tinl, Benevoll, Mauocbi, and Barretts—
who bequeathed to ua Imperiiihablo legacies, tu the can uic and fugucd aiylc*.
for two, three, and even four choruses, singing slmultaneoualr. each chorus ooii-
aieting of soprano, alto, tenor, and baa* These coloaeal ootnpoaitions, though
mssterpicce* of contrapuntal contrivance, have long alnce fallen into dim*-,
exoact aa example* for atudy In the Mualeal Cnnacrratorlc* It in doubtful.
Indeed, whether tbe ear alono (unleaa nsaiated by the eye, and a view of the
partition) would enable the hearer to follow and diatinguiah the intricate and
Involved web of eo m»uy voice* of *imilur charwier Intertwining and crossing
each other. The near cat approach to di-tinctnoaa wa» probably arrtred *t by
piaciwt (he several choir* at »omo diatanre apart from each other. Thi* method
haa been tried, in our time*. undvr tbe direction of ti e talented and lamented
Menrtolasohn. when be conducted the performance of Bach'* ■ rosaion-Minio'
eccirdii .g to St. Matthew, enmpoeed for two orchestra* and three chorusee; but
the result was not astisf..otorv Those remark* are neoeanary. lo explain tbe
peculiar merit of Meyerbeer's Serenade, now under review, In order to alulu
clearness, he constitute* bla two choir* of different material*— one choir ct nsists
of ftmaU voice*, drat and aecond soprani, first and aeoood alii; the other choir
couelot* of maU voices, ft rat and around tent n. flr-t and aroond baa*4. The ft rat
verae la commenced by the male choir, and t* afterwards token up by the female
The earn- musical subject la then divided Into pliraaea of two or three bar*, and
given to the cholra alternately. Thirdly, both choir* combine. By these means
JaVyorbear haa avoided the confusion widen waa inseparable from tbe earlier
compositiot.a which t>* have mentioned. While be equals tbe Old Master* In the
carrla-e of the voice. In the purity or writing, and progression of tbe parte, he
has Imparted a charm of melody to which their I—Hal iu>d fugue* never attainel,
atvi has a-lded a richness or modulation which waa unknown to them. We
would particularly Iruitanco an abrupt m..inUu,*i, from O llat to A natural fen-
harmonic for double B lUtX and hack again lo D flat. The Englieh word* also sro
ntiingly welded lo the music We novl scarcely add that we.>r..ugly recommend
thle Servna.le b> euch of our local choral associations ns ),*vo the advantau-o «r
female voicea."— Lirtrjml MaU ^' K
TUB IX>RD"8 PRAYER, for four voices feoprano, alto tenor and baa*) a d.
with English and Latin text, organ adlib., lo score.. ..' 3 0
Separate vocal parte to the above * « »
"We have mat with lew devotional .ong* of late vcara so ca'bulal'ed to become
widely popular. The melody l» quite Handelle, and the hannouiea are ananifed
• 55* masterly akill ; while the subject, being one which Involves V,
i or d>« Irti.al w aectarum .lilier™«.. commouda itself to nil -who profs**
.elves c.hmti.in We shall not he eurprieed to And tbe harm on Lao I
I-ord « 1 n-yer engaging the attention of many a church aud chapel choir; th»t It
will bo widely patronised In domestic clrcha we feci aaaured."— iriefol Mercury.
WEAR TO THEE (Pre* de lot), for voice, piano, and violoncello ,. *1 d0'
HtKB. HEREON TIIR MOUNTAIN RECLINING (U- chant du BergerV
for voice, piano, and clarinet, or harmonium .. .. 4 •
V It* ab<jve two aong* are emiuenUy ealcidated for'a'lnglng at pnbllo eonrerta
NEW VOCAL MUSIC.
"To-morrow " ballad, by C. J. nargltt 5 \
"The old Willow Tree." ballad, by S. J. flL*Leffer*' " i „
" Th-TiTObad.w'aUmenl."l.y Lmiiaa YarnoTd .. .. " ' • I
»m.nn^/Si€lf' JfIAN0, AND HORN.
•' WHEN O ER TIJE MEADOWS OREEN," by Eugene Vlvler * o
".■ Sung by Mad. Viardot with dlsttnguiabed auceeas.
VOICE, PIANO, AND VIOLIN.
" MOTJBNPTJLLT, BINO MOURNFTJLLT." by O. CriiweB, Op, 81 j e
VCHCt piANO. AND VIOLONCELLO.
"Whex o^k^ea^ws^ee'W^^ ;; * •
NEW PIANOFORTE MUSIC
"THREE LIEDER OHNE WORTE," by C. J Harzttt
••RelUFiglU"(Rigol,tlos. byJuiesBrlaaac „ " J S
" aarice," Moroeau de Cbneert, (plav.d by Ml** Arabella Ooddiard) " "In
•A Summcr-iUay." Roman<o. by Eugene Mooiot .. .. " S 0
Eomance, by E. A. Oomion .. ".'.So
LONDON:
DUNCAN DAVISON & CO.
It^HnSaaaSai ^ZtJZ*1*0* »Kil'»«rs. »■ »a»IS
»**, REQKNT-8TREET, CORNER 01" LITTLE
SECOND EDITION. PRICE 6s.
BALFE'S
NEW UNIVERSAL SINGING METHOD,
WITHOUT TBI USB OF BOLFEGQI.
And conUia.ir.B Sixteen Ballad • and Song*.
Booaey *Dd Bona' Muaical Ubrary, M, HoUae-atreet, Oxford-atreet.
Jv* PMuktt
A GRAND
SELECTION FROM IL TEOVATORE,
tiuiom roa
LARGE AND SMALL ORCHESTRA
(WITH SOLOS AD LIB.)
ar
ANTONY LAMOTTE.
NEW MUSIC FOR HARP AND PIANO.
SIX GEMS
KM
"VERDI'S OPERAS,
HARP AND PIANO
*T
JOHN THOMAS.
■. 4.
I.-THE MISERERE, and TO VEDRAl CHE AM0R8 CTrovaWre) .. 4
t-IL BALBN DEL HUO BORRISO; and Dl TALE AMOR (Trovmtore) 4
i.— 81, LA STANCH KZZ A M' OFPRIME (Trovat<«) 4
4.— D' AMOR BULL' A LI ROSEE, ai>d DI QUELLA PIRA (Troratore).. 4
».— UN DI, 8E BEN RAMMENTOMI. QUARTBTT (Rlgoletto) .. .. 4
«.— LA H1CIL1ENNE. BOLERO (Los Vfprea Skilleonea) 4
:
OIMS REEVES' NEW SONGS.— 1, "Phoebe, dearest,"
jarden. Maud." by Balfa AH f
Ilooscy and Bon*, Ifollca »Ucct.
NEW WORK FOR FLUTE AND PIANO BY
R. 8. PRATI'EN.— In 34 number*, price One Shilling each. It a Pratten'*
Recreation* for Flute and Piano. Content* : 1, Robert, t.-i que Jaime, Robert le
Dlable. S, Quand je qulttaia ditto, 5. Nobll algn«r. Huguenot*. 4, No caao
egual. ditto, i, V* peuaiero, Nabucco. «. Ernanl Involami, Emani. T, Tot to a
afirrxao ditto. 8. La mia letixia, Lombardl. 9. La di>nn» e mobile Rlgoletto
10. E il *•! dell' antma, ditto II, QueaU o quelle, ditto 12, Bella flarlia, ditto.
IS, Introduction and Oalnp Rigolelto, ditto It, Miserere— Ahl cue la rrwrtc'
Trovator*. 15, II balen del auo, ditto. 1«. 81 1* atawbeaaa, diH.<. 17. M crv-l.
jwinea amiea. Lea Vepres Bicihenn*a IB, Ami, le ccrur d'Heiene. ditto 19 .lour
dlvreeao, ditto. VO. Libiimo. Brindial. Tra.iato. SI, Parigv o oara, ditto. 22, r>l
proT«,»a. ditto. 2S. AH. lore' e lui. ditto, 24. Semf« Uberi. tUt«. Booaej' aid
tions. HoUfs*'.reet. .
Published by Jons Bonacr, of Caatlebar-hin, In tbe pariah of Ealing, in the
County of Mhldli-eex, at the office of Hoonev A S')W«, ss, Hollre-atreet . bold
- by It ran, 15, John street. Great Portland -street ; Allik, Warvrtck-
> it- —
alao
lane; Vit-aaaa, Hnlywell-atrect; Kcith, Paowaa, * Co , 48,
0. ocutt anaKX. S4, Ncwgate-et reel ; Jouk Shet-herd, Newi
HaBBT Mar, 11, nolborn-bars. Agent* for Scotland, Panraaoic ek
Edinburgh aud Glasgow ; for Ireland, H. Be as tit, Dublin ; and all
l-e'.e-r.
Printed by Willi an Brxycw J on* son,
Ua*. In the Psrtah of -
April 19, 1*41
in tbeOountyof
uaic-
Wk Maatin'.
Digitized by Google
"Tm worth or Abt Apr n a us most imisiki in Mcsic, imci it ueqcibes so matbbul. so sliusxi-mattak, waoss wnct must
KB DBBCCTAD. IT IB WHOLLY FORM AS I) row KB, ASU IT BAIaKS AJiO ESSOULKB W1IATBVZU IT BXPBa'ssES." — (Jut the.
8TJBSCILIPTI0H:-Stamped for Postage, 20s.
to B008EY 4 SONS.
-Payable in advance, by Caah or Poet Office Order,
Cavendish Square.
VOL. 36.— No. 16.
SATURDAY, APRIL 17, 1868.
< PRICE 4d.
i STAMPED Sd.
SIONORA FTJMAGALLI, SIGNOR DI GIORGI,
and Ma CHAHLKS BKAHAM (Conductor. Bbnn* Vlane
tluno for tbo province*, or the metropolis, 10 be addressed to Mr.
MR ALBERT SMITH'S MONT BLANC, Naples,
Pompeii, wad Vesuvius every night (except SaturiUy ) nt 8 ; and Tuesday,
Tliur»d»r. Saturday aftcrnoona at J. Places emu be secured at the Box -office.
a»rypusu-liall. daily, between II and 4, without any extra ch irge.
MR. AND MBS. GERMAN REED (late Miss P.
LI art' n).— LmI week of the present Entertainment. Every tTctiin^, except
Saturday, at Fight. On Saturday Jioxf, for pr*itlve y tbo !la*t llm«\ at Throe.
H
ER MAJESTY'S THEATRE— EXTRA NIGHT.
IE* HtaURSOTH.— TtUooa, Ortol.v.i. Giturlinl. VUlettl. Ald-«htii>l. and
Delicti!.— TlmriKliy^m'lt^April J'-', w> 1 be repeated Meyerbeer's^ grand «pi
and Modllc Annetta will appear.
For particular* tro email bills. Apt lloalions to bo made at the Box -office at
M
Mr. 1
ISS EMMA BUSBY'S MATINEE, Hanovor -square
noon>. Thurwlay. April St half-past 3 o'clock.— Vocal let*. Ml-s KemWe,
Kerr Mollq.ie. Hlirnor r attl. Ml-
r kets. Haif agiilitea : »r fao.ily
three, a Guinea, at the principal m>t«c-srl i«r>. ati-l «af Mlsw Uueby.
Upper Gloucester place, Dorset-square
HERR HEINREICH BOHRER'S SOIREE, will Uko
place at bin lesidcnce, SI. Well«ck«trcct, Ca'»i>dtsh-«n,»ir*. on Wednesday
next April Slat, to onrnov no- at half-peat ei«>tto'dock. iierr Bohrer will i» rf im,
with 8ig_Ni««a, Mocart's sonata in B Sat No 4, fur piano ai:d violin ; Meudcuv
erihu'a Thrms con vartuti. no, for piano and triolomrlln. with llerr Lido);
Romance In F, <M>. Vfi. Cniiranto in A minor, and Gavotte in F »barp. from the
Butte de IhKxa ; lluboustiin a> d tWinroann's croud t> io. On. »3. for plana, violin,
and etoionrel'o. riul.serlption Tickets, One Guinea; Slnrfo Tickets. Half rWM ;
W OUtricr. 19. UldJJond-rtroet.
MR CHARLES HALLE begs respectfully to announce
that he will rraume hla Pianoforte Recital*, at hla residence, 5?, Chcsbam-
place, HcU rave-square, cm Thursday. May l-Uh, to commence at three o'clock.
QnU»cri|>tiOQ for toe Serin of Three Matinees, One guinea, Subacribers' name*
received at Cramer, Italic, and Co., Ml, Itc, rut street, K. OIHvicr's, Old Bond-
itrcct, and at Mr Halle"a realdencc.
MR AGUILAR begs to announce that he will give
a Matinee Muaicale at the Hanover-square Room* on Monday, May 54
Vocalists —Mi» Linda (pur" of Blgncr Fcrrnn, her first appearanc- In public)
and Wrnor Marra-. Ir ntninienUIUta — Herr Jar.'*, M. Clevnetiti. Herr Goffrle.
M Paquc. Mr. Howe 1, and Mr Axuilar. Riecrnd fcnt», Ida. «d. ; (tingle
Uckita. Ta. to be lariat all ti e principal music publisher*, aitd of Mr. AflBMa)
1M. Albany., tee», Hcgent'a-ravk, N.W
MK. BLAOROVES FOUR QUARTET AND SOLO
CONCERTS. Tueaday Eveninpi. A]n-I 70. May 4 and 1*. and June I, at
LHiudfi-trect Ptifmiers ft* the On*rtct. : — Xom. Mww, I«ac,
BU^rove. and AvlwnnL FlanlaU:— Mini Frreth. Mr G. Rnaarll, Mlsa
Tnerbarea. and Mian Arabella Goddard. Acc«tni«nylat .— Mr. J. F. G.xnll*n.
Vi..,a «• iirirt,.-; --M-.« Kci .» !• i:; ' Mr J! Mia. 'I 7f. tor fmr
tor 51a ) ; Sut acrtptloo, 21s Ticket* at 1 1. llindeatreei.
MISS ARABELLA GODDARD'S SOIREES OF
CLASflCAf. PIA.S'OFOItTR MUSH', Willis's Rooms, Klnc-strcet,
Rt Jimn') — Tlio Secoud S. inio wi'l tako |4nce on Wrdno^dny. April ?hUi. on
which occ»*ion Mt»» Go-Jhrl liire He lionmir of perfi*tnir« Pn>fcB»or
Bennett's Sonata in A. fwr Pianoforte and Vlo|omelM> (with Si^ PiatU); Woetfl's
bosjat a Nr PluaClin; Duuk'i Hointa. l'".u« Ulini ; F>ikw» by Scarlatti, Handel,
Bad) and )tci»dei**ohn. and a Trm.
Reached Beata. 10«. «d. ; Cnrtacm-d, 7s - to be had of Mlaa AiabelU a.>l<l»rd,
7, WelbeckHitreet. CaTendish-friiiare ; and of the principal muale pubUelxra.
16
MUDIE-S SELECT LIBRARY.
n dTTc e.
h. d. arv nl-o Liwely iticreasati.
of more than Una Hundred
CE. MTJDIE has the pleasure to announce that the
» alteration, in profn aa at hie Library are now sufficiently advanced to
provide Incn ao-d aeeomnkodation for the fviibacnbcr% and gnmUa tacilitioe for the
rapid exchanire of bmka Tlve aupplle* ol the hiithei daas of viorkA for the clr.
culaUon of winch tho Ubrary waa oriplnally c
and will be further augmented hy the '
Thousand Volumes In ti e course of the )
SOT, »li>, A Ml, New Oxronn Smtsr.
a»b » 47 SI. McatUK cWasxT. Loanos.
April. IMS
CONCERT AGENCY, Stc — MB. VANT PRAAG
tend. raids thinks bj his patrons mid friend" for tho tll-tal 'iKeiiiragernvnt
he bsy>for so m my jcara recciv.il, .vd b«v» tnintimi ihom be atlll continue- the
of ronccrta. uiatiii.oa. amrues, Ac. Ac— Ml e>.mnuiiiea«l«i>a
ad tre.ia.Hl to him. at Mr. llrcttill's 55. Hii|"»1-»tr«. t, Haymarket, will \i duly
attcu'lod lo.
ROYAL ITALIAN OPERA, COVENT GARDEN.
Ma. Grt lias the *
NEW THEATRE WILL. OPEN
OK
SATURDAY, MAY 15,
wit, will be [■rri'iTmp-l Wry< rl-^r'n
LES HU0TJEH0T8
Valentins. Mad. Orisi ; Matvarita di Mai* M.idlle. Mansi | 1 1« ma d'Onnrt.
Mad. Ta»lialico; Urbsno. Mad Di Iiee ; M ireello. Herr Formea; II Coula 4i .
Bon Br.*. M. Zsiger ; II CouU di Nevurs, M* T^IUnco; Me.u. »» Plclnl ; tH
Cora.. Bi, IwSTl ^ ** ™> ~*
CONDUCTOR— MR COSTA. ... 1
Prospectiiae", with full partlcnl.ir*, to be liad at tlie Temrorary Boz-ofuvie. 54,
Bow-a*reet. whore bo«<* and atatls may also bo obtained. . _
V.
tutti km tux rsntimaoi or
GRACIOUS MAJE
HUH THE PRINCB
AStl
THE ROYAL FAMILY
Da. Marx begs most reappcUully to announce that he I* open to
with bis blfrhly approved, intereatine;. pl aainn, and litatrt
MUSICAL ENTERTAINMENT,
untm
DR. MARK AND HIS LITTLE MEN,
numbering upwards at Uilrty Inrtrnmejnialiatjij and n nv st • tleetire Choms, I be
JUVENILE ORCHESTRA,
O Hroer.!! or
rire t.- sixteen ye-jri of ape, wl ipsa,*
tiadf idea, roirvii,*, *t,d i>-<ikse ; sji*i
r>r*i«n» Ae. in a m *t effective manner, aavl to wi.oiu 1m* fiteaa
l--r
LilUe Rnpii.h. Irish, and Hootch boys, frv
i wrst h" selections, waoa, duets, quart' t,
Bwiasax Ae. in a m *t effoctiv.- maanor. aavl to vW.oiu iw c^fasj n
oral aikd tnuaicifcl e.lucutton in order tsi Uhistiate hie bie:My s{if*evwd
f iimsteal rduratlun. aud with whom le travels about the country to
tnto an inter~t for aud help to ratabilsH mna cal lna*lt itloos cojlad • Co«-
i.;.t.-.irt« , f Music " f,.r lltt o children m ever) tr>wn. dty, su*»'*iil»v« ptVii*
t^at empire / \ \ . ■
Ail lett-rs wlircst PU.«e. IV.e Trtvle Hall. Maiicbetter, or to toe) li^sjsjr^ ^*
Mtloned plaoea of ewureaiarits. J ^ V IT
Mtrk and hie Little Mrn will twrform Ain il ll>
will perform. April
Dr. Mark and hla Utile
Wolverhampton.
Dr Mark and his Utile Men will pcrf. ru., April J4, at
Digitized by Google
242
THE MUSICAL WORLD.
[April 17, 1858.
JJEEB BEICHARDT, 25, Alfred-place West, Brompton.
TO BE DISPOSED OF,
J. one of the Midlsnd Counties. Ap
excellent
Apply to Mr. C.
Music
Trade m
don.
MRS. JOHN MACFARREN begs to inform her pupils
and friend* that •he has removed to IS. Albert-street, Mamuyton.
N.W.
TIT AD A ME LEMMENS SHERRINGTON Las returned
I»X to town far the season.— All cnmmiiaiosUaiiS) to be addressed to 7, Hyde
Park-stract. lliyt water.
M
ISS CORELLI lias returned to totrn for the season.
All eomruuulcatioas foi •og*e*m«au to be addressed to 24. James-street,
BuckiEa-hani-gatc,
TEACHER OF THE PIANOFORTE— A lady receives
pupil*, or attend* *chool» ai d print* families. Highly anttsfsctery to-tl-
monUla or r. fcrs: ice*. —Term.. per yu .rt. r, * Gain** and *-baif, or by the lew
Addn** A. B , can of Hmn. Boossy and Son*. t», Hollciestreel.
SSEMBLY ROOMS, BATH —To be Let, from the
September, 184*. the e .nlrndid Assembly Booms, with Ihe Furniture.
BIkid*, Bollard Room, Cellar*. Dwelling-I ouss, end On* Fittings, tit particulars
spply to Mr. Ricuard ototlierl Solicitor, Hay Hill-house, Bath.
HANOVER SQUARE ROOMS. — These elegant and
convenient roonia Iaring been re-decorat«i and entirely new-Ii^ht««i «* its.
the brilliant »u:i !>,•!. U, are to b« lei fjr Concert*, rub lc nuJ I'r.nt-: Balls,
Buuni, M-«Uat3, etc. No ctiuocrt- rooms ciui eutupeVj *tib Umch for •»>itu1, for
either vocal or tattrurncotal ii.uelc, or fur public »i«aktr if. For tortai *t'H/ at
the liooriM, No 4, ll«o>>*cr-«q,uurvi. between tho hour* of ten ami four <hu.y.
TO VIOLINISTS.— Wanted, ia July next, * Leader for
the C-irttiurthcn Musical Sjcuty. lie urn t be a a<r>\ vioiiuast, juxd fully
r<i'ir c't:iit to ai range music for an urcbc-tri, rUUaiy, 4i> guinea* j>er aiuium,
exolu«.reo1 ooi>yliifr tuueic. A feuUutnan wltu plays the oiyitu ami n..'l«r*t^xuU
cfaural teach. ug would be prvfencd, u» a ailu*itkw of Orjpuiiei in CarniatUn can
aiao be secured, * 1th a salary of ±w:> per annum. Aa t ho present Letwlcr of the
(Society l,ol4a both ap|»ointmcnta, ta tatrlug tbo town j,u ixciuleiit opening
"mg into prlMite pncUPO.
to tho Secretary uf the
occur* to a prvf<e*or of imialc wbo is
Com mutt .-cations t>» be ftcVtreaao'l, with
fcaHcty, Jlr. Qoo. Pratteu. CarmarLhou.
BU8SON.3 (Paris) ACCORDEONS FLOETINAS,
OR0AN ACX»RUKONll *c .-The 8od«* des Pacteurs de Pari, hssli
received a from assortment of tbo» surwrior Instrument* which are offered -
the trade at reduce- 1 price for cnau. Descriptive rnce Lieu forwarded oo appli-
tiou.-K*. Cb.spslde. E C
THE SOCIETE DES FACTEURS DE PARIS is now
selling first-class liar omniums, lu well-finished cases, at reduced prises,—
10*. Cfcr»p*Jd«. EC
SIGNOR FERRARI'S NEW WORK on the cul-
tivation of the VOICE and SINGING i* now pubbshod, |.rios aa.. and
may be had at hi. nm.lenm. Dcrou-hire Lodge. Portland-road. Portland-pinoc.
and at all the principal mualo *sik>s. "Of all the treatise* on Ui* cultlv;it on
of the ti4c* that have apiiearod fur many year*, it i* th* must scnnible, concise,
and useful.'"— Daily News " There i* more sense in thia work lhan wc find in
nineo t of too publication* of a similar kind."— Atbounum. " Form* a kind
of grammar of ihe vocal art, and not a mere collection of exercises."— Critic
11 Here is * rosily scnsib.c work," — Musical World.
PIANOFORTES.— DEWRANCE'S COMPENSATING
PIANO may now be seen *t tbo depot. 83, Holko-squar*. By the application
of thla prlociple a heavier sirine can be uaed. Ihe result of which is, that the full
power of a prmd la obtatmd from a cr.itage instrumsnt. at the same time th*
wire* and the frame on which they are lining expamt anrl enntruct with fiianjre
of temiwrature squally and tocether, eo that the necessity for frequent tuning, as
Kor fidnsss iutd ruundncss of
r InatruiiieDt, la entirely oirrLaieeL
-aln*ry powers of modulation.
» Ume the prico ia no higher t
■ arc quite no-
E
ASY MUSIC FOR CONCERTINA AND PIANO.-
IS numbers, pries la sach, Pi>pular RccruaU uis, uramfd by G-.rrKe Case.
(Each contains 5 or 6 payes.) 1, Rfcoktio: "La donna e mobUe.* and •'<*ucsia
e quells." 1. II Troratrve: "II balen." and "Ah! che la morte" {TroubadolIr•.
ftong) &, Luria dl Tammcrrooor: " Fr* locoame." and "Tueho Diu ii»j«lctcii*lL"
4. Sumaoibula : "All is lost now," and "Still so gently." It. Norma: "Dch!
win tc " rt. Select no of the mrat popubir Volse*. by D'Allnrt. T, Polka t
"L'lWifant." by If Albert. *, Va'so (aurkg by Madame Gassier! Vcnxaiio. i>.
FnacK Air*: " Partant |wur la Hj-rie." "Lu Marseillaise," an t "Mourir pour U
tuunc " 10, I nub Air. : "The Uarp that tnou tbruugh Tara'a Ilalhs1* "8t
Patrick"* Day," and "The Last Rose of Bummer." 11. Scotch Airs: "Itounio
llundss," "Blue BvUs of S* .tlaud." "Annie Lsurli'," and "Comin• thro' Uie
It, American Mm " Minnie,* "Old Folks at Home," and "Nolly Bly."
UST PUBLISHED. — A TE DEUM and JUBILATE.
Cumrxjeed bT E.lmu.,1 T. Chipp. Prls, Us, ocUro. To bo bad only of th*
i i, NorMk-villa*, Mayswa cr, W.
MISS JULIA
Id " h
th* day— Tide
ST. GEORGES
Itlie inrsa*.
SONGS. — San
In "Horns snd Koreiirn Lyrics."
le public IMTWM. tho who^eoi
sod Co , as, AlUiiy-atreeU N.W , and all
FOR PIANISTS. — Theory of music by a method entirely
practical The invaluable tr utise of Kalkbrun:ier (daily adranctnir la
popularity) ■uceeasfully develnpea in Uie pisnist, with tiieamtllestpovtblesincntnt
of labour and atudy. tii* a>ltrjlr-d art of preluding andrxtem|«> l-iuir *.* Several
lain Impruwdoeis have bouu alrealr sold. lm|U'ra for " Kslkbreiiucrs Tresriso
on ilaruwMi v f.»r the Pumsr." translated with the author's own co-operation br
K Lincoln Cooks, 12*.— London : Bobeit Cocks and Co., New B.uUiig-tuu-elrvet, ».
CTYRIENNE, POUR LE PIANO, PAR W. VINCENT
O WALLACB. S.. London ; Robert Cocks and Co , New Buriinfrto.iHitreet, W ;
snd of aU mUslo*cllers--N. B. Piano, for hire at I Ss. |«r month and upwards.
POPULAR MUSIC. — A Green Catalogue, compiled ex-
prsaa^ r°^<J"' °t allfteagberii of n^af^ containii e upwards of 1.000
'state ■ ' r^Gree™' Sluk^'u™1*1''^ S**"e° tnt- *l,Pllc»u,»a»
BRINLEY RICHARDS' LATEST PIANOFORTE
MGSIC - Chime sgain, beaut-ful bells ; Ncl cor plb. Duo ml Kmto. wMh
vai.'ati-.n*. la ,tlie Nal»)'sdrosm, !s. ; Warblimr. at ore S. : tbe Echo nocturne, ta ;
M inx, nocturne, op. 00, 3a ; ".reu.de. op tii, Is. ; tbe Farewell, rt manes, Ss, :
tho Fairies' dance, 1* , In absence, roonuiio, !*.— Loudon. Robert Cocks and
Co., New Dorllu.t n-.trcet. W.
THE VERDI ALBUM (112 pages), Gs. Mcudclssohn's
Somrs, witiitait ward, iodited by J W DarisonX mmplete, 0* Lsnrtxit'a
Album of liancc Musi.; (7.*. i«aos|, 6a II Trvvakjru. compleb-. for piau", ja La
Traviat i- tlilUi. Bslfe*a muring Method, 6a Boosey'a CH'iu|ileto 0|«ra. fur
Ihe Violin, I*, cadi; low MeVlica lor (be O.uicenia*, I*. ; lev linnets lor the
Violin, la Boosoy and Hon.- Mu.iu.1 Library, r
LAURENTS MAUD VALSE, third edition, illustrated,
prico <s Also s cheap edition of Laurent'* Album of Daaco Music, contain-
log atxteou ^l;.'*"^^^1^^^ P""0 »*. P«t f«.
i, "Orodni^ht,
SIMS REEVES' NEW SONGS. — 1,
by J. L. Uitb>n; I. • The last ««h1 n-irhi." by II;
WrMt, by I"rsnk M
garden, Maud." br 1
Uoosey and Sous, Uollas-sUoet.
THE MODERN GUIDE TO THE STAGE, OR,
AMATEURS' INSTRUCTION BOOK, describing and taaclilng all the arts
and Puases — Phrsically and EUcuUonary, in L-ve, Despair, Grief, Jealousy.
Madness. Remorse, Rage. Hatred. Revenge, Joy, Hypocrisy, Tyrunny, ana
Villany; wifcii all rhs mors elegant points in Opera, Burlesque, and O-mcdy.
necessary to .pecdiiy qualify voutig persons of both sex.* for this lucrative sad
plessaiit profeaalcm. Aiao the Name* and Residences of Managers snd their
Tbeutra* sll over tbe Kingdoni, Uie Culonl*.. and lbs United butea. This near
work (warm from tbo ]tos.)i and never bef.-re In print, will bo sent to say
Address (rce by no«t fur twclee post stamp*— fNincbwlly per return poat. IHreot
KUher and Sou, kingsUad. London. Bstabbsned 18 17.
MAPLESON AND CO.'S
mmm & mmmn wwm* mmst.
OFFICE8 :
CLARENCE CHAMBERS, 12, HAYMASXET, LONDON.
what has bean
londl;
medium of communication, and greater facilities fur the transaction or a
connected wilb Music,
Tj is A(.-enc>- is m a prsitlon to arrango. with tbe utro.wt promplncss. oomplets
Opcr.-itic or Concert Companies, and supply all Ihe Choral, Orrjiiestral. snd other
requlsitss ; also to negotiate engagements of CTery kind for AriMts of ability and
repute. U.th vocal and liiwriinici.'*!, » Inch .•aiinot fall materially to «s4»t lu this
reuiOTiil .f obsUcle. and d fliculteii abkb hnvs h.tlurlo gnatly retarJcd Uu
advuiuemeut of tbe lyric art in Una country,
ltcguteri are kept for the gratuitous |u»pccUeu of Managers, coutalning entries
of the names of vocal and Tuatiumci-Lil Glials wauling engage menu, with all
aec< sear/ parUcuUis, Ate.
Mimical Rirsasrs.— M. W. Half*. Esq, Cork-ttreol, Burlm^on^ardetui ;
Hitroor Sclilra, 17, 1 "Tii. coast roc t, llanovcr.squaro ; Jules Benedict, L..J , 2, Man-
cheater ^ipjare.
Msoi'-.L Ht-rKiui:. — John Uaatiiuja, Esq., M.D., II, Albceoarte. struct.
rViuririm — Clmrle* Maldix-k, Esq., II, Serjeant 's-inu, Ttuiple.
BavKEsa.— Uniun Bank or London.
Esq., 7, Stall
Tuts Agency lias been ee'abUahed for tbe purpose of
M lung- required both by Manager, and the Baaical Proi
nedium of communication, and greater facilities for the
OFFICE HOURS FROM ELEVEN TO FOUR.
Digitized by Ooogl
April 17, 1858.] THE MUSICAL WORLD.
243
LES AMENITRS DU MUSICAL WORLD.
l'aiu de rirr faff.
Lb Jfutical World, journal do tnusiquc public a Loudres,
manifest* depuis quelqucs aemainea dea vel)6it6s joviales, et
eherche k prendre le ton et Im allures de la petite presse paris-
icnne. Com rue sea faautea tendances rausicales et lo tempera-
ment anglaia ne lut permettent RUuro cc gcure de litturature,
sea louablea efforts n'cn out quo plus de niorite. Nous ne aavons
en verite comment lc nionde musical de Paris a pu dfitucritcr du
Monde mutical anglaia ; maia il est posilif que Ie Mutical World
saiait touUa lea occasions de lancer dea pierrcs dana le jardin de
nos dilettanti fraucnis, — dea pierrea parfoia gruMes cotumu lo
Leviathan. Voici un dernier cchantillon de bcb ironique*
proueaaes. Notez que l'.irticlo < at insure en eutre-nlels an
milieu du journal. C'est i rendro jaloux le Vanch et tous lea
Charivari* de l'unirers :—
" TARTIE NON OFFICIELLE.
U SOOVBAD Virt-l'AYY,
(Cutnmuaiqne.)
_ "Le toxic da. lair de Marcel viont de snbir une nouvello ver-
sion & l'Opera de Paris. VoieJ comment cet air sera chant u
desonuaia au thdatro. 11 eat dediu aux regiment* francaU qui
seula out gagnu Its bataillea d'Alma, d'lukerniauu, qui out
tout fait en Criniue, et so dUposcut a conquorir 1' Augleterre.
Air de Ma reel.
"A b«» le* sacrc* rosbifs !
Jean Hull & terra !
A ba» leurs fcinmcs k vend re !
Au feu I.cy-cea-tcrc-squcrre !
Au feu de 1-ondrr* les mora,
Kepaires impurs!
Lc» Auglais! Terrassons-lcs!
Frappon*-tes I
Piff! paff! pouf! Boxons-lca;
Qu'il* pleurrnt,
Qu'ils tueurenl :
Mail grace Ooddam !
"Jamais la France do trembla
Aux i»lumcs du Timet t
Malheur au Pane* pcrfldc,
Qui vantc lea crimes.
Rri*oi>s Roebuck qui trielio—
Qui spik Anglecsh j
Pock*, Urd Mayor— cassrales!
Cbsssrz-lcs !
Piff! pafft poufl Frsppez-lea!
Aff-aa-Aff,
Portsre-paff!
Mais grace Goddam!"
J. LOTT.
[The abovo is extracted from the Journal pour Rire — Journal
peu Amutant. The Journal pour Rire — Journal peu A mutant
is not very apt at literal translation, to judge by the way he
has " done into English " the preliminary remarks which
introduced tho Souveau Pif-paf to our readers, and ran as
follows : —
" From the amended version of Let Jlegutnott, ns ordered by the
Monitevr to be sung in future at all representation* of that opera.
Tie Emperor inoiot Hoiking about it, and will lit to tarry, you can't
think, when he findt it Mat gut into the Government organ. Dedicated
to those glorious French regiment* who alone won the battle* of Alma,
Inkerman, and everything ewe in the Crimea, and are now coming orer
to take England."
Somebody in authority, if not "the Emperor," evidently
knew something of the intended re-production of tho lftm*)CH*
Tif-Paf, by the Journal pour Rire— Journal peu Amutant, since
tho passage we have italicised was bijfi (cuehevale) — in plain
English, struck out before it was allowed to appear.— Ex>.J
M. IIAL£VY*S "MAQICIENNE."
(iVom La Gazette Vnticale.)
Till tint performance of an opera in five acta is alway* an event of
considerable importance, entailing six inontba of studv and preparations
of every kind, setting astir a wbolo world of singer*, dancers, musicians,
cottumitts, painters, machinist*, and supernumeraries, and with its
magical name representing a vast sum of labour and expenditure.
People talk of it long beforehand j it* marvel* are vaunted, ita effects
enumerated ; a pirce of music i* riled here, a spectacle scene or a
bail-, t there; the electric light will be intrnduecd at this juncture, at
another t be sea will roll up the shingle Week* elapse ere the vessel
is )>roii«ht iuto port, »nd evcrv Toiee in tbe pre** has already striven
agiinst its follows to chorus forth the song of triumph.
What happens when such precocious indUcrellons are committed,
when so much enthusiasm "beloro letter*" is expended? The publio
take note of these pompous and hyperbolical promise*, and it* expects,
lion* grow more exacting in proportion to ttis prodigice wbieh liars
liecn made to flash In glimpse* before it* eye*. Then comes the day of
trial, and of all the miracles announced tbe most astounding will provs
to bo the fact that tho author* of the libretto and the music, the
ballet-master, tho tailor, and the scene-painter, should succeed in keep-
ing up to the mark of the auticipatiou* based on tl.eir merit* and Ihrtr
practical skill.
For ourselves, who are, we fancy, beyond tbe effects of giddy
amazement and not easily to be blinded by exaggeration, whether
for good or for evil, it wili be a task to bring the truth down from
the clouds in which it lis* somewhat lost itself, and we will endeavour
to sum up faithfully, and, abovo all, conscientiously, the general im-
pression of the first night, reserving the right of sppeal or of suit for
pardon.
Let u< first ssy a few words about (he libretto, the author of which
has himself taken the pains to inform as whence its (ubjrct has been
derived, namely, a chronicle of Poitou, where the rum* of tbe Castle of
Lusignan are yet iu existence. Wo cannot do better than let him
.pesk for himself:
" The Count de Lusignan, whose sneestor wss king- of Jerusalem,
became enamoured of the fair Melusins, one of the rich end nobis
ladies of the country, and sought her hsnd. The young damsel accepted
the suit of she count, fixing only one condition to hi* happiness, which
ws* thst when onoe she had become his wife she should remain invisible
to bun during the whole of every subsequent night. A* the price of
hi* cotnplisnce with this compact, she gsve him bor love, immense
riches, and unlimited power. Tho marriage wss solemnised ; Lusignaa
was at first blest with perfect felicity, for he remained faithful to the
term* of hi* promise , but one evening, giving way lo a jealous impulse,
he entered a mysterious part of the castle, whither the countess retreated
from sunset to the first beams of aurora. She who was so beautiful
now appeared before her husband iu the form of a horrible monster
with wings, a sort of serpent of the saurian genu*, partaking of the
nature both of a reptile and a bird. Suddenly (tardea from it* »leep,
the monster flew into the air at the sight of the count, uttering frightful
cries, which have »:nee been called the ' eriet of Meltuina.' "
This fable, incapable of theatrical exposition in ita original erode
form, ha* only, as will be supposed, furnished the hint for the new
opera, in which Mclusina is made to hare purchased her infernal power
st the cost of her soul's future welfare, and under the dire penalty in
this world of appearing beautiful only in the day and ugly st night.
Faithful to the plan of his work, M . de St. Georges has shown us
Melusins ensmoured of the youthful Rene, Viscount de Thousrs. who
has returned from Pslestine to marry Blanche of Poitou, and to whom
•he appears in a dream in order to inspire him with a violent passion
for herself. Thai she may lhe y sttach him, she calls
into play the jealousy ol Rene1 by evoking a phantom which she
clothe* iu the form, costume, and eouulenance of lllsnehe, and then
show* thit phantom to the unfortunate viscount, conversing in the
twilight hour with a page. Rene, convinced of the treachery of
Blanche, suddenly breaks utr the proposed alliance and yield* himself
up to tho seduction* of Melusins, who bear* him off to her enchanted
abode. Here, for tho second lime, sppcar* a personage no lesa endowed
with supernatural power than Melusina, but whole character i* not
sufficiently deflncd. Devil or nccromsucer, the chevalier Stello de
Nici disputes with Rene tho po»*ession of tho sorceress, who, as it
would seem, has previously made over her soul to him. RemS clings
to hi* illusions ; but while the discussion is proceeding the day dawns,
and Stcllo, after en-ting in the teeth of hi* rival the abhorred name of
Mclusina, completes tho work of undeceptioii by thowing him the
features of tho sorceress covered with a livid tint, and assuming a
terrible aspect.
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THE MUSICAL WORLD.
[April 17, 1858.
At this fatal revelation, Reno, overwhelmed with horror, ba>tcns to
return to Blanche, whom ho nrrcsts on the threshold of a convent,
wherein (ho was about to bury her thame and her Borrow. At tho
tamo time, the Chevalier Stello eouiea to »eek Melusina, whom chance
baa led to tho same spot, and who, regenerated bj the praTcrs of
Blanche, aeixet a rotary, exclaiming "I believe in God! I am s Christian!"
and expires in tho arms of Ulanche and Roue, while Stello retires
underground with bit lugubrious retinue.
Notwithstanding the consideration due to the numerous successes of
M. dc St. Georges,- we arc constrained to avow that the Magicienne is
not exactly n ckrf-H'orucre of invention nor crcn of construction, and
that ho ha* often been more happily inspired.
In the first place, on reading the tide of the ifagicienne, who would
not have expected another Ariuide, having recourse, to ensure the
triumph of her passion, to all the prodigies which the great power
conform! by the infernal regions placed within her reach? Great
was tho disappointment when the witchcraft of Melusina appeared
reduced to the exiguous proportions of an evcry-day intrigue, when
Melusina, the type of consummate perversity, baffled and humiliated
in the eyea of her lover, in the presence of her rival, ends by giving
glory to God and dying n Christian ! But, in addition to this capital
delect, how can any interest be felt for a knight who goes first from his
mistress to his betrothed, and then from his betrothed to his mistress,
unable to make up his mind which of the too he prefers? The
reminiscences of the Comtt Oty, of Sobtrt le Viable, of La Favorite,
of a acoro of other works perhaps which tho plot will suggest, are too
flagrant to require any special reference on our part. There is one,
however, on which we cannot be silrnt, because it serves to introduce
one of the principal situations of tho piece, and that is tho balcony
scene, with all its consequences, borrowed from the celebrated opera
Montana et Stephanir, As in the Magiciennn, Montano, deceived by
a similarity of appearance and of costume, believes himself betrayed
by Stephanie. As in the Magicienne, he cures his love anil repudiates
bit engagement. The only tiling which M. rlc St. Grorgr* con rlairn ss
original is the inconceivable temple of Blanche of I'oitou, who takes
upon herself tho refusal of Reno, and acknowledges that she is guiltv,
to turn aside ihn wrath of her tatlur. We must sincerely confess that
the motive of this strange determination, which singularly weakens the
effect of the situation, entirely escapes our comprehension ; and, in tho
tame manner, wo are at a loss to discover any necessity for tho phan-
tasinagorical effect invented, it is aaid, by Robert IToudin (which
failed and must frequently fad in precision), when it is quite enough for
Stello to name Melusina in order to fill Rene with horror.
It it allowable to make mistakes | the privilege belongs to the most
•kilful authors, and cannot be denied M. de St. Georges, who has
produced so many successful works at tho Opera. lie possesses, it
is sai.i, above many of his fellows tho secret of cutting out good situa-
tions for music, and of a nature to inspire composers. Let us examine
then what inspirations hove been derived by M. Halcvy from the
libretto of his collaborator.
The Magicienua is without an overture, and in this the composer
has only acted in accordance with more than one precedent for which
be himself set the example, and thcro is accordingly no room for blame.
Tho curtain rises upon a few bare of introduction, retting forth
a motive which occurs more than once in the course of tho work.
The scene of tbe teillt'e presents nothing striking, and we must wait
for the prayer sung by the Count of Poitou and his daughter, with the
accompaniment of the bell tolling the Angclus, before wo can qnoto
anything worth remarking, and then ratlur from tho peculiar character
of the piece than tbe melody. Blanche's ballad, which commence*
tolerably, docs not keep up to the samo mark to the end. The
battle song of the count is to be preferred, and is very satisfactorily
connectod with tho repetition of the prayer.
1 he second tableau of this first uet is composed of a chorus of
fairies, and of a romance sung by Melusina. The churns is good in
point of situation, and the romance is saved by one of those phrases
which are destined to become, as it were, the distinguishing marks of
a character. This phrase returns whenever Melusina again inukrx
her appearance. Consulting our reminiscences as to the second and
third act, wc find but little to point attention to as having left any
durable impression. In the first tableau ot the second art, however,
we will oite the two melodies succeeding each other toward, the end of
the duo between Stello anil Melusina. In ull tho rest, including even
Rene's air and the staiixas of the svhil, a monotonous colouring hangs
over the end of the second act ami the whole of the Ural, excepting
the sennade sung by Ibc page, and the concerted piece which precedes
the finale. Lattly, m thia finale, though Melusina invokes the aid of
all her magical re;oum,s, in vain do the demons of the air, hastening
nt her command, extemporise a storm in whioh tbe thuudcr growls and
the Hiihtning flashes; the situation la none the less ineffective, none the
lest insipid, and the spectators are none the more moved.
Wo come now to the fourth act, and here inspiration awakens. We
will pass over a chorus of nymphs and ondines, which opens the scene,
with the baechio couplets of Rene' and Melusina, and proceed to the
dramatic, trio which contains some excellent p usages. The only thing
to bo regretted is, that the shout of the demons, " Tolle infornalo
reprcndi lo nun," should not have a more diabolical expression.
Tbe fifth act is without gainsay the ruo9t complete and the most
happy in the whole score. Ihe romance of Blanche, her tiuo with
Melusina, the great sc.ne of Stello and his retinue of condemned souhs,
contrartiiiu' with the reli£io'.;s chants sung by Reno, the Count, ami
Blinche, nee all skilfully brought forward and, above all, r c;cnlificall j
treated. From time to time a true, impassioned, ami enercrtic acccut
seixes on the car, stirs the heart, and makes one forget how long it haa
been waited for.
To sum up, La Magicienne has not quite fulfilled general expecta-
tion. Wc arc staling a fact, not pronouncing a judgment, for it ia
impossible to utter a downright and irrevocable opinion at one hearing.
Nevertheless, when a grand opera eontnins beauties of n hi^li order,
it rarely happens that some few nre not perceptible at once, and for such
wc sought in vain.
Wliatever destiny, however, be reserved to La Magicienne, it is
just to leave out of the quettioil the interpreters of the score, mid tbe
management of t!;e ojeni. Mdme. Borghi Mamo wns admirable in
the part of Melusina; Mdme. Lautcrs-Gucymard oueo more found
herself in possesion of her voice in nil its purity nn.1 extent, and ssr.g
with remarkable expression tho opening air of the fifth net. Oucituard
left aomewhat to be de-ired in the eluiracter of Baste, an ungrateful
port at tho best. Bonneliee employed his Cne voice and excellent
method to give effect to Slel.o, and wus extremely fine nt moments.
In tho Count of I'oitou, Berval WO* legitimate ■pph'.u>c. Mulle. Dcli-le
is charming in the pace Aloys.
There is nothing romurkiitle in the dieertistrmrnt of the second act,*
except that it is very diffiealt, if not impowiWe, to understand. It
has evidently piixxled the ballct-uiuster, and the tnllet has suffered in
consequence. Tho dance movements, on the other hand, have nothing
salient about them. Mdlle. Zina Richard a'.or.e sustained the ottcntion
of the audience, and elicited deserved applause.
As to the «ii«e-en-*eeae, the richness ot t he eosi umes, tbe splendour
of the scenery, with one or two exception', »e shall astonish no one
in recording that the management o{ the Opera has spared nothing to
keep up tbe title of the establishment to the rank of the first theatre
in tho world.
MOHNINGTON IN E.
To Ihe Editor of the Mutical World.
Silt, — Will you bo kind enough to allow mo to ask, by means of your
journal, whether tho second phrase of Lord Mornington's chant in R
should run E D C B A G F or E D C B A A G ; as 1 hnvc been tol l that
the latter is the correct version, while I have never heard but the other
used. Your obedient servant,
Fnui.
[We should consider it a matter of indifference. Nevertheless,
to such of our readers as may bo chant-bitten our columns are
open for the instruction and enlightenment of "Pedals."— Ed.]
Titb Apollo and Mahstas — {From the Imle/tnJanre Belgt)
— "Allow me to say a word incidentally about a magnificent
painting by Raphael, which the Journal Jet Dibat* recently
(March 13th) described to its readers. Excited by curiosity, I
procured an introduction to its fortunate possessor, Mr. Morris
Moore, who far from being jealous of his c/iej-d'oruvrc and con-
cealing it from the eyes of artists and the lovers of excellent and
beautiful things, takes real delight in showing it to all. This
picture is of small dimensions; it represents) Apollo and Mnrsyas
in a landscape, illuminated by a lovely Italian sky. Although
executed during the youth of tho Painter of Urbitio, this work
but slightly recalls the manner of Perngino. It is hoped that
Morris Moore will consent to a public exhibition of his picture.
— ( fart* L thr, April'M.)
b ' i\uS o" dnnCCr* ar° m'"1* to "1"**™* 4110 l''"** on a *****
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April 17, 1858.]
THE MUSICAL WORLD.
245
THE GERMANIC LISZT CONFEDERATION.
(From Punch).
There seems to be in the continental papers a grand Ger-
manic confederation to praise Li&zt. It ia toujouri Liszt, as with
the Ghoat in Hamlet. It is the rule, apparently, with all
Teutonic editor*, if there happens to be a crack, or a small
cranny, in their paper, that wants filling up, to dab in, in-
variably, a bit of Liszt. This prevalence of the same commo-
dity, that German editors resort to as often as their wiu are
woolgathering, reminds one of an invalid's room. The con-
stant look, and monotonous sound of the thing begins to weary
one.
However, we are not indisposed to believe all the magnificent
things that arc being perpetually ding-donged in honour of this
wonderful Kapeluieister. Ou the contrary, wo are most anxious
to open our cars wide to every stunning peal of praise that his
followers arc daily riugiug In coiumemuration of his victorious
merits. It is one glorious privilege, attached to the happv fact
of being a musician, that the homage addressed to him is
always of the most superlative kiud. There are no pigmies in
the art ; they are all giants. What a musician of the most
gigantic proportions is Wagner ! what a Titan of ninsic is
Liszt ! The old Titans, we believe, tried to take Heaven by
means of ladders. But these stu|>endous Titans of the fiddle
and the pianoforte are in the habit of running up monster
scales to Heaven, and bringing down with them ou the
tips of their finger* all the melody and music that ia stored
there in the keepiug of the angels. At least, this is what their
mad pupils tell you, and what wo are consequently bound to
believe. The Future, too, sings to them, years in advance
of other mortals ; and so quick are they of hearing, that, like
Fint-ear, who was a member of Fortunio't celebrated hand, they
have only to put their ears to the ground, and they will hear
sounds such as no one else can hear. In this way, they listen to
operas ten, fifteen, fifty years before the rest of the world ; but
it pains us to state that these favoured giants, with their oreiUes
in a future world, are rather apt to get angry, because, the world
is weak enough to prefer good music of the present day to bad
imiBic that would be popular half-a-century hence. When we
are fifty years older, perhaps we shall know better.
We will not take up again the golden thread that we had
dropped for a few sentences, of our great admiration for Liszt.
To prove how credulous we are in his noble favour, and only
too ready to believe every incredible thing that is drivelled
about him, we have written, and with no small amount of
pleasure, the following startling paragraphs, all of which hear
record to his surpassing genius. We present them cordially to
the German cditore, and they are at liberty to use every one of
If it were not for his coto...l
" Liszt wears out n piano every day.
fortune, he would not L able to "do ihu."
" At the coronation of the Emperor of Rossis,
before Liszt ; the gifted young composer was so
got up instantly nod left the church. He has
to the present day."
" It is a libel to lay that Liszt's Issir i* two yards Ion.'. It ts true
that it is of such a length that, on state occasion*, a beautiful young
Oralln walks with cuitseiou* pride behind him, and is omWmI Co hold
it up, as a page does the truin of a lady's drc»*. The fact is tiiat, uot
being able to endure tlio c«/*»o» of the hair-eutU-r'a scissors, he doe*
not hare his hair out oftoiier than onoe every fifteen years. The eifect
of that operation on his sensitiro nature is such that he cries In weeks
afterwards. However, if his bair is a yard and a half long, it is to 1 ho
full as much as it is j but thcu when I saw it, it was only iu in sixth
Year."
Alexander walked
st tins, that he
en the insult
" To show how nice he is in his distinctions, he calls himself the
of music, and Wagnor the Michael Angelo."
"Ho will not endure the slightest aifrout paid to his art. One day
the Orand Duke of Groitblundrrboilicn acci ucn tall v put his hat ou the
lid of his piano. It was his cherished piano-toe bue that he would
allow no one to touch but himself. Instantly Liszt seized bold of the
recreant rhafirau, and with a frenzy that almost made his long hair
stand bolt upright, he flung it out of window. The next day he had
the piuuo (it su made, of sandal-wood, ornamented with turquoises,
and standing on spiral leg* of mahuhile) chopped up fur faggot* for the
poor. Notwithstanding the ieo>t abject apologies, he would ucrer
permit the Gruiid Duke to i titer iuto his presence again."
" As a proof of the wonderful spell he exorcise* over all li»tenrrs, wo
can mention the following well-autheuticaied fact : One night he was
playir-g ou the balcony of the Cold-ne Guhm at Prague. An immense
crowd was collected below — all Prague, iu fact. With the greatest
good-nature, he played for sereral hours, though the weather was
intensely cold. The mob seea'ed never to tire of listening to him.
What was the lamentable consequence? The next morning, three
feasant*, nineteen market ••* omen, a Field-Marshal, and a dog, were
found fro leu to death on the spot ! Since then, not all the entreaties
iu the world will ever induce Liszt to play for more than lialf-an-bour
at a time."
influence over the fa r sex is too well known to bo doubted
by any one. Ladies have rllSgwistrl th.nwlvos as water-carrier*, as
porters, even as chimney -sweeps, to g.iiu admission iuto his divine
presence. Sometimes he is obliged to luve (ho police pull the women
away from his house, before he has been able to get in at the street
door. On each linger, I.iszt has a valuable ring — sneh ring was the
gilt of an empress, a auei n, or a crooned princes*. He will not take
any more rings now. He will give as many as you like — but he's too
proud to receive an obligation from any ono. It was from Uerliot, we
think, tiiat he once took a horn of beer; but the Orand Dowager
Duchess Fiybbhitlujiboiski, had to go on her knees to get Liszt to
accept of her a pearl that was almost as big us a swan's egg! It was
Tabled at several thousands of pounds, but imprudently he «at upon it
one day, and smashed it! He has an immense box of love-letter* :
they are Irom countesses, wasiiorwouicu, poele»M.-<, little school pupils,
actresros, creu from beggar-girls. Appreciating the spirit that dictate*
the homage of tl.cui all, he has deigned lo receive billtta-Joui from the
poorest, or the highest, or the most degraded 1 Well, before Liszt sit*
ilmn to oompose, lie dips ins hands into this tniuk full of li tters. Slid
allows them to reimin there for at lea*t half-aii-hour, steeped up to hi*
elbows, in the electric current of t'ue lender episilc*. He Miy* it per-
meates his lingers to the very tip* with the purest iusj.>irutiun ! Ho
calls it hi* Fountain of Jourenee his K-oria of lovf."
" Liszt has made more money, perhaps, than any one else in the
world. To show what little value he place* on wealth, ho lis* boeu
known to throw big handful* of gold into the pit of lite Opera. It ha*
been calculated that if nil the princely sum* he ho* received in exchange
fey tin on mils at his sublime talents, were changed into gold Napo-
leon*, and placed side by tide, that they would mate an auriferous
paveiiKut round the circumference of the globe more thin sufficiently
wi.lo to allow a couple of Saloon Omnibuses to drive about upon it.
Change the same enormous sums into &> bsuk notes, and you could
paste the Wall of China all over with them, aud iu addition, hare
several park-pslings to spare. H is certainly stupendous 1"
London Societt foe tkacuino tiik Blind. — The anrtual
mooting of this valuable and useful society was held at the
Hanover-square Rooms on Tuesday last, the 13th instant, when
the Blind Pupils sang a selection of choruses from the ilettixh
and Juda/t Ma<u ab<ru*. The manner in which these were executed,
both in regard to precision and tunc, reflect the highest credit
on their professor — Mr. Edwin Baruco, organist of St. George
the Martyr, Hloomabury, aud conductor of the Dover t 'horal
Society.
Leeds Musical Festival, — (From a Correspondent.) — Pro-
fessor Stcrudale Bennett has been appointed conductor of the
Leeds Musical Festival, to be held daring the autumn of this
year. On Monday last the festival committee met, when the
report of the orchestral committee (Alderman Kitaoii, chairman),
recommending Professor Bennett as conductor, was read. A
short conversation ensued, aud by a unauimous vote the recom-
mendation was adopted. When the subject was discussed at
the orchestral committee, the ouly other name actually proposed
was that of Mr. Benedict. The others mentioned were Spohr,
Costa, Charles Hallo, aud Alfred Mellon. About ^£2,000 bos
been subscribed to the guarautuo fund.
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THE MUSICAL WORLD. f April 417, 1858.
MUSIC AT COLOGNE.*
Madame Viardot-Gabcia rove a concert, which win very
well attended, on the 29th March, in the small room of the
Giirzenich establishment. On tho two following days, she ap-
peared as Roaina in 11 Barbicre, and Donna Anna in Don Juan,
respectively. We found the opinion prononnced by our Berliu
correspondent, on this lady's admirable qualities, fully borne out
by her performance on the above occasions. Her technical excel-
lence must be reckoned by all competent judges superior to any-
thing they havo yet heard — taking tho expression "technical
excellence in its widest senRo, aud including in itaflthe requisites
necessary for vocal art Among these we may especially naino
the art of managing the breath aud the pronunciation of
tho words. Mad. Viardot is not only a perfect mistress in both
these respects, but surpasses all the expectations of tho moat
exacting criticism, for whatever tho theory of singing can pro-
pose as the highest excellence and most ideal pcrlection in this
particular, is, with her, resolved into nstouuding reality. That
her pronunciation Bhould be equally clear in the most different
languages ought scarcely to surprise us in ono possessing such
varied talent, but that Mad. Viardot should pronounce Ucrman
with n clearness and beauty wo have never heard in a single
fair German artist— to say nothing of the gentlemen— is certainly
astonishing, and proves how much this branch of the vocal art
is neglected by us. Her impersonation of Itositia combined all
her beat qualities ; nay, we might almost say her execution of the
first well-known air alone did so ; we never thought the mode of
singing this cavatiua, which Indies generally look on merely as a
vehicle for display, could present such a perfect pic, c of
character. In Donna Anna, also, the conception was admirable,
and all those portious of the music within tho fair artist's
voice, very fine. The part iH, however, one of those which require
a strong, powerful organ, in order to carry out the conception
perfectly. At tho concert, Mad. Viardot especially displayed her
capabilities for bravura singing (more particulaily iii the fabu-
lously brilliant bravura air from Urnuu's llntannicn*) tiitt\ her
genial execution of songs, more particularly iu Spanish. We
should like to have heard a German song ; as it was, the character
of tho programme was rather too Parisian. Heir Hiller, who
accompanied the lady at the piano, played, between the vocal
pieces, a short /antatia, treated iu a very elevated style, taking his
motives from Samson's prayer, by ILmdel, which Mad. Viardot
had sung in English. Hen- von Kouigsliiw had a hard task in
having to comjietc upon the violin with so cultivated a ItlMoM
voice. He executed, however, IJeethoven's r« mauce, and Ernst's
"Hungarian airs" with so full aud beautiful a tone and such
masterly skill, that he, too, was rapturously applauded.
Mdlle. Agnes Bury appeared, ou the (!th instant, as Martha,
and was to sing Lucia ou thu 9th, while Mdlle. Johanna Wagner
began a star engagement on the 8th, in the part of Borneo.
TWO AMERICAN COMPOSERS.
(From the ".Vie York Mu.ical World.")
No. 1.— FRY.
Fbt is a bundle of geuius aud waywardness. He does not
know, hiinscir, whether he likes belter to do the brilliant and
clever tiring, or the wayward and eccentric thing. When he
takes pen in hand, pen-musical or pen literary, what seer can
foretell where he is going to bring up I— «nd Low should any-
body know ?— he does not know himself. For this reason, Fry
is immensely exciting and interesting to everybody. If you get
astride of his Pegasus with him, ho may soar with you to tho
stais— or he may lodge you in a turnip-field ; and ono result is
about as amusing and satisfactory to the mnd rider ns another.
He likes, apparently, to upset his own conclusions, turn pathos
into bathos, and— like Halleck'.-i music-ceasiiig-whcn-it-rains-ou-
Scudder's balcony — pitch a mocking rooster upon the steeple-
point of a Hue lyric.
Hero is a quartet,t for instance, which, from all accounts (for
we were most reluctantly called out from the coucert-room before
we had reached this point iu the programme, aud had to hear
• From the Ifiederrktinitehe llusik:eitviig.
f Performed at the conceit of a Mr. Guilwcttc.
with other, but judicious, ears), has a first movement which is a
veritable nest of snakes — tho instruments coiling and squirming
and intertwining in the most labyrinthian confusion : and yet a
succeeding, slow movement, which is a squ ire, consecutive,
beautiful piece of writing, as though a man had come to his
senses from previous champagne, ana now were talking coherent
and charming sense to you.
Long live Fry !— He is full of "youth and juice"— enthusiasm
for art and glorious charity and kindness for all artists — with a
fire in his brain (though smoke sometimes envelopes it), which
makes him lominoua when it does clearly break forth, and stamps
him as a man of genius.
No. 2. — BATTER.
This composer-artist has arrived from Boston, and purposes
to give the New York public a touch of his quality. Con-
siderable interest seems to bo felt iu Batter's advent here and
bis fortunes among us. On the one hand, the severest judges
concede him to be a very uncommon pianist — a marvellous
sight-reader and muncrttt a man of very versatile musical
talent. On the other hand, he has many enemies. The only
true method for an artist in such case is to troad squarely before
the public (as Salter purposes to do)— the public, that knows
nothing, and cares nothiug for private feuds and professional
animosities, and who, after all, is the arbiter to whom every
artist must ultimately appeal. The public, indeed, is the only
true arbiter; and every artist is lacking in sense who does
nut recognise this fact, and let tho profession (and the critics, too,
we will add) — go hang ! Hatter has tried his hand in all de-
partments of composition. He has composed three operas — five
symphonies — six piano sonatas — two quartets — three trios for
the piano— some string quartets, and about one hundred solos
for the piano. Ha plays by heart one hundred fugues of Bach,
as well as nearly every good classical composition from Bach up
to the present time. Now such a man as this deserves to be
heard. One opportunity will bo offered next Tuesday erening,
when he gives his first concert : another at the last Philhar-
monic concert of tho season, when one of his symphonies will be
performed. We can say nothing in advance, for we do not know
Salter musically — as we have only known him personally since
yesterday. But he will soon be known of the public generally.
MERIT ROLL
OF TJtK OBF-ATEST LIVING VIOLINISTS AXD COSfPoBKRS FOB TIOUX ;
ALSO A STATEMENT OF TIIEtU FfX'ULIAK CII ARACTTHI9TI08,
with brief Dioar.Ai'iiicAL axd critical notices.
The following curious "merit-roll" of violin sriiits and composers
The AV«» York Musical H'or/i/ translates from the Xetc Yorker Criminal
Zrilu , ; and Hcltttritthches Journal — to which periodical the docu-
ment has been contributed by Mr. Julim Schubert, a German music-
publisher of New York. The 'grounds upon which Mr. Schubert bases
his opinions are stated below. The gentle reader wdl andorstand that
M. Schubert docs not by any means— from the fact that it appear* in •
"Criminal Zeitnng"— present this array of di.tinguished names as a
li»t of criminal*— the article being intended presumptively as a contri-
bution to the literary, or " bclktristx," rather than criminal, depart-
ment of that paper.
Artists i. — Clatt (A.)
Heinrh h Viem temps, bom 1820 in Vervier, Belgium — settled in
Drririciienhain, near Frankfurt a. M., Germany. A good drsl of a
trovilkr; HeinricU Wi niawski, born 1933 in l.uhhn, Poland. Con-
stantly travellip? j Cumille Savori, born in 1817 in Grnoa, Italy. When
not travelling a dweller at Paris; Heinrich W. Ernst, born in 1814 in
Brunn; living since 1854 in London t J.Joachim, bom in 1831 in
Pnishiirs — since 1850 royal concert-master in Hanorrr; Aatonio
Hszxini. horn 1818 in llrcscin. Always travelling ; AppolinarV. Kmtski,
born 1N!;6 in Wnrnschau — solo player of the Imperinl chapel, St. Peters-
burg ; Fdwurd Mollcnluiucr, born 1827 iu Krfurt — living since 1854 in
New York ; Jean Bott, horn 1826 in Cusseli — since the summer of
1857 Courl-Kapcllinci-tcr iu Meiningen.
AliTTSTS I. — Clatt ( 7?,)
Bernh. Moliqtic, bora 1SU3 — since 1M9 living in London. Formerly
royal music-director in Muttgard) Theroc Milanollo, bom 1833 in
Milan — since early in 1857 married to Pormciitier, a French Captain of
the Line. Living iu Paris; neiurich Leonard, born 1819 in Brussels,
Digitized by Google
April 17, 1858.]
THE MUSICAL WORLD.
247
in the Conservatory of that city; D. Alard, born 1822 in
Baronse— teacher in tha Conservatory of Peris) Michael llauaer, born
1820inFc?t-a traveller ; Prosper Sainton, bom 1 HI Sin Belgium— sine*
1850 in London; Tli. lloumann, born 1813 in Bru-sels, and settled
there ; F. Laub, born 1S30 in Bohemia, since 1K>G Cmcert- Master of
the Royal Opera, Berlin; K I ward Singer, hnrn in 1839 in Tottir,
Hungary— since 185f) Orand Ducal Concert-Master in Weimar; Frie-
drich Mollenhauer, born 1818 in Erfurt— living since 1854 in >'ew
York ; Paul Julien, born in 18-11 in Crest, France — since 1853 travel-
ling in America) Ford. David, born in 1810 in Hamburgh — for twelve
years a teacher in the Conservatory of Leiptig; Joseph Heilr.ieibcrgi-r,
Jnn., born 1823 in Vienna — teacher iu the Conservatory there; Carl
Ifuilcr, born 1797 in Braunschweig — Concert-Master of tlio Roval
Chapel there; Ole Bull, born in 1810 in llcrgeu— a good deal of n
traveller, passed from 1813 to 1857 iu the United Slatea of America ;
Eduard Remenyi, born 1S30 in Pest— since 1881 in London. Court
Concrrt-Mostcr of the Queen of England ; Carl Dancla, born 1815 iu
Paris— Professor in the Conservatory there ; Franz Schubert, bom 18<l6
in Dresden— Concert-Master of tho Royal Opera there.
Potstssing perfect eTrration and great bravura:— II. Vieuxtemps, If.
Wieniawski, E. Sivori, Eduard Mollcnhauer.
Hspecutllu classic artists:— IT. Vieuitemp", B. Moliqur, J. Joachim,
Jean Bott, Fcrd. David, Carl Mfil.'er.
Of the nttcttt school and genial :—U. Wieniawski, II. Vieuxtemps,
A, Kontski, A. Razsmi.
Genial— of no $rhool at all .—Ole Bull.
XeprestnUitiret of Mr older school Joachim, B. Molique, Carl
-filler, Ferd. David.
Perfect in musical purity and accuracy /—II. Vieuxtemps, B.
Mnliqnc, E. Mollenhaner, Carf M filler.
Sigkt Reader* .—II. Vieuxtemps, E. Mollenhauer, C. Mailer, J. Bott.
Individual characteristics : — Ole Bull, the best staecato-ist ; unaur-
passed in the rendrry of singing passages) irresistible — when not false
in tone. Wieniawski and Koutski, strong in flageolet and pizzicato
passages, also iu rapid springs— lacking in art culture. Ernst and Sivori
rivals for the palm in the execution of Paganinian (ninny-ian ? 7V<t«.s,)
Carnerals, to the grwit discomfort of the cultivated musician. H.
Vu-uxtcmpe. great tone, and nucqualled in octave and tenth-paasag.s,
and in double-grasp.
Artist CoJirosEBg.— First Class— U. Vieuxtemps, B. Molio,ue,
Jean Bott.
Second Clots (.4).— J. Joachim, D. Alsrd, R, W. Ernst, F. Djvid,
C. Dancla, A. Baizini, 8. Leonard, F. Mollcnliaucr.
Second Class (B). — So-called solo- composers— M. Hauoer, K. Mol-
lenbauer, A. Kontski, II. Wicniawaki, Th. Hauinann, £. 8ivori,
P. Sainton, Ole. Bull.
VaiKttiXs. — first Class. — (Who appear no longer in public, but
are eminent as artists and composers.} — Dr. L. Spulir, born 1781, in
Braunschweig, Court -Kapellmeister in Cassell ; Ch. Lipinski, born
1700, istRaacy, Poland j since 1838, Cnncert-mastrr of the royal opera
in Dresden | Joseph Mayseder, boru 1780, in Virnna; director of the
Conservatory in that city ; Carl d» Bcriot, bom 18t>2, in LOwcn,
Belgium; settled iu Brussels; Louis Maurer, burn 1789, in Paris;
aince 1832, clief of orrhc'tra in Petersburg; J. W. Kalliwoda, born
1800, in Prague) aii:cc lH'ii, Kapellmeister of the Princely Chapel in
Donsueaoliingcn.
The three greateat living violinists are— II. Vieuxtemps, who com-
bines in himself all artistic excellencies ) If. Wieniawski, who excels in
the brilliant execution of technical difficulties, but without attaining to
Vieuxtemps in certainty of tone and in volume j C. Sirort, perfect in
every department, of a, smaller range.
btecial rosrrscBjrr — for fiddlers axd for tiie friexds
ur viouit-rLATiNo.
The foregoing critical classification is not baaed upon mere
hearsay — no, it ia the result of a personal acquaintance with tho
artists themselves, with whom I hare been ou terms of inter-
course, more or leas, for about thirtv rears. It should also be
added, that I have repeatedly heard all these artista perform,
.ivy. at different periods, that 1 stand in friendly relations with
roost of them, and have myself plnved with the greater number.
Op|<ortunitv has therefore frequently been afforded rae of be-
coming acquainted with each niti-t, and from many points of
▼iew, also with the particular characteristics and excel. cucics of
each. It has hero been proper, of course, to sp»«k only of such
artist* an, by actual appearance in public, have won for them-
selves a name— only such are naturally entitled to a place in the
above merit-roll. Such artists, therefore, aa have lived in quiet
retirement, who have only occasionally played in public, or who,
perhaps, have never crossed the threshhold of their native city,
are of course excluded. Just lis little could sundry fiddlers
expect a mentioo, who are capable of playing — haply in the very
neatest possible maimer — a de Beriot-ish air, or a self-fabricated
solo or two. Finally I would say, that in this classification of
artists I have proceeded upon the plan of adjudging each accord-
ing to his excellencies, taitn at a vhole, without laying parti-
cular stress upon any single accomplishment of a technical kind,
in which one may have gained an advantage over another by
special industry. I will add only hereto my conviction that to
constitute au artist of the first class demands a harmonious union
of the following qualities, namely .—
/Vr/ecs" execution and bntvura—toulful rendery and geniality—
Jui.tt's Schubert, of Hamburg.
Written in »«• lor*, January, 1868.
[The- great " criminal " in the whole affair appears to be ITerr
Julius Schuliert, who has been jjttitty of robbing so many
violinists and composers for the violin of their property, and
making others the receivers of stolen goods. Hcrr Schubert
should bo condemned for tho rest of his life to hear M.
Apollitiaire de Kontski play St. Vituss dance.— Ed. Lokdos
Musical World.]
MISS LILIAN TO MR. LUMLEY.
(From Punch.)
"O thsnk yon Mr. Lumtey, for the pretty shiny book,
Between whose glittering covers we're so glsd to take a look,
To be in the Libra d'Oro proved an old Italian's claims ;
But I'm aure your Silver Book holds much more nice Italian names.
" And so, dear Sir, you open with tho famous Huguenots,
New scenes, new dresses, everything that m ike. a splendid show t
And though it's April, necer mind, if Titicns turns out tine,
We shall all be very happy to receive yoor Valentine.
"Ami litlle Pieci'lomini, la jolie petit* S'iue,
What happiness to see your list contains her name again I
To hear her I'd walk any lime a distance in the wet i
She's a duck, a dear, a diamond, and a darling, and a pet.
" Then, Mr. Luniley, exquisite Oiuglini comes. Well, there 1
If you'd him and Piecolomini alone, I wouldn't Care.
Uf course upon subscription nights we'll never stop awny,
And on the Thursdays I must try to get Mamma to pay.
"You've got the grrat Albotii, too, with that contralto voice,
Which she should n<Mrer alter, -Sir, if I could hare my choice;
I love her for her happy face, that arenas so good and I
Dear Mr. Lumley, /■' Hegrtto, make her aing it, do.
"Pocchini dances splendidly, so firm, and quick, and bold,
I wish they made more dancers of such vigour and such mould ;
And I see you've got a new one, eall'd Orsini ; if she's nice,
You'li have a Ballet for the two — at least that'a my advice.
" I mean a real Ballet — don't you know, a lovely sight,
With stars, and clou.ls, ami waterfalls and sylphs, and coloured light :
You used to do it, that I know, when 1 was quite a child —
Kothen— no, 'twas Eoline that uearly drove me wild.
'• But you'll do all that's possible, you're such a darling desr,
And graceful Tciglioni and Itos.il : will be here:
And the programme of your season has a most inviting look,
So thank you, Mr. Lumlry, for your pretty shiny book."
" Violet Lodge."
Farib. — The well-known Chevalier Nenkotnm died on the 3rd
April, aged 81 , and was buried ou the afternoon of the Mb. This
friend anil favourite of Tallevrnnd, pupil of Michael and Joseph
Havdn, had travelled through Europe (and the Brazils also),
nmf had lust none of hi» intellectual activity, having revised a
new work shortly before his death. The Chevalier Neukonitn
was very popular among musical circles in Paria, as, at one time,
in London, and we were consequently much astonished at seeing
no musical or literary celebrities among those who were present
in the church. The Chevalier was buried iu tho cemetery of
Mont-martre.— (/'ranee Muticalt.)
uigiiizea
by Google
248
THE MUSICAL WORLD.
[April 17, 1858.
Vocal Association. — The second subscription concert took
place last night at the new St James's Hall. The programme
included Locke's music to Macbeth, with the entr'acte* music by
Mr. Benedict — as played before the Royal party at ner Majesty's
Theatre on the ocasiou of the recent nuptial festivals ; the over-
tures to Egmont, Quiliaume Tell, Oberon, and the march from
Athalie; Omeert-ttiick for the flute by Mr. Pratten; together
with a madrigal and two part-songs for the choir, and a miscel-
laneous vocal selection. The solo singers were Mesdames Weiss.
Finoli, and Lascollcs, Messrs. Thomas, George Pcrren, aud
Weiss. The Hall was well filled and the various |ierformances
afforded much satisfaction. Mr. Benedict was the conductor.
Dublin— {From a Correspondent).— On the Oth instant was
produced at the University Concert, Dr. Stewart's new masque, or
concert-opera, A Winter A ight's Wake. The work, which occupies
above an hour in performance, was very well received, many
of the songs were encored, and one chorus received a similar
compliineut — the latter rather an unusual circumstance here.
The music is very lively, and contains a profusion of melody,
both in songs and chorus, iu addition to being well scored for
the band. It is considered the best work of the composer, who
has written various odes, cantatas, and other pieces, for chorus
and orchestra. The Earl of Egliutouu, Lord Lieutenant of
Ireland, and an audience of above a thousand, attended the
concert.
I!krkhamstkad — {From a Correspondent). — The Glee and
Madrigal Society's concert was held at the King's Arms
Assembly Rooms on Tuesday, April 13th. The principal
vocalists were Miss S. Cole, Messrs. Heath, Ellens, Crew, and
Norris, with a chorus of thirty ; couductor, Mr. W. H. Strick-
land. Miss S, Cole sang charmingly, and was encored in an air
from Ernani and iu a duet with Mr. Strickland. But the gem
of the evening was her "Softly sighs" (Der Freischuti), which
elicited the loudest applause. The glees were, " Queen of the
valley," " Here iu cool grot," Mendelssohn's " Merry wayfarer"
and "Mayday." " Hark, the curfew," aud the Market chorus
from Masanielto were also performed, the last Wing encored.
Great credit is due to Mr. W. H Strickland for the very efficient
manner in which he had trained his body of singers.
UOYAL PKINCESSS THEATRE.
UNDER. THE MANAGEMENT OF MR. CUARLE8 KF..VN.
ON Monday. Wednesday, Thursday, and Saturday. KINO
I.BAR, preceded l.y SAMUKI. IN SEARCH OK HIMSELF. Tim«Uv,
TllESTlX-K EXt'llANOE; ur The llrcen Bmiuo-e. FAI'ST AND M AUOUKUl'l E.
sad SAMUEL IN SEARCH OF I1IM-KI I Frtd.v (m thla «cc.i»». nX HIE
iJIOCK EXCII AMiK; ,r, TUn Oim, Uimn.«, A " MIDSUMMER KIUUTS
DREAM, aud SAMUEL IN SEARCH OF HIMSELF
(OYAL OLYMPIC THEATRE— On Saturday evening
nest, April IT, the icifonn .uc. will commence with TOU CAN'T M A ft It V
TOUR GRANDMOTHER. Aficr htch » now r*jcc. en .tlcl TIChLISll TIMES
To couclud. with BOOTS AT THE HWAN. ltam<M »t l.air-pwi 7.
IiHEATRE ROYAL. ADELPIII— On Saturday
Mining April l?lh»iho iK>tr..rtn»iic«i will i>4nn>ouoo witii the pop.lar drama
of TH>. POUR STROLLERS After »hich will I* pro.lu.xd a xm< d ..ru-ntal
aptctarul »r ope. *Uc drama, id (wo acta, ~ '
tic , railed IheCAHI'lt OF BAGDAD
GREAT NATIONAL STANDARD THEATRE,
SHOREDITCH — Proprietor, Mr. Jon* DOOOUut
Second week ol (be emlueut tragedian M r Phflpa, who will apjxiarorery evening
In conjunction with Mr. Frederic K»l>mst>n and Mm Atkiiie- u. of Hadlcra wMle.
In roueeque. ee of tl e very treat auce « at Mr. Phelps In THB MAN OF TUB
WORLD, he baring created (bo jfrvatoet aeua.ilU.n ever wituteimd, ha will ropeat
the c1«arac;or Unc* u ghla lbl> wnk. Ou M..u.lay, UAMl.ET. II. ml t, Mr. Pi.elps.
On Tuesday. Thm-ader, and Friday. THE MAN OF HIE WORLD Mr Pl elp.,
Mr. Frederic Rol.iiuou and Ni«. At> Inaou Ou WsduoetUr. THE STRANUl'lt.
The atrsairer. Mr. Phelps. On Sa'urla,-. a Plav. to conclude with 1I1K SEVEN
CASTLES OF THE PASSIONS, with u. w acvtu ry and Bra.,d insgicol
T. JAMES'S THEATRE-PROFESSOR WIMALHA
FRIKRI.I^t*^ week tut SSM ptLviru, to Pnrfe-aor Frlk, Us dep.rttlT* fur
La. "TWO HOURS OK ILLUSIONS," aa perlormed, by com , aud. bef,,r»
Iter Moat Orui-knn Mrdo.ty iho «■ ecu an I twirl, at Wl. dam Castle. Er*ry
«»«..!. .it. at ElKht; We-liicaUr, ami Saturday alU
MOT WlSSS. M ifrjSS!h&. Royal lilhriy7i
.M.OId
at Ti.reo Biaus. fa
MARKIKD.
At Boulogne-sur-Mer, on the 7th iust.,
Reiehsrdt, to
DIKD.
Ou the 13th iu*t., st 26,
Moud, aged 14 years and 9 months, oldest daughter ot
Mori
TO CORRESPONDENTS.
Recollections of California and Australia, ur a
iciU be continued in our next.
A Constant Reader.— The .first concerto of Mosche/es is in F;
the second (or third) in E flat; the third {or second) in O
minor; Oie fourth in E; the fifth in C. Then there are tht
Concerto Pathctiquc, Me Concerto Fantastique, and another,
which ire have not at hand to consult. Mr. Lindsay Slopcr has
very recently played the Concerto in O minor and E flat in
public.
Mu&icolo.— lit: have looked for the publication* mentioned by our
correspondent, but in vain. We shall, nevertheless, have i
pleasure in reviewing them, if he will forward u* copie*.
Mr. James Rak. — Next week.
H. C. (Bristol).— We have been oppressed with Ml
but " better late than never." U. C.'s matter will not lose by the
keeping.
THE MUSICAL WORLD.
LOSDON, SATUKPAY, Armr 17«l, 185S.
The unanimous election of Professor Sterndalc Bennett
to the important post of conductor at the forthcoming Iieeds
Festival has given general satisfaction. The eminent place
which our compatriot has won for himself in the very first
rank of musicians— to say nothing of his position as Musical
Professor at Cambridge, founder and director of the Bach
Society, and conductor of the Philharmonic Concerts — would
alone justify the choice of the committee, without reference
to the fuct that being bom in Sheffield Mr. Bennett is a
Yorkshireman. This accident, it is true, had, in all pro-
bability, some weight in the decision, for Yorkshire as a county
is not a bit less locally affected than England as a tuition. But
so, indeed, it is, and ought t<> be, in every part of the civilised
world, from Muscovy to Wales. Without a feeling of
patriotisin, without n sentiment of nationality, without a sly
leaning towards the place in which we first saw tho light,
breathed the air, aud heard the human voice, we should all
of us be little better than swallows.
Under the superin tendance of Professor Sterndale Bennett,
the chances of the Leeds Music-Festival being more than
was anticipated, even by I-eeds itself, are doubled. Let
us J rust that Loeds will gallantly endeavour to equal, if not
surpass, its neighbour, without forgetting what Bradford
has already done to restore the musical fame of the West
Riding. To strive earnestly for pre-eminence is far wiser
than to brag of it in advance; and instead of emulating a
couple of game-cocks, or the rival villages of Manchester
and Liverpool, Bradford and Leeds should talk matters over
in a friendly way, with a viow to a future belle alliance : —
" Neighbour Uradford, you hare done well. We will try to do ss well ss
you, or better, but nitli the same object in view. Let one help the other.
We will (jo toyour festirsl; you shall come to ours. It is cm) liable that,
being so much our junior, yon should have been fir»t in the field, for
the houourof Yorkshire, sndthe lore of music. But then your general -
issitao was tlio grout Neapolitan, who never wade a failure since, ho
K«rc up singing for conducting.* Now ire have got a great Eugiish-
• It is still remembered "that Mr.
ry, as a siuger, sod that the
of his latest trium:
uiyiti.
by Googl
April 17, 1858.]
THE MUSICAL WORLD
249
man— or rather Yorkshireman, (some parts of Yorkshire bring still in-
dependent— Leeds for example)— we hare got Stcrndate Bennett.
Long life to both of them, and may tbey conduct the feetirala at Leeds
and Bradford— the Yorktkiri Festivals — for many annirersarie* to
To which Bradford may answer — in French, the Bradford
conductor being a foreigner :—
" Attends un pen, mon roiiin ! Noun arons deia donne deux feati-
Tali (teau !). Toi, tu aa force bararde deptu* cinq ana — et iuaqu'ioi tn
n'at rien fait. Nona terrons, mon bon Leeds. Tu es riche, et tu ea
fier (un peu jalouz peutetreh maii dana cea entrepriac* la reueeite eat
fort difficile. Demandex plutot au pore Smith (Samuel, jadie maira de
Bradford). Du reate— Costa eit toujour* dea notree; ainsi nous no
ersignons rien— paa meme lo Leeds Timet— paa memo Mad. Sunderland
— paa mime M. Phillip* — paa memo M. Spark. Autrement jo te
prendraie lea deux mains a»cc moins d'acharnctnent. Bis done
Maitre Jackeon riant d'achew aon dix-neurieme oratorio. CelA no ra
paa preciaement a notro (eatiral (d'aprea 1'avij du pi re Smith); maia
cat outrage de uotre oo-enruumo (nous sommes tona enrhumea a Brad-
ford, comma A Leeds — tu comprends bien — ' il n'y a que le beau ciel de
ritalie,' to,) — ee proeque-vingtietno chef-d'oeuvre de notre oo-enrhume'
doit oonreair parfuttemont a yotre tres louable coup d'eaaai Qu'en
pens* tuP"
."Quant A oeli, mon ami, 'notre siege eat faif-oomme dit Paul
Smith, qui siege lui mem* ear le trine dee arts A Pari* — ce cher est
bien regrettable Till*, d'ou nous somwee bannia dorenavant, faute de
passe port*. ' Notre siege e»t fait.' Merci de voire enrhume A Tingt
oratorio* ! Oardex le pour St. Oeorge'a Hall."
The tone half pettish, half supercilious, assumed by
Bradford iu this dialogue, may be easily explained. An
occasional reference to The Leeds Times, or a conversation
with Mr. Spark, tho enthusiastic advocate of Mrs. Sunder-
land in the affair of 1856,* will at once render it intelligible.
Bradford, besides, is half foreign, as every one knows — and
jovial fellows are those Teutonic wool-gatherers, and as
hospitable as jovial. Adoring foreign singers, they went
frantic about Mdlie Piccolomini at the last festival, aud got
up fire-works in her honour, which the wet weather prevented
from exploding. Nevertheless, it would be easy to re-
concile all differences. The Leeds papers should write of
the musical doings at Bradford in a style less acrimonious
and carping ; while the Bradford papers would be all the
welcomer and all the more persuasive if lens in the vein of
the French colonels, and less in the spirit of "cock-a-
doodle-doo." The respective and respectable mayors might
readily modify this state of tilings, by the exercise of a little
excusable policy. If the Mayor of Leeds were to ipvite the
members of the Bradford press to dinner once a week, and
the mayor of Bradford to pay the same hebdomadal com-
pliment to the press of Leeds, a brotherly feeling would
soon be engendered. They are capital fellows, the Leeds
and Bradford reporters, but, like the English and the
Yankees, inclined to cherish a secret dislike until they
come together, when the hostility on either side vanishes
like mist, and they find, to their oqual surprise and satis-
faction, that they were rather made to be fast friends than
envious rivals.
Now, at any rate, is the time for the two manufacturing
towns to unite, and work, as brothers, for the attainment of a
common object — the general advancement of music, and all
the benefits that may, directly or indirectly, be associated
with its progress in such a large and wealthy county as
Yorkshire. Instead of being twisted into a subject of con-
tention, the mere fact that two towns, within twelve miles
of each other, possess magnificent music-halls, and arc
able to organise festivals ou tho same scale as the giant-
• With any further allusion to which wo shall certsialy not bore
meetings in Birmingham, under the superintendanoe of such
renowned musicians as Michael Costa and Sterndale Bennett,
ought to be a matter for just pride and exultation.
Yes — Leeds and Bradford, Bradford and Leeds, must join
hands aud swear eternal amity. "Yorkshire and Music"
for their motto, local prejudioe eschewed, petty jealousies
disdained, Bradford less bumptious, Leeds leas intolerant, and
the Mayor's dinners will accomplish the rest.
If, on the evening of Thursday week, the 29th inst, St.
Martin's Hall is not crammed to overflowing, the people of
London will have proved themselves* so absurdly ungrateful,
that we shall look back with regret to the ancient Egyptian
code that declared ingratitude a capital crime Nay, under
such monstrous circumstances, wo are of opinion that a
general massacre of the metropolitan population would be
perfectly justifiable. The memory of the day of St Martin
might righteously eclipse the remembrance of the day of
St. Bartholomew.
On Thursday, the 29th instant, Mr. Charles Dickkws
will commence a series of " readings" on his own account, and
every shilling paid for the enjoyment of tho high intellec-
tual treat will consequently go into the worthiest of
treasuries, Charles Dickens's own pocket. Charles Dickens
has read his "Christmas Carol," we veritably believe-, for
the benefit of every institution in the country, except the
most valuablo institution of all, namely Charles Dickens
himself. If a charitable fund fella into difficulties, the
committee at once look upon Charles Dickens's voice as the
lever that is to raise it from its disagreeable position. Charles
Dickens is much better entitled to the name of Chryaostom,
or the " Golden-mouthed," than the Saint to whom that
appellation is commonly given, for his words havo literally
been so much gold for every party in whose behoof they
have been uttered. The only person in the slightest degree
comparable to Charles Dickens is the young lady in the
fairy tale, from whose lips a diamond dropped whenever her
thoughts received verbal expression.
However when the beneficent fairy endowed the good
little girl with the faculty of diamond-talking, she desired
that the little girl should derive some benefit from the gift.
Her kind intentions would have been utterly frustrated if
the privileged damsel had always walked with her head bolt-
upright and allowed the treasures she scattered before her
to be picked up by every beggar-boy, secretary to an insti-
tute, mistress of a ragged school, rheumatic harlequin, and
paralysed coryphee, who crossed her path. The fairy was
not a reckless und incriminating fairy, who tossed about her
blessings at random, but she had a fine seuse for moral dis-
tinctions, as is fully proved by the fact, that while she
blessed one sister with the power of uttering diamonds, she
cursed tho other with tho disadvantage of talking toads. She
meant to reward a particularly good little girl, not to relieve
poverty in general.
Greatly do wo rejoice that Charles Dickens has at last
begun to think of that basis of all arithmetic, which goes by
tho name of Number One, that he will pick up his own
diamonds. The judiciously benevolent man is always anxious
to find a proper object for his benevolence, and where can
Charles Dickens find an object more proper than himself 1
Here is a man, who has amused every reader of the English
language on the surface of the globe (to say nothing of
foreigners who read translations), for something like a
quarter of a century, and has employed his matchless gift
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250
THE MUSICAL WORLD. [April It, 1858.
in difFusing a feeling of kindness and charity over all who
coma within the circle of his fascinations. With the ex-
ception of the " Saturday Reviewer," there is not a living
Briton who docs not love and revere Charles Dickens. As
for the single exception, it is natural enough. We do not
imagine that the yonng lady who uttered toads was par-
ticularly fond of the young lady who lisped diamonds.
Tho talent of Charles Dickens, as a " reader," is com-
mensurate with his genius as a writer, and if thb talent is
appreciated as it always has been, when ho lias used it for the
benefit of his neighbours, lie will speedily realise a splendid
fortune. This is the sort of monument that tho nation should
raise to such a man as Charles Dickens — a monument tliat
the living man can enjoy. Long may the time Imj before we
set up statues to his memory, but let us be as rapid as
possible in loading him with golden honours.
So mind, British public, if the crowd assembled at tho
door of St. Martin's Hall, three hours before the opening, on
tho 29th, does not reach to the northern extremity of Eudell-
strect, our land is disgraced for ever.
Professor Stersdale Bbknett.— This distinguished English
musician is appointed conductor of the Leeds Festival.
IIkrr Joseph JoAcnm is to play at the next Philharmonic
Concert. He will introduce a concerto in the first part, and a
shorter piece in the second.
M. Cuarlks Halle has arrived in town for the season.
Herr Reichaudt has returned from the Continent.
' Mr. Van Pbaao, tho most polite, attentive, indefatigable, and
useful of concert agents — who, as a linguist, is a Person, who
knows everybody by heart, and has had a world of experience
as the jauitor of musical temples — Mr. Van Prang, whom all
admire for the kindliness and suavity of his manner, and with
whom to have been once engaged on business involves a tie not
easy to be undone, has issued his challenge (a circular) for the
season, inviting attention to tho fact that he is active, in good
health, ready and willing to officiate iu bis united capacities of
agent for concerts and balls, and sentinel at the doors of halls
and rooms devoted to tho arts musical and dramatic. In his
own words, Mr. Van Prnag " Undcrs thanks to his patrons and
friends for the liberal encouragement he has received for years
past, and solicits a continuance of the same," which, we have no
doubt, will be granted, not only by the friends and patrons of
Mr. Van Frang, but by the public at large. Had Mr. Van
Praag, like his celebrated predecessor at the gates of Erebus,
three heads, we should dedicate three articles to his hononr ; but I
since the one which Is on Mr. V. Ps shoulders is equal to three,
considering the languages contained in it, one article addressed
to him is equal to three addressed to ordinary individuals. To
write more on the subject, in short, would bo as monotonous as
playing tbo Battle of Praag.
Exeter ITali — Mr. Case's "Great National Concert," on
Easter Monday, was attended by nearly 8000 persons. The
programme was a medley, containing many good things, some
bad, and more indifferent. Mr. Sims Reeves, Madame Sher-
rington Lemmens, Mia* Dolby, and Mr. Weiss won the greatest
successes in the vocal department ; while Miss Arabella God-
dard (who played Bennett's Caprice superbly, notwithstanding
the badness of tho orchestra that accompanied, or rather did
not accompany her, and Wallace's " Home, sweet home," with
her accustomed taste and brilliancy), on the piano j Mr. John
Thomas, on the harp ; and Mr. Case, himself, on the concertina,
obtained the "honours" in the instrumental. To describe
this concert in detail, however, would l>e to occupy a
whole page to no great advautage. Suffice it to say, many en-
cores were accepted and many refused (among others, by Miss
Goddard, Mr. Beeves, and Mr. Weiss) ; that the audience was I
a regular taster audience, jovial and uproarious; that tho en-
tertainment afforded infinite satisfaction ; that the idea of the
concert was excellent ; and that Mr. Case will be ablo to cany
It out much more completely on some future occasion.
HER MAJESTY'S THEATRE.
Her Majesty's Theatre opened on Tuesday evening, when
Meyerbeer s JJuguenots was produced for the first time ; a new
prima donna made her first appearance as Valentine; Signer
Giuglini essayed for the first time in England the part of
Raoul de Nangis; and a new contralto made her dibxtl. Her
Majesty and Prince Albert honored the performance by their
presence.
The ffuffuenoli was an advance on any firmer production at
Her Majesty's Theatre since Anber's ProJijo. A few more
rehearsals were wanted, and a reinforcement of the chorus, to say
nothing of a substitute for Signor Mercurial! in the first
ITnguenot Soldier, whose intonation in the " Rataplan" elicited
dissatisfaction from all parts of the house. The scenery, painted
after sketches from nature, by Mr. Charles Marshall, is beautiful,
tho last scene a master-piece of sceuic art ; the dresses are all
new, aud appropriate to the period j and, with one exception,
the principal artists were admirable. The cast was as follows :—
Count de St. Bris, 8ignor Belletti ; Nevers. Signor Aldighieri ;
Raoul, Siguor Giuglini i Marcel, Signor Vialetti ; Marguerite
de Valoia, Mdlle. Ortolani ; Urbano, Madame Lucioni Landt;
and Valentine, Mdlle. Titiens,
Of the last named artist we are called upon to speak first.
Mr. Luralcy is proverbial for good luck in finding singers at
the moment when they are most wanted. In the year when
Grisi and Mario seceded from Her Majesty's Theatre, and when
all the world thought there was no hope for the old Opera,
Jenny Lind flew to his rescue, and with the voice of a " Nightin-
gale" converted defeat into victory. Again, when the Swedish
songstress abandoned the stage, Madame Sontag, after an absence
of Svc-and-twcnty years, unexpectedly reappeared. In 1836,
on the reopening of his theatre after the burning of Covent
Garden, Mr. Lumlcy discovered Mdlle. Piccoloroini ; and now,
at the moment when some new attraction was imperative, he
has lighted upon an artist who, unless wo greatly err. Is destined
to achieve the greatest things. Mademoiselle Titiens is an
" artist" in the truest sense of the word. Her voice is a pure
soprano, fresh, penetrating, and powerful. Like most German
singers she pays little regard to embellishment. In the music
of Valentino she sang what the composer has set down and no
more ; but what she did sing was accomplished to perfection,
tor this she is entitled to high commendation, since modern
vocalists who look upon composers as of more than secondary
importance are rare. By her execution of the occasional florid
passages allotted to Valentine — the descending scale of two
octaves from the C in alt, in the duct with Marcel, and the
chromatic passage iu the duet with Raoul, for examples, both of
which were faultless — we are not warranted in concluding that
Madlle. Titiens possesses more than ordinary fluency, but must
leave that point for decision when we hear her in Lucraia
Borgia, and Xorma. At present our Impression is that Fiddio,
of all operas, would suit her best, and that nothing in the operatic
repertory is too grand for her means. As ' an actress Mdlle.
Tilicns is no less remarkable than as n singer, which everv one
who saw her ou Tuesday evening must have felt, as she issued
from the Church in the Pri-axur-CUra, aud uttered the words
" O terror ! mi spaventa." There was no mistaking this. It
was thoroughly dramatic and genuine. Every scene displayed
the same impultirenets. Mademoiselle Titiens* movements and
gestures are noble, and altogether free from conventionalism. Her
walk is easy and natural, while her attitudes are classical with-
out being iu the least constrained. Il.-r success was immense,
and this, too^ in spite of the claque, who committed inauifold
indiscretions in the course of the evening.
Raoul, as onr Milan correspondent informed ns last year, is
hardly one of Signor Giuglini's most admirable impersonations.
Some of the music was sung exquisitolv, but we cannot approve
"f the alterations in the song with the viola accompaniment.
The duct with Valentino iu tho Conspiration scene, displayed
several magnificent points ; but the grand effect was in the
septet, where Signor Giuglini exhibited wonderful power and
energy. The second movement was received with thunders ot
applause, and encored unanimously.
Mdlle. Ortolani'a voice and stylo arc weU adapted to tho
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April 17, 1858.]
THE MUSICAL WORLD.
251
music of Marguerite, which she sang with extreme brilliancy,
acting the part with becoming grace.
Signor Belletti, next to Tamburini, is one of the best repre-
sentative* of Su Bris ws have seen in London. The Marcel of
Signor Vialetti took everybody by surprise. The voice of this
geutk-man is well suited to the rugged strains of the Huguenot
soldier. Signor Aldighieri found the music of Xevers too low
for him.
The new contralto is not destined to supplant Alboni, nor
Madame Nantier Didioe, nor Mdlle. Sannier— who, by the way,
should have l>een allotted the part of the page.
On Tuesday thn Huguenot* was repeated, when Her Majesty
and -the Prince Concert were again present. The success of
Mdlle. Titiens was even greater than on the first night. Both
as actress and singer she nan created a gennine " sensation."
After the opera a new ballet ditertittement was given for the
return of Mdlle. Pocchini, that fascinating dancer whoso brief
stay last season was universally regretted. It was a mistake to
have any ballet after the Huguenot*, which is more than enough
for one evening's entertainment. The house was certainly not
empty when Mdlle. Pocchini OHM on, but many had departed,
and of the cheers that should have welcomed her she was thus
in a great manner deprived. Those who remained, however,
had good cause for satisfaction. The plot of the divertittement
is beyond our comprehension. All we could mako out was, that
a nymph, Calisto, who had repudiated Cupid, is forced to alter
her mind and take him back to favour. Mdlle. Pocchini had
only two "pat," but in each she displayed the consummate case
and exquisite grace which distinguished her last year, and ex-
hibited even still more perfect mastery of her art. Some of her
steps were really wonderful, and in a pat de d«ux with M. Caron —
especially in one brilliant variation — she created *. furore, the
audience cheering her for several minutes, and calling loudly
for au "encore," which she very properly declined*. At the
fall of the curtain Mdlle. Pocchini was unanimously recalled,
but seemed in no hurry to appear. At last she did, however,
and brought w'uh her M. Caron and M. Massot, the "gifted"
author of the direrti***mcntt who, nevertheless, had neither hand
nor foot in her success.
Mademoiselle Piooolomlni made her rtntrte on Tuesday, in
ROYAL ITALIAN OPERA.
Mr. Grs has issued his prospectus for the forthcoming season.
It cannot Us said to be full of promise, seeing that all the old
hands are engaged, which premises that all the old operas will
be given. Two new works, nevertheless, are to bo produced—
Flotow's Martha, and H6rold'a Zamp*. Tho former has just
' 1 success at the Italiens, in Paris, Mario beiug
the principal attraction. Zampa has boon spoken of for several
seasons. When brought out in London, at Her Majesty's
Theatre, sonio years ago, it was not very favourably received.
The return of Taraberlik to his old post— an event which will
bs hailed with delight by the subscribers aud the public— has
probably induced the director to recur once more to Iiorotd's
opera. A faint hope of Mercadantc's It Uiuramento is held
out. This opera is worth a trial. Mercadante, next to Rossini,
enjoys, aud not undeservedly, tho greatest reputation of any
modern Italian composer iu his own country. Besides, the
Uiuramento contains two grand parts for the soprano and bary-
toM (Ronconi t) and a splendid part for the tenor — written ex-
pressly for Donxelii — which no doubt Tarabcrlik will play-
thai is, " if time permit."
That, however, iu the prospectus which will excite most
curiosity, is the cast of Don O'wtxinni, iu which Mario appears
for the first time as Don Qiovnnni, and Itouooni aa Masctto.
That Mario can act the part of the libertine we readily believe;
but tho music is out of his register. There are first-rate prece-
dents for a tenor playing tho part — Garcia, Doitzelli, and
Brabant, to wit We believo tho first-named took great libertioa
with the a
to suit his peculiar
"• Ws do not object to a "pas" or so
■DdthaEp.lUK.
great lib
Itennlli
P«»<A
Braham, however, having extraordinary power in the middle
register, ami unusual deiUh for a tenor,* were enabled to sing all
he concerted music without transposing it. But Mario's voice is
hardlv of that character. If Griai is allowed to transpose the
grand" scena, " Or sai che l'ouore," however, there is no reason
why Mario should not do the same with tho duet, " La ci darem,"
the air, " Fin che dal vino," aud the serenade, " Deli ! vieni alia
finestra." The concerted music will be the difficulty ; neverthe-
less, there is Mr. Costa, happily, still at his post, and he will see
that no great injury is done to the music of Mozart Ronconi'a
Masetto will surely bo inimitable. The other parts will bo as
before — Donna Anna, Griai ; Zerlina, Madame Bosio ; Elvira,
Mademoiselle Marai ; Lcporcllo, Uerr Formes ; Commendatore,
Signor Tagliafico; and Ottario, Signor Tamberlik.
We are spared all further speculation from the nature of the
prospectus. The list of artists, vocal and chirographic, com-
prises but two new names — Signor Rossi, a tenor, we believe,
and Madllc. Zina Richard, a dancer of eminence, from tho
French Academy and St. Petersburg. Of Signor Rossi we know
nothing. Whether the preeeuco of Madlle. Zina Richard will
make amends for the absence of Madlle. Cerito remains to bo
Tho new theatre is announced to open on tho 1.1th of next
month with the Huguenot*, the cast the same as in IgUL with
the exception of M. Zclgcr supplying the place of Sig. Polonlnl
as St. Bris.
MTSS ARABELLA GODDARD'S SOIREgS.
Miss GoddaRd's performances of classical pianoforte music
havo been this season, liko the last, a scries of successes almost
unexampled in their sphere. At length, it having become im-
possible to find accommodation for the many connoisseurs
anxious to attend theiu, in the comparatively limited apnea
afforded at the residence of tho fair artist, Miss Goddard has
judiciously solccted a public arena for tho exhibition of her
talents — and that arena the most fashionable and the best
adapted without exception for chamber music in London. Tho
first toirct of her second series was held iu the new locality on
Wednesday evening, and rarely havo tho elegant, brilliantly
lighted, and spacious talon* of Mr. Willis been graced by a more
numerons and distinguished assemblage of musical amateurs.
The programme, as usual, consisted exclusively of high-class
music, chosen from tho works of the greatest composers ; and
tho performance was so admirable as even to transcend antici-
pation. We subjoin an outline :—
Paai L
Sonata ia £ flat, pianoforte and violin (No. IS), Mossrt.
Mm Arabella 0 >ddard aa 1 M. Sainton.
Oraud sonata in D. ranjorf, (Op. lOfi) Hummel.
Pianoforte, Mu. Arabella Goddard.
Fu|s Khsruuulo, and prclmiio and fusa, in A minor. ... 3. S. Bach.
Pianoforte, Mi«* Arabella (loidard.
PaBT n.
Sonata in A major (Op. 101), Beethoven.
Pianoforte, Miss Arabella Goddrrd.
Oraii I quartet in F minor (No. 2), pianoforte, violin, violo,
and violoncello, ... ... ... ... JleadelMolill.
Mikj Arabella UoJJard, M. Sainton, Burr OofTrie, and Sig. Piatti.
The sonata of Mozart, an luexhaustible banquet of melody,
aud a masterly piece of writing in the bargain, was played to
perfection by Miss Goddard nud M. Sainton. So rarely has
this exquisite work been heard, that it may be cited among
ems which Miss Goddard is ever industrious
• DoMcttl Usd to am« all the MUafc of Count Alniariva in the
ovu di Figaro, without alteration or transposition, except in the
let " Crudel perch*, llnora," and tho air, " Vcolr' io nuo I
tThola»t|
uiginzeo
by Google
252
[April 17, 1858.
in bringing to light, and for reviving which she is entitled to the
grateful consideration of all who love genuine unadulterated
music. The sonata produced the deepest impression on the
audience.
The unaffected and yet indescribably exprcssivu beauty
of Mozart's most genial inspiration was effectively contrasted
with tho animation and brilliancy of Hummel's grand
sonata in D — his last great composition for the piano solus, to
perform which, even tolerably, amounts to nothing short of a
tour dt force. The word " difficulty," however, has vo place in
the vocabulary of Miss Goddard, whose execution of this elabo-
rate production was superb from end to end. The vigorous and
stately allegro — the scherio and "alternatico," so admirably con-
structed after the stylo of the elder masters— the larglietto, in
which Hummel has parodied, with such facility and esprit, the
tempo rubato of Henri Herz, and other "fashionable" pianoforte
composers, who were undermining (perhaps unconsciously), by
means of their florid embellishments, the healthy musical taste
that had been bequeathed by Dussek and his gifted cotempo-
raries — and the finale, terminating with one of the most masterly
fugues ever written for the pianoforte, were ouo and all per-
formed in such a manner as to realise entirely tho intentions of
the composer. The whole sonata created a furore. Miss Uod-
dard must repeat it on an early occasion, one hearing of so fine
a composition being scarcely more than enough to reveal a third
of its beauties.
Of the romantic scherMndo of Bach, and the extraordinary
fugue in A minor — the longest and most difficult (to play at the
requisite speed, and with the necessary fluency,) ever composed —
we spoke at length when Miss Goddard introduced them at the
concert of her first series. Their great success on that
I fully warranted their repetition now.
The marvellously original and imaginative sonata of Beethoven
—first of those wonderful inspirations at which certain critics
were wont to sneer, as vague, unintelligible, aud incoherent —
has already been played in public by Miss Goddard, who on the
present occasion surpassed herself, and made the whole sound
as clear and simple as though it had been The Battle of Prague,
Nicolai's first sonata, or Pleyel's once famous Conctrtanie. Among
her many grand performances this was perhaps the most fault-
less. With such an interpreter tho latest works of Beethoven
need no longer stand in fear of being rejected as incompre-
hensible. It is worth noting, moreover, that these "wild and
shapeleas vagaries" of the deaf composer (who hoard with
hi* mind's ear a thousand times more than the great majority
of his predecessors, contemporaries, and followers, with their
physical organs of hearing), invariably carry away the palm
from all the rest at the interesting and instructive concerts of
Miss Goddard. The simple explanation is, that to be under-
stood, appreciated, and admired, it is only indispensable they
should be played correctly and in a congenial spirit.
The last piece in the programme— ono of the earliest efforts
of Mendelssohn's precocious and enthusiastic boyhood — brought
the toirte to an end with appropriate utolaV It was performed
with amazing fire, vivacity, and prccisiou, by Miss Goddard
(piano), M. Sainton (violin), Herr Goffrie (viola), and Signor
Piatti (violoncello) ; and every movement was heard with
rapture. A proof of the excellence of the music, and the
irreproachable character of the performance, may be gathered
from the fact that scarcely half-a-dozen persons left the
until the whole wit
The next soiree will be ono of unusual interest, since the
rival chevaujc <le batailk of Wolflanl Dussek— N* Plus Ultra,
and Plus Cltra-uro to be played by Miss Goddard in i
PHILHARMONIC CONCERTS.
The season began on Monday night with an admirable
concert, of which the following was the programme :—
Fiur I.
Siofonis in I), No. 1,
Aria " Conic ^cogiio/' Madame OttMhu,
Concerto in V minor, pianoforte, Mr. W. O. Cuiirui,
Aris, " t) del miu dolce ardor," MU» Do'!./, ...
Overture, "Athaiie,"
Part II.
Sinfouis in A, No. 7, ...
Duct, " Berbanii ognor," Madame Ci*t<-l!an anil
Miw Dolby, ...
Coneerto in K major; No. I, violin, M. Sainton,
Overture, " Frruchutz,"
Mozart.
Mozart.
Surmlale Bennett.
Beethoven.
Itofjini.
IVnlinsud David.
W cbor.
Conductor, Frofenor Stcmdale Bennett.
Mozart's symphony, now rarely heard, was doubly welcome,
on account of the clearness, spirit, and brightness of its execu-
tion, under the direction of Professor Bennett. We should have
liked the trio ill the minuet better had it been given piano.
But here criticism is arrested. The allegro con spirito,one of
Mozart's grandest first movements, made a profouud impression.
The piauoforte concerto in F minor is in many respects the
finest Professor Bennett has written. It is not so elaborate as
No. 3 (in C minor), uor so brilliant as No. 2 (in £ flat), but the
style is generally more elevated than in cither. The orches-
tration is splendid, and tho accompaniments were so admirably
played by the band, that many " effects " may be said to have
been heard for tho first time. The playing of Mr. Cusins was
earnest, spirited, utid energetic ; but his expression was some-
what affected (wanneiW-
mightsay in English),
while liberties were taken with time, to the occasional inconve-
nience of the accomplished conductor and his band. They,
nevertheless, brought the voung pianist (who is too good a
musician not to bo aware of the faults he has to conquer) homo
with flying colours. Mr. Cusins was greatly applauded at the
end of every movement. This was his first appearance at the
Philharmonic Concerts, a terrible ordeal for nervous aspirants ;
but the nerves of Mr. Cusins are of steel, aud " Be not afraid "
was evidently his motto. However, he succeeded, and his whole
endeavour must henceforth be to deserve success.
The magnificent overture to Alltalie — in which Mendelssohn
(unconscious of his powers^ equalled Beethoven, whose two
grand " character- pieces " (Lgmont and Coriolan) can alone be
compared with it — was nobly played and re-demanded by the
majority of the audience. But neither in those iustancca, uor
in that of the allegretto of Beethoven's prodigious symphony
(which has seldom been executed with more fire and preci-
sion), would Professor Bennett set the edict or Mr. Punch,
(whose moral ear aud moral eye are everywhere, cveu when bo
is not corporeally present), at defiance, by giving encouragement
to the vulgar system of "encores." For this the Professor de-
serves to be placed on a pedestal by the side of Mario, Situs
Beeves, Alboni, and Arabella Goddard, who have all combined
| in a crusade against " encores." Such a reinforcement to tbeir
ranks as Professor Bennett is as good aa Sir Colin Campbell to
tho Indian army.
M. Sainton's performance of Herr David's fourth violin con-
certo (which, though by no means a great work, the admirable
French • virtuoso" — who cannot for ever be playing Beethoven,
Mcudelasohn, and Spohr — was thoroughly justified in bringing
forward) was unimpeachable from end to end. Although (as
wo wore informed), suffering intensely from that most pitilcaa of
bodily afflictions — toothache — M. Sainton gallantly occupied the
of chef-cTattaqMe, during tho first part, and played out of
i's book in the symphony of Beethoven ; notwith-
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THE MUSICAL WORLD.
253
standing which, he executed tho concerto of TTerr David, which
"bristles with difficulties," to admiration, and retired from the
orchestra amidst loud plaudits from every purl of tho room.
Only a genuine artist could have thus distinguished himself
under such circumstances ; but that M. Sainton was a genuine
artist — n great artist — no one ever doubted.
The Der Freuchutz overture, famously rendered, made a
capital ending to this capital concert. We have made no allusion
to the vocal music, since vocal music is rarely interesting at the
Philharmonic ; but Miss Dolby sang admirably, and Madame
Castellan sang her best.
The return of Sainton and Bla^rove to their old and friendly
position of alternate leaders has added material strength to the
band, and afforded universal satisfaction. Thin, we love, was
due to the good offices of Professor Bennett, who conducted the
whole concert with distinguished ability, and well merited the
warm reception he experienced from the audience— one of the
most discriminating, ami at the same time " demonstrative," we
remember at the Hanover-square Rooms.
Mcsic in the West Rinuia— (From our oten Correspondent).
— A concert was given on Mouday in the Mechanic's Hall,
Hoyland, a place of which perhaps none of your readers ever
before heard. Tho audience and performers were almost ex-
clusively workmen employed by Messrs. Davis, at the Milton
and Elsocar Iron Works. Feeling greatly indebted to the
Sheffield Infirmary for the care bestowed upon their fellows who
had been admitted through accident or disease, they resolved to
show their gratitude, and as the elements of a concert were
already in exigence in the shape of an excelleut brass band, an
entertainment was got up in aid of the funds, and the result
surpassed expectation, a balance of £20 remaining for tho benefit
of the charity after payment of expenses. Among other pieces
performed by the band (composed entirely of workmen), I may
mention the quartet " Judge mo O Lord," and two choruses
from Mozart's I.ih Moss, "Fixed in his everlasting soat," and
the 44 Hallelujah" chorus ; while the lovers of lighter music were
regaled with a selection from It Tro&Uore, "Jtcturu of tho
Guards" march, and a polka (''tho Milton*') composed by Mr.
SuwjM.-, the band-master, to whom all credit is duo for the
efficiency of his corps. A variety was afforded by the introduc-
tion of several glees and a couple of pianoforte solos, by an
amateur, late pupil of the Royal Academy of Music, who had
offeredhisscrviees, and delighted the audience with his admirable
playing. The hall was crammed, and nearly double the number
of tickets might have been disposed of had their been room to
accommodate the people.
Mn. H. JT. Trust's MjmxfcEs.— Mr. H. J. Trust gavo the
first of three harp performances at his residence on the morn-
ing of the 7th instant. The room was very full, and among the
audienco was somo of the highest fashion. The concert began
with Dussek's well-known concert for pianoforte and han>, with
accompaniments for two horns, admirably jHsrformed by Mr.
Trust, Miss Marie Salzmaun (his pupil), Messrs. Jarre tt and
Standen. Spohr's charming fantasia, composed for, anil dedi-
cated by the great musician to his own wife, was then played
by Mr. Trust with great taste and finish. Trios by Bochsa and
Labarre for piano, harp and horn, and violin, violoncello and
harp, in which the horn was again taken by Mr. Jarrett, whoso
pure tone and masterly ['laying it is now too seldom given to
the public to applaud" M. Dando holding the violin and Mr.
Lidcll embracing tho violoncello, were equally well given, and
afforded entire satisfaction. In order thai the harpish charac-
ter of the entertainment should be kept up even in the vocal
music, Miss Marian Prescott sang Rossini's "Arpa gentil," and
Wallace's " Harp in tho air." Not the least interesting per-
formance of the morniug was a duet by Oberthiir, for piano and
harp, perfectly rendered by Mr. Trust and Miss Salzmaun.
There was also a violoncello solo by Here Udell, ami, last and
best, Mendelssohn's beautiful capriccio in A minor, No. 1, per-
formed with remarkable delicacy and taste, by Miss Salzmaun,
who, we believe, is not only a young and promising artist, but a
niece of Mr. Trust. The concert was heard with uuabated
pleasure from end to end.
1 Islixotox LtTKttARv and Sciektific Sociistt. — (From a
Corretpotutent). — At the last concert given here (on the evening
of tho Hth inst.) the name of Miss Arabella Goddard proved an
almost unprecedented attraction. The room was crammed to
suffocation, as on a " Sims Reeves night" Miss Goddsxd was
received with a tumult of applause. Adopting the wise and
honest counsel of the Islington local press, the admirable voung
pianist performed, as first piece, one of the most beautiful of
the solo sonatas by Beethoven, entire — the B flat, Op. 22. How
it was executed I need not tell your readers ; but you and they
will be pleased to know that it was heard with rapture, and
each movement followed by tho loudest plaudits. The final
rondo was asked for again ; but Miss Goddard would by no
means comply. After Tier magnificent display in Thalberg's
Musaniello, nevertheless, the audience would not let her off at
any price, and she was compelled to return. Instead of re-
peating the same piece, however, she gave Wallace's " Home,
sweet home," with which everybody was enchanted. I cannot
remember any instance of such enthusiasm as ensued, and shall
not attempt to describe it. All the rest of the programme was
in that strictly "miscellaneous " character which made the item
"Sonsts in B But, Op. 22 Brellioven"
look very much liko a fish out of water— or rather (as I found
it), an oasis in the desert. Three things pleased very much,
and were all repeated by tho performers, in obedience to rery
mild "encores — Molique's " When the moon" (sung by Mr.
Montem Smith), the '* Hunting Tower " (Miss Lascelles), and
" Good-bye, sweetheart " (Mr. M. Smith). Miss Stabbacb. and
Mr. Wiuu were also among the singers, and Mr. George Case
played a concertina solo, besides conducting tho concert. Miss
Goddard must pay us another visit — and that soon — and give us
another Beethoven sonata in the bargain. — Iblixotomiam.
Rachel — Among tho relics of Rachel was to be seen, yester-
day, for sale, an old guitar worth about five shillings, which
bore a label to the effect that young Eliza Felix had played on
it for many years in beer-shops and ea/ft as an accompaniment
to the songs of her sister Rachel. Ono would fancy that the
family who inherited so much wealth from their distinguished
relative would have treasured up this memento of her early
days. I did not learn how much it fetched.— (Parit Corrupottdent
of the Globe.)
Genoa.— Paganini left his best violin to the safe custody of
tho Geoneso municipality, as an enduring memorial of his birth
in the city of Columbus. Whether a Straduarius, or an
Amati, I forget, but Bazzini, the violinist, aays that, if not con-
stantly played on, it must soon become worthless, and suggests
that some 'retired virtuoso should be made official guardian of
the bequest.— Globe.
ADVERTISEMENTS.
SPRING AND SUMMER PARIS FASHIONS.
MADAME LEBARRB,
nmoKER or r*«nrosH roll Titr. Dnn srossiK.
B..Z* to ilnto thit her FULL-SIZED PA l'KR MODELS ..r »U tbo noTeltlm far
the IMBSM aeaaoji SN now n vtjr. mado up in tho most briUlut coltxira, Mid lh«
irlu.inliiu* exact in iwrlicular, «■ ti.al ths <-ftct of tho urticlo, when uiado
up. may lie Lu«lanUy seen. A Flat Pattern, to oil from. l» slron with .ach
article iu a Bit ; and lor tho oonn-iilonc*" at Udieo who don«t vi-it 1'nrle. Ma l»n>o
Lot aire hM c*ial>ll»l.od »n Atfunt in London, fn.m whom »ll hor " Now Nodvl* "
may l»i had •itnultaueoualy witli their appearance In tho Fnneh capital.
£ i. d.
Twi Ire ortlrV'o in box. lnc!iidlnp Mante!ct*. Bodies, Javpaottea,
Sk-.«oa, an d I'hlldnai'a ]>re**<a, fu t Trimmed .. ..110
Six ditto, .lilt-, box included .. .. .. .. 0 10 •
Or. /roe per poat, in packet, for .. .. .. ..oil*
8in£lo Mu-M* forward..!, port-free, to any part of tho United Kingdom at th.
following pilot-* :
Mante'eta. 3s. 61. ; nodie>. J» ; Sleevcn, le «d, ; JacqnetU Bodies, Is ; and
Children'* I'lttim*. for Hoy or Olrl. ii M tacb
Order* ninat bo aeeotnpaiiie 1 bv a remittance (r«aUdBe« Order or Stamps) pay-
able at the Utnoral OlW. <o AI'RI.K LKRARRR.
I™ ou DcpOt WANSrUKD-I'LACK, Oakley square, Camden Town (N.W 1
wiiMnten minute* of tho Great Notthuru, Camdsu Town, awl North WenUili
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25-i
THE MUSICAL WORLD.
[April 17, 1858.
NORDMANN'S PIANOFORTE MUSIC. — Tho Tower
Boon :, from 11 Trorntorv, Ss Tho Nun's Prayer, third (d Uoo, J* Toe
QtMt Beau, second edition, Is. 11 Baloa S-v. Ab, che la roorto, H. 6d. La
Curlt*. St. lesbolle, S*. M. Greek Flrato'a Chorus, fmirth edition, J*. La
s dee Feci, Sa.<— ftoosey sad ttoi.i' Musical Library, HlJIu* street
NEW WORK FOR FLUTE AND PIANO BY
R. & FHATl'BN. — In U number*, price Ono Shilling eacb, R. 8. Pratton**
Rccrcatmna for Flute and TUuio. G'Utonts ; 1. Robert. t"l quo j'almc, Robert la
DUMe. t. Quind je qultui*. ditto. 3. Nobtl *lg.i.r. Htigiieu»ta. 4. N» ca»o
cauul. ditto. *. V* penalero, Nabueco. «, Eroanl InToUnii. Ernani. 7. Tulto a
annuo, ditto. 8, La mi* IstUU, Lom>.;irdl », La d..on-» o nuil-Hc Hi,;oleita.
10. K II a.-! doiranima, ditto. 11, Qurstn o quell*. <IIUo 13. IMIa tijll*. ditto.
IS, Introduction and Oalop Rhrolouo, dpto 1*. MUersre— Abl el>o U nv-rte,
Trovatore. 14, 11 boleu <l*l «uo, ditto. 10 Kl Utuncliun, ditt>. 17. Merci,
jeuues amira, Lea Yeprcs Siclumiiea. 18, Aril, lo enrnr dllolone, ditto ID, Jour
d'leree>«, ditto. "0. I.ibiamo. Briudlid, Troiati. SI. P»rtifi. o earn, ditto, 2.', Di
proTwica. ditto. SI, Ab, (or** a lu), ditto, Si, ScBrpre libera, ditto. Dooacy aud
bona, llotWe-nreet.
MENDELSSOHN'S SONGS WITHOUT WORDS,
liirty-*ix
by orcry lorcr of Mon ielaaohn. not excepting such na .-drably po«eaa tl
•xqnlalt* plnccs a* Uiay luve boMt air adr published: for uvlepcr.dently of the
" r of the Tolumo, and tho c caru-s^ and accuracy 01" tllu I xt. It h»a the furtlicr
of * preface by the iieoompluhe- i edi'or, which every ouu who chonahca
ry of tlt» Umonto.1 inuaieian will if*. 1 with inatrueiuin Mi l I leaiuiv."
Library. 28. Holies-street
fta
BLAIR'S OOUT AND RHEUMATIC PILLS. — Price
la. lfd. and 3a. 9d por box. Tl.la prc|oi»tion 1* one of tho lament* which
tho acieuoe of m-^iern chemistry ha* c-nif.rred U|toa u;*uU)tid
f;r»t twenty yrara ff tho prencnt cent iry to npcuk of
lor during tho
euro fir tho G<nit una
con»1ilcT*d"a~r»itianee ; Inil now th..- clliaicy and eafcy of tin* medicine U m> fully
demonstrated by uuaolkited ttetiinoniaU fVotu |H.raoua lu uvory rank r
pubhc opinion proclaim* this a* ono uf the moat important dl-covi
j.ro*.Mit ugo. Thoav pltla rcqulro neither &ttci>tj<>n nnr eonilneme
> dlaraae from att-ii
tain to prcTctit t*:i« d
WdbyVrvut and ITa
LOZENGES.— A g-xsd speech
1 organ* are In an
pr«luc«> meloufioua enundation, orery |>ulj
fleuato. or ttw Pulpit, aliouM Uaro at hand
Dotrotilaoil by the majority < f Mm Impe
remedy tho latter, and to
.1 ar.vct- r wl.ithc, il the liar, tl o
*TI>0 5 COOl
I Kkati'O'; Cooou Lutaxou. waicb ore
npcrial Piirliarnent, tho llcuch. and the
iding mcmbon of tho Operatic Corpa Tor aflectutaa of the Throat or Cheat,
and for Winter Cotuh. thay ar* uafal'lti^ Prepared tuid Sol 1 in L.-»xe*. la IJd ,
and tin*. S*. Sid. eucb, by TIIOMAS KEA11NO, Chcmlat, 4. 7y, St. Is i, *
CUurch-yard, Lundon. Retail by all BraufiaU.
GREY HAIR RESTORED TO ITS ORIGINAL
COLOUR.— .Neuralgia, Xarroiia Ileadach". Rheumatixm. and 'Still Jolnla
cured by V, M. I1ERRINO M PATENT VI AONETIC COMIW, HAIR AND FLESH
BRCSIIRil. Tbcy rcquiru no preparation, nr* always ready for use, and cannot
get out of order. Bru<hea, lUa. and lta. : Combs from la od. to tda. Orey hair
and baldncaa premnted by F. M. H.'a Patrnt PreTor.tiro Druah, prloe 4a. au<l 6a.
Office*, ft, UaaiOBhall-Ureet. Loudon. lllu*!r»ted |«Mupl)lela "Why Hair
bacoiiiM) Qicy, aud Its Remedy," (rati*, or by post for lour stomps. Sold 1
landperrai
ii tners of rejAitc.
by ail
PERSONAL GRACES.
Th* Countenance la rendered additionally pleaatoff by the well-arranftod curl, the
braided plait, or the flowing tress. In droaton the hair, nothing can <mu*: tbc
c3«xt of
ROWLANDS' MAOAB8AR OIU
Rend' ring It so admirably aoft that It will lie lu any
flowing curia, and by tU trauacmidunt l«i»tre it import*,
truly cinhantlng.
ROWLANDS' HAIYDOS
i tm|tro«lng antl beautiOicg tbeikin
'jattude of_tlic
kLcs, and
lOWLA NI> S' ODONTO,
OR. PEARL DENTIFRICE.
Ia alike Inralaable for ita Itautifying and nroervat it* t tk* is on Uie let tlx and gums
Is a preparation of unparalleled tffideiicy ku i
and comptttxlon, tiraservlug them from ever
completely eradicating ali Cutaneous Emptionn
CAUTION.— The wrapper
■r label of cadi boars the name cf " IiOWLANDS "
:e>iin,T that of the arilc!«.
Sold by A, ROW I. A N D ox SONS, 30, UattonB.«
and by Chenuats and Perfomeraj.
Juil PMMed.
MENDELSSOHN'S
SONGS WITHOUT WORDS.
EDITED BY
J. W. DAVISON,
In Six Books, price Ono Shililn? each ; or, comfileto in One Volume, with Pre tic*
by tho. Editor, and portrait, price lie. ; or, in superior bludbv, 7a. M.
BOOSET AND SONS' MUSICAL LlURART, !(«!», HOLLES-STREET.
NEW PIANOFORTE MUSIC
RUDOLF NORDMANN.
TOWER HCrNl?, MI5ERERE. and All! CHE I.A
" II TroYBlor* "
I1IIINDI8I, Ubi-.mo, from "UTraTUU"
LA 811 il.ir.NNE. doa ' V<nrca"de Vordl
IHAllEI.LE. Rntnniic.1
OKNBTB, Mnrceau tie Solon
1-A MIA I.ETIZI \, fr.mi "I I^mirtrdl"
SI LA STANCHEZZA, " Tr..v*turg "
LA CARITA. Trio >le Kcasini
MANIHil.INi; N.Ktume .. ..
THE NUNW PRAYER
THE ItAltCAROLLF. In '• Rlgolctto "
I. A DANSK l>ES VV.TA
GREEK PIRATE'S CHORUS
II. DALES*. -Troratore-
I) I QUF.I.LA PIRV. -TriTatiro"
SEL1XT10N OF MENDELSSOHN'S TWO-PART SON03
a d,
1 *
DOOSEY AND SONS* MUSICAL LIBRARY, 34 aT IS, noLLES-STREET.
SECOND EDITION. TRICE »*.
BALFE'S
NEW UNIVERSAL SINGING METHOD,
WITHOUT TUB USE OF SOLFEGGI,
And containing Sixteen Ballads and Songs.
Booavy and Bona' Musical Library, 28, Hollca- street, Oxford street.
NEW MUSIC FOR HARP AND PIANO.
SIX GEMS
VERDI'S OPERAS,
AuaxosD roil
HARP AND PIANO
JOHN THOMAS.
1— THE MISERERE, and TU TEDIUM CUE AMORB (TroTatnre)
3.-IL BALES DEL BUO SORRISO; aud DI TALE AMOR (Tro»»tor«>)
S.-SI, I.A STANCH EZZA M* OPPRIMR (Troratorc)
«.— D' AMOR BULL' ALI ROSEE, *i.d DI QCELLA FIRA |
ft.— UN DI, SE URN RAMMENTOMI. O.UARTBTT (Ki^olcUo)
e.— LA BICIUENNE, BOLERO (Lea Ve|>re* Striliennes) ,.
«. d.
London : Booaey and Ski us, a, Hollas-street, Oxiard-etrect.
HANDEL SOCIETY'S WORKS, imperial 4to., r\ill
aoorva :— Miaalah, J vols, las. ; BcUUtuar, 2 vol*., IH*.; Esther. 10s;
Cor>uatl 'ii Anil. cm, ; Odo for St, Cocillo'n Day, 8s; I.'All»vrt>. *c. 8e :
Aiia and Gdabm, in. ; Dettinpm To Deum. Ml MUSICAL ANTIQUARIAN
SOCIETY'S PUULICAiltlNS, 17 vol*., impeiud 4U>.. *\ 4s AUvo.
to:utu*s. Matvoilo'a P"*lui». by li.irth, H vols, fo io, roii|(b calf, Z$t. A <
of Music in May. JOHN FLTUlilUM, M, UWU Uolbern.
Digiiizea Dy
Googlq
April 17, 1858.]
THE MUSICAL WORLD.
255
MEYERBEER.
THE FOLLOWING SEW VOCAL COMPOSITIONS
MEYERBEER
MESSRS. DUNCAN DAVISON and CO.:
THI8 nOtfSE TO LOVE 18 HOLT. Serenade far eight Toloca (J MM f. d.
1 contraltos. S tcuor*, and 3 la»«c*X without aeioror'aiiiiucut, la vocal
acore 16
S*]«r*t« eocal I'jru to ti e alms each. 0 0
" W* have recolv. d an Eogllah vent cm, by John Oxrafbrd. Kan., of ULycrbcer'*
hymeneal *cren*de • Adieu wax Jcunm mania • It in publlehcd oj»d*» the title
of ■ThU Hou«e to Wo I* holy." It to composed fi>r ei|rht to rn, or. rittier, in
fill lit |«|U ; alnce each |*rt may bo etrerurthctied by auy uumlwr of volet* It
u »itbout accompaniment, nnd differ*. In that reaped, from moot '< tlio grand
. oruae* to bo fuunj lu M.yerbecrti opcraa. aupporled by tb* orrhcatra.
Ttiia puivly *«»• atreuade ia more after the model of the grcit oontntpiintal
writer* of the eevantecuth century— Aijo'tliil. Benevoll, Marxochi. and Bcrretta—
who brquealbod to 11* lm|«rlihaW. legaclc*. iti the cm til c arid fugucd .lyic*.
for two. three, ami *veti fuur olioni»ea, aiiypncr •imultnnoooalr. each chore* con-
auunn of aoprauo, alto, tenor, and )«**. Thoe raloastl ccmroaitlco, though
maaterptccc* of ooutiapnnul cou'rivauce, Lave Ivan ainc* fallen Into i*tW*i
«j:oi t aa example* f«r atudy in tbo Muunal Cuatcrvu tori .» It to doubtful,
indeed, whether tbo ear alone (nnle** naalatcd by tho ey<\ and a view of tbo
wtltkoti) wimld enable tb* baarcr lo follow and diabiuruiah tbo ltitrk~.it o and
Involved web of ao many voice* of almilar character intertwining and croaaitu/
each other. Tbo ncaruat approach to dl-thiclnc»* waa probably arrived at by
titacitv < 1«© arvarai choir* at aome diatauco apart from each other. Till* method
r *. leeo tried, lu our tiiue*. und>-r the direction of tlio talented mid LamutiU'd
MenileUaohn, when he condnttcd tbo pi r?orri.aii<o of Hach'a ' Paaaion-lliiric'
acci:irdh<K to St- Muthcw. composed for two utvhtatra* and ihrce choruso*; but
tho rtattlt was not t-itiafaatory. Tbeao remark* aro neceouarr, to oxpL.uu tlio
peculiar merit of Meycrl>oer'* 8creci;ide, now under review. In orlcr to atbiin
dearue*\ Iki eon»tltut«. bt* two cholre of different uiitcrial* — one cliolr o.>n*Lta
of jemaU voice*, firM and necond 6"praoi, f.rat and accoud aid; tbo ot'n-r cln*r
oouairta of malt roicca, first and accood tennrt. fir t and arrond lai*al Tbo firat
retac to conauienci.il by tbc male cboir. atid I* yfWnW:ir»iii takou up l.y th« fcmol"?.
Tho eutue tnualcal aubjert la tlucn divided into pliraacs of two vt Uiree lata, autl
aiTou lo tbo cboira lln maloly. Tltirdlr, both chnira combine. By tbeao uuana,
Mtyerbccr baa arotdc! tlio confusion wdch waa uu*i*raMe frotu tii« rar.ior
compoai;ion« wl.ieli we havo nienllonc.l. W
earrt.t.oof fio voiv*. In the purity or writi
liaa iin|nrt»l a charm or nieb.xly to which th
and baa adde-l a richncaa of modulation wl.UU waa unknown to
Wblto ho equal* tho Old MaeUi* In tho
ititii'. and pronrwalon of U,e part*, b*
their cauona and fitjpioa ncerr atuinad.
n wl.Uli waa unknown to Uiem. Wo
^tlcularly ln>Unco an abrupt modulation, from O flat to A natural (cn-
_ I for doubl* U UatX and back again to 1> Oat. Tlie Engltoh word* also aro
fittingly wedded to the mualc. We nOol majcily add that wo airooniy reeomuiend
thl. #HT»nade to rech of our loed choral aaaocutlon. a* hove tbo adrantatfc of
female Toice*."— iirrrjt«f Mad.
tUK LORD'S PRAYER, for four voices (aoprano. alto, tenor, and baaa) ». d.
with Enjrlieh and Latin text, org aa ad lib.. In ecore 8 0
SejcjnUo vocal part* to the above each 0 C
' Wo have met with fvw devotional aontra of late rear* bo nd> utaicd to become
widely popular. The melody to quite Haudelic, and Uie harmonies are arranged
with the moat mutetly »kid ; while tb* auhjtct, 1«Iiik on* which Involve* no
qneation of doctrinal or aectarian illOcrvncv. rommenda itaelf to all 'who prof***
and call thcmaelrca Cbriatiun/ We aiiall not l>e aurprtaod to find tbo hannouiacd
Lonl'* Prayer eniraglnK the attention of many a church Hid chapel choir ; that It
will b* widely petroniacd in doincotic ctrclc* wo foel aoured."— BriMvl Mtmry.
a. d.
NEAR TO THEE fPr\» il* M), Tor voice, t lann. and vlolooccl'o .. .. 4 0
HERE. I1ERE ON THE MOUNTAIN RECLINING (U cLautdu Derger),
for vote*, plam\ and clarinet, <ir barioonlum .. 4 •
•»* llt« abuvc two rouga are '.ininently enkMbitcd for ainglng at
NEW VOCAL MUSIC.
" To-morrow," ballad, by C. J. Hantill
" The old WlUow Trro," ballad, by h\. J. St. Lcser
••The TroulKvlour'* Lament," by ixwiaa Yaruold m
" Lord, hoar ua. w* linplore thou" (Oieu, que ma volzX prayer,
" Vnck ariae, inaidun uiino," Air Styrion, by J. Dcaaaucr
■L d.
2 «
X 0
2 o
S 0
.. » «
VOICE, PIANO, AND HORN.
TEAP0W8
by Mwi. VI
••WHEN O'ER THE MKAP0W8 aBm!*," by Eocene Vivlcr
Lwilhiuatm; "
ntrutohed *ui
voice, pianoTandTiolin.
•MOURSlTrXY. SI.NU MOURNFULLY. " by O Cruwdl, Op. 81
VOICE. PIANO. AND VIOLONCELLO.
• WrtERE IS THE SKA." by O Crnwoll, Op S2
' WHEN O'ER THE MEADOWS GREEN," by Eugcno Vlvier ..
NEW PIANOFORTE MUSIC.
OnNE WORTE." by C.J.
..to
i e
t 0
* o
Motccau d* Cewert, (pUrcd by
Fiirlta" (Rlgotottni, by Jul** Uriaaao
» » v ., d. Concert, (pUrcd by Mia. Arabella aoddtrt)
.. * a
..2 6
.. 4 0
..SI
..SO
LONDON:
DUNCAN DAVISON 4 CO.
(DfcpiT Gt>>HtL P8 LA
W<, REQENI feTKECT, CORNER OF LITTLE AB«T
MADAME OURY'S
NEW PIANO FORTE MUSIC.
OB EBON, Polk* do Salon
RORBBT, TOI QUE J AIME
MES SOUVENIRS D'ECOSSE ...
FANTAISIE ON PRUSSIAN AIRS
SECOND
LA MIA LETIZIA ...
ANNIE LAURIE ... ,
LE KOSSIGNOL VALSE .
IL TROVATORE, Fant»j*io
IA TRAVIATA, ditto
RIGOLETTO, ditto ...
EDITIONS.
3 0
4 0
4 0
4 0
3 0
8 0
3 0
4 0
4 0
4 0
IOSCO* :
UOOSEY AND SONS, 28. HOLLES-STREET, OXFOBD STREET.
NEW VOCAL MUSIC
BY
SIGNOll FAB 10 CAMPANA.
d.
L.
2.
3.
4.
5.
C
7.
8.
9.
10.
IL
12.
13.
14,
15.
18.
ITALIA, Romania
LA RONDINELLA, Arietta
LA DESOLATA, Romunia
RIMPROVERO, Roniwiai ...
LA LUNA, Romanza ...
LA PRIMA LAGRIMA,
IL MARIN ARO, Barcarolla
L' ULTIMA PREGHIERA,
10 T" AMERO, Romania ...
TOLA IL TEMPO,
M' APPAR SULLA TOMBA, Arietta
2
*
a
a
a
a
a
a
a
2
a
l
DUETS.
LE DUE FANCIULLK. Duottlno 2 6
UNA SERA IVAMORE, Notturuo A Duo Voci (Second
1. 1 1 1 1 . ; i i ... ... w M Mf MC 2 C
ALLA CAMPANA ANDL^MO 2 0
PER L'AURE TACITE 2 0
TRIO.
17. MADRE DEL SOMMO AMORE, TcrzeUino ...
3 0
LONDON :
BOOSBY AND SONS, 28, HOLLES-STREET, OXFORD-STREET,
Digitized by Google
256
THE MUSICAL WORLD.
[April 17, 1658.
NEW PIANOFORTE WORKS.
BRINLEY RICHARDS.
BRINLEY RICHARDS' PIANOFORTE TUTOR.
PRICE 4*.
TV best, the newest, and cheapest of all instruction hooks, containing 60 pages of full-siied mumc, all
exercises, and a groat variety of the most popnlar themes its progressive lessons. The attention of
useful work ; also to
is expressly rtxpieaUrd to this
BRINLEY RICHARDS* NEW SET OF SHORT PRELUDES.
PRICE 3s.
Intended as introdactiona to any pieces; expressly written for amateurs; and to tho
NEW OCTAVE STUDIES.
PRICE 3s. 6d.
By the same popular Composer.
RICHARDS' Edition of Crerny's Etudes de la Yelocito, preceded by new exercises, and a new study on the octave*, composed oxprosaly a. d.
for this edition by Brinlcy Richards ... ... ... ... ... ... ... 10 C
Or in two Parts, each 6*.
„ Edition of Cxcrny's 101 preparatory Studies, with additional finger exercises nnd other studies written expressly for this
edition by Briuloy Richards
Or in two Parts, each U.
„ "Juanita," popular song by the Hon. Mrs. Norton, arranged for the pianoforte ... ... ... ... 1 6
„ " Annie," Barker's popular ballad, arranged for the pianoforto ... ... ... ... ... 2 6
Grand Fantasia on airs from "Lea Huguenots." (Just published) ... ... ... ... ... i 6
G. A. OSBORNE.
OSBORNE'S " Ireland," fantasia on favourite Iri»h airs
„ " Scntland," fantasia on favourite Scotch airs
„ "II Pirola," fantasia solo or duet
N.B.-In tho
I. IN HA ill., India, a lament for the pianoforte
Le«
». d.
3 0 | OSBORNE'S "Sul campo della
3 0
England"
s. d.
3 0
3 0
French tun.
ALBERT LINDAHL.
LLNDAHL. 8wiUerland
„ Germany ,.
s. d.
2 6
2 6 |
T. A. NAUMANN.
NACMANJTS La Danse de* Sirfnc*
We're a' noddin'
Cousin' thro' the rye
s. d.
3 0
3 0
2 C
NACMANN'S Tbo Mill
BJ
S. d.
3 6
8 0
s. A
3 6
3 6
Now Ready,
D' ALBERT'S ALBUM FOR 1868, 21s.
ALSO
D' ALBERT'S TROVATORE WALTZES (just published), 4s.
D'ALBERT'S ESPAGNOLE WALTZES, 4s.
D'ALBERT'S SIBYL WALTZES, 4s.
D'ALBERT'S MARINO FALIERO QUADRILLE, 3s.
D'ALBERT'S LE BONHEUR POLKA MAZURKA, 3s.
CHAFFELL AND CO., 50, NEW BOND STREET.
rutiM.ru by Jnim linour, ..f CaMlclnr bill, in Hie l'srish of I'allnir, in the Comity or Middlesex, nt the office ol Dooscv A 8ox« XS, Hell** wrest. Sold n.!*" t>
i. '*• Jol"'-",t'wit, Orrst rvrtlind-BtTeot ; Aim, Wurwkk-laoc; Vickxrs, lloljrwctl sirat : Kxivn, Pnowss, and Co.. 4S, Cbeanside; tl. gcMcVa»*n>.
85, .>awgnuv«li«i: Joax Husrnran. Ncwgatc-strcet ; Hilinr M*v, II, llolborn-bsrs. Agsuts for Scotland, 1'tTUua *i Bona, Edinburgh and G Umow ,
_ fnr IrcUuid. U. IluwiaLi, Ihibltn ; ami a'.l Muataellcrs.
Saturday Aphj Vibm" JOB*"°"- "n»*,»u aUmn «. Martin's-lane, In tho rsrish of SL Martin-ln-tbs-Fields, In tho County o( I
Digitized by Googlt
IS Ml'SIC, BUd IT BEQCIBtS SO M1TEBIAL, NO SUBJECT-MATTIS, WJIOW
AND It RAJSaS AND ENNOBLM
SUB8CEIPTI0N:-Stamp«d for Postage, 20s. per annum-Payable in advance, by Cash or Post
to BOOSEY & 80N8, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 17.
SATURDAY, APRIL 24, 1858.
f PRICE 4d.
\ STAMPED fid.
QIGNORA FUMA.GALLI, 8IONOR DI GIORGI, |
O and MR CHARLES BRAHAM (Cbndaotor. Signer ViancelL Ail applica-
tion! far th* province*, or the metropolis, to bo addressed to Mr. Charles Brahan.,
MR ALBERT SMITH'S MONT BLANC, Naples,
PomptU. fcikl Vesuvius tiery ofeht (except Lfaturdar) at 8; and Tuesday.
Thursday, and Hntiininy nftcrtioooii at 3, Fifteen can be Accural at the Kox-<ifflco,
E^yptiftii-hall, dailj, between 11 mid 4,
vithout nay extra chvrve.
REUNION de« ARTS, 70, Hailey-street— The members
*r* respectfully informed that the JEIQItTtl SEASON' will commence in
May, and will embrace soma now Icature*. Tlx., an orchestra and choir, compre-
hending the beat amateur Uiont, tc. There are vacancies for a few (amaieur)
Hriuged and wind Instrument*. For further particulars apply (perronally if
ix^ulble), to C. trofTrie, 61, Margaret-street, Cavendish-square.
]\.fK. AGUILAR begB to announce that he will givo
■ivA a Matinee Muaiaale at the Hanonr-airaare Room*, on Monday, May 54.
YocaHsU — Miea Lmds (pupil of Slgnor Ferrari, bar flrst appearance, in public)
and Slgnor Marrus. liistnim*uUli*ta :— Herr Jansa, M. dementi. Herr Goflne.
M. Paquo. Mr. Howell, and Mr. AgmLvr. RcscrTcd Bents, 10a. Kd. ; Bingls
tickets, 7a., to be bad at nil the principal music publishers, olid of Mr. Agullar,
lit, Albany-street, Regent a-p.uk, N.W.
HERR OBERTHUR'S MORNING CONCERT will
Uke How at Willis's Kooma, on Saturday, the 8th of May. Artists !
Madam* Ferrari, Mite SUbbacli, Ntanor Forrari. Piano, Muu Frcelh ; Harp*.
Mm Uiattertoa. Mivt R. Vusnms- and Mtaa Freath (who will perform s Nocturne
ftsr three harps); Concertina. 8&nor Rogoiid. ; Violin, Herr Jan.a; Violoncello,
rwrr Udcl Conduct. r«. Hcrr W Oenr. aud Herr Ftrrcbor.
Ticket*. 10s. 6d. and 7a. 6 1.. to be bad of the ininclpal miulc-seUcrs, and ol
H*rr Oberthur, 14. t'ottage ihoaI. Wostbourne- terrace N <^rt 1, . W.
HERR ADOLPH SCHLOESSER has the honour to
announce that 1,1. GRAND EVENING CONCERT will Uke place at the
Haiio>er-*quarc Rooms, on W«dnead»y. lJth May. ISA*, to aim men ce at eight
o'clock. Vocaiurta— Madame a.«r> Novell-.. Mr. Bantley; Pianoforte— Herr Adolph
WchkmiT. The orchestra will be on the moat complete scale. Conductor,
Mr Benedict. Numbered Reserved Stalls, In*. tkL . to be had at all the Principal
Mrasie sellers, and of Heir Adolph Pchloeaacr, Canibridu^ttreot, Hyde-pork, V
M
R ARTHUR O'LEARY has the hoiK
that he will give a MATINEE OF CLAS8ICAI. Pt V '
Ul announce
•r^B MDSIC
at the Beethoven R -wet, on
tpril 'JftiK, to once men oe at three o'clock > ,#c M*l. byte ;
ousts. Uarr Mouqua, Mr. CipjUni Potter, Mr W. H. tL
Mr. Arthur OXearr BUI I a. hoil^nunea; famUr tiqkeU. to admit t.. a*
guinea: unreeernd «cat., acven nhilliiiga each To he had of Leader ;unl i
IS, Sew Bond-etrvet. and of Mr. Arthur O'Leary. M.
aquaro, W.C
(under diaticyjuished patr"n-»cr> :
Tliuraday. A pi "
Iwttj-uDMtitaiiata,
HER MAJESTY'S THEATRE. — Titiens, Ortokni,
OhlgUnl, AldSgblerl. Vlatetti. and Belle tiL—LBB HU0UEN0T8-0u
April -Vth, extra Jil»rUf. wi [ be ropc.iUsd Moverbcer'e grand opera
3TS ValeoUiia. Madlle Tlticna : Raoul .11 Nangie, Giuglinl
Itbc Ballet DivertJaaement CALIST<J ; OV, LE RENVOI 1>B L AWOI B, by
. Poochim. Annetu, Paacjualo. RiotctU. »wi MorUochl.
itad nanber ot boxca la» I*' rraerval to the pnblie. rrice 21*. and
SUl H. each ; may be bod at the Box oftce at th- Theatre
VfTHB ARABELLA G0DDARD"S SECOND PER-
1"1 FORMANCK OF CLASSICAL PIANOFORTE ML'SIC will Uko place
on Wedneoday Ercuir.g, at Hnlf pa*-. Eigl.t, in Willia'i Rnoaoa, Klng-etrwrt,
BL JanWa. PUnoforU, Mia. A.iibdUOodd^rd: Vioim. M. Sainton; Viola. Uerr
OofTrle ; VIoIodccIIo, Signor Piutti
rROORAMME.
Part 1.— Sonata Duo. in A (pi«n«furte and »lol' nec.kiX W. E Bennett Prelude
and Fuirue, in A minor Q> L, TaTuntc!ta-by«jk»lre). J. 8. Bach. Bonata, in F
(••N«Pl»«UltnO Wocltt.
PaBT II.— Grand bonata, in A flat ( " Flue Ultra "X Poa*ek- O"*1"1 Qiuutet, in
B minor, No. » (pianotvrtr, »iolin, riola. «.d violoncello!
Reawrved FU.x-0. 10a. eVI. ; Unrcwrvod. 7a. To be hod of Mum Arabella Goddard,
«7. Weibeck-atrccl. CareodWi-eqiiare ; and of tho principal Mtatlc-pnbU.hor..
17
MR CHARLES HALLE begs respectfully to announce
that lie will rceume !>.. rianc-fortc ItecltaJg, at rii. reaidonco, 22. Chcahum-
nluoo, Belgrave-euuore. ou Tluiradar, May 13th, to commence at tbrt-a o'clock,
babacriiition fcr the Hcrka of Three Matineea. One guinea. Bubocribcra' name*
received at Cramer, Bcalo, and Co., 201, ItcjenV.trect, R Ollivlcr'a, Old Bond-
•Ireet, and at Mr. Ualle'a midencc.
HALL.— The Vocal
Association, Con-
Ap
ST. JAMES'S
ductor. M BeneeUeL-On Friday evening next, April SO.
Mad. Cutellan. Mailllc Finoli. Ma» Mca«mt. Mr. Tennant. Mr. Allan Irving, and
the Vocal Union, who wi.l ueiform M)«ue of the BKwl oelebratol Engliali Part-
S"Utf» and Owe*. The burden of the Chorua will be taken up by Tim V.nal
Aawjolatloti. Huol for Two Plan... l y Mean*. Ltndwy 8l«;cr and Benedict.
MendeJoaobu'a Olett fur eight lli«triili)ouU Ilaimouium. M En^el Ti.cCi.onn
will numlicr nearly 4<K) iierformer* Ticket., 2a. ed and It Bidcouy Stall*
(numbered), 7b. «.l. So/a Sulla, lilt, Od. To be had of all the principal
PHILHARMONIC SOCIETY The subscribers and
the public are rapectfully informed that th* SECOND CONCERT will tak*
p'acaat too ilanovtr-aquarc Roorna, on Monday next, the 26th of April Pro-
gramme :— Slnfonl.i lu A. compeMxJ for tlic Phllharmcnic Society. MeBdelaaoliu :
Concerto, Violin. Hcrr Joachim, his first appearance till* >ao*oo ; Overture, Iter
Alch) ml>t, Rpohr ; Sinfnnia Paatorale. Beethoven ; Soio. Violin (Trilludal DUvulo).
Herr Joachim, Tartlnl. Overlur.-, FanUV*. ChemMni. Vocal |«rf.-.rmcra:—
Mod. Caatrilon and Big. Belletti. Conductor, Piofwaeor Sterndalo Bunnell, Mus. D
To commence at eight. "
to be had of Meaai
ROYAL ITALIAN
Mr Gti has the honour to announce that the
NEW THEATRE WILL. OPEN
on
8ATURDAY, MAY 16,
On which oeeaaimi will bo perform »d Meyerbeer • Grand Opera.
LBS HUGUENOTS,
V. ' TH.
UXnU TUB FATHOM At. B OT
HER MOST Gl.ACIOUS MAJESTY THE QUEEN,
H all THE PRINCE CONSORT,
an
THE ROYAL FAMILY
Dr. Mark beg* moat rapectfulty to announce that be is open to cngajpi
with but highly appro. cd, interesting, pkaaiog, and inatntclive
MUSICAL ENTERTAINMENT,
RUTITLkTj
DR. MARK AND HIS LITTLE MEN,
i of thirty Ii .»tnim*nt%lii!t*_ nn*l a rocet
whde forming a Dkoat complete and unique
JUVENIL ^2,?° H E S T R A ,
Little Engli«b. Irish, and Scotch boya. from five to ilxtocn wanni of age. w! o play
oticratic Kilcctinn. aoloa, duct*, quartet*, quadrille*, march so, and pt,lka* ; and
afng ..injr*. ebormve*. tc , in a m at cflieiive manner, and to whom be give* a
gvatuitou. general and musical education in order to llluatraU his highly approved
system of inuaieal education, and with whom he travel, about the country tu
excite an Interest for and help to establish musical Institutions called "Don-
servntotras of Music" for UttUj children iu every town, city, and viUoge of Una
great empire
All letters address, prawe, Free Trade Hall, Manchester, or crj . tr^s,. uud»r-
mtatkmed place* of cugageuicnls.
Dr Mark and his Utile Men will )«rforra, April a'
Dr. Mark nnd his Little Men will ptiform, April 27, v
Dr. Mark ami his Little Men will iierfcrm, Apr.l 'i- at
Dr. Mark and h*s Little Men will iwrform. April ■ at
Men will jMrforn. Apill ». at
Men will perform. May 1 , at ~
Digitizea
oogle
258
THE MUSICAL WORLD.
[April 24, 1858.
J_JERR REICH ARDT, 23, Alfred-place West, Brompton.
TO BE DISPOSED OF, au excellent Music Trade in
ens of Iho Midland Counties. Apply to Mr. C. Jeffrey*, Boh o-sn.ua re, London.
JOHN WEIPPERTS ROYAL QUADRILLE BAND.
•J Addnall. 80HO-8QUARB.
MADAME LEMMENS SHERRINGTON has returned
to town for th« sc*aod.— All communications to bo addressed to 7, Hyde
Park-street, Bayswater.
HERR ENGEL has returned to Loudon. For lessons on
ibo awmiHilum, to , addre-e Cliappell and Co., SO, New
Herr Eugol, 10, Hentinck-otreet, Manchester-square. W
MR WALLW
Opera Company
d*.e he will bo In town I
WORTH'S tour with tho Pyno and Harriaon
. my will bo completed on Betnrdsy uext. May 1st, after whf
bo lu town tur the Hum. 0, BowenHt -street. Pitman-sailor*. W
ORGAN FOR SALE. — Two Row* of Keys— 20 Stop*
Jotio Smith and Sou*, King-square, Bristol. N.B.— Ouo or two smaller in
gECOND-HAND
ORGANS FOR SALE
M enure.
POB8TKR AND ANDREWS, Organ-builders. Ituli, bare saveral eccood-
Church and Ctiambcr Org*), for tale in thorough repair Prlca and par
rs forwarded ou application to Fureter and Andrew.. Urgou-buildero, Hull.
THE MISSES McALPINE beg to announce that their
CONCKKT wlil take place at llio Hei;ovsr-su,nars Rooms, on Mon.Uy evening,
Juno la, under diatinguiahod patroiuga. TickcU to be had ul Iho Misses McAlplue.
20. Alfred terrace, Quaan'a-rcad. Bayswater.
N
evening during tho woak (except BeturdayX a New Bone* of IUiMtratioua. Saiur".
day Afternoon, at Three. Admission, la., Ss.. and 3a. j Hulls secured without
extra charge at tbe Ho,:,! Cilery of Illustration. 1«. rWafent-slreet, and at
EW ENTERTAINMENT. — Mr. and Mr*. German
Reed (late Mies P. Hortoo) will Urn, on Monday next, at Eight, aud every
Oo.-a,!
HANOVER SQUARE R60MS.— These elegant and
coursutent rooms baring boon ro-dceoraud and courtly now-lighted with
tho brilliant sun-lights, are to be lot for Concerts, Pub Ic nud Private Bolls.
B-iz-ura^Meetinga, Ac. No^ concert rooms ran^compcte aviih them for sound, for
pRYSTAL PALACE — FI FTH SEASON, 1858-59.—
\J The Now Season will commence ,u SATURDAY. MAT 1st. SRA80N
TICKETS, available to tho otnfa April, are now ready, 1'HICR ONK
GUINEA; Cnildn.11 under Twsl to, Halr-a-Uulnaa, These Tickets will admit to
tbe Palace on the following occasions, rix ; —
The Op- mug Musical and yioiieulUr.il Display on 1st May.
The Festival of tho National bebooi Ch > al Society.
The Performance, of the Paris Garde Nattonale.
The Series of Classics! and MlscelLnoous Concerts.
The Grand Choral Display by the Ilandel Festival Chorus. Military Bauds, Ac.
Tho Concert of Tunic Bol-fa Association, and of Mr. Iltnry Leslie's Choir
The Peifurmanoo by the Bradford Cliotai Assoc' "
The Three Flower Shows Ihve days in all)
Tho Grand Displays of the Great Vetervorks
The 1'0'iltry and other
Tho Lectures
The Saturday Concerts.
in ths prises and privileges
In the event of this power being exercised, care will be taken to give public notice
at least seven days previously
CRYSTAL PALACE SEASON TICKETS FOR
1US-69, Odo Guinea; Children under Twelve, Half-a-Guinea Those
T.ckvta are now ready for issue, and may be obtained at the Crystal Palace ; at
the Offices of tho London aud Brighton Railway Company, Is-naoii Bridge, and
Regent Circus, Piccadilly ; at the Central Ticket OrSoe, 2, Exeter Hall ; and of the
following Agents to the Company :— Cramer, Baals, and Co , Rrgant-etreot ;
Dando, Todhi inter, aud Smith. 23. Greshaui-stnet. Bank ; Hammond and Ne| -hew,
■.'T. Uimlmd-etreet; Keith, Prowse, and Co , 48, Cheaissda ; Letts, Boo. and Co..
S, Riyal E*. hange; Mcsdau.l Paw, II, Hallway Arcid.-, Ionian Un ige ; J Mitchell,
S3, Old Bond street; W. K Sams, 1, St. Janiee's-sircct ; W. R. Stephens. 58.
Tliroum -it n-»tre*t; Charles Wsaterton. »0. St. Georges-place, Kutghtstiridgc.
Bcn.itU.iccs for Heasou TickcU to Ik, by Cheque or Post Oftlcc Order, p.yahlo to
Full programmes of the season may now be had of all (E f agents.
'00 LATE!" — Miss Louisa Vi
Miss Louisa \ innings
Booaey and Sons. HoUss-strcat
New Song.
THE NUN'S PRAYER— An Illustrated Edition of this
Popular Piece is published this dsy, price is. Boosey and Bods' Musical
ry, Sa, r "
Library, M, Hollos-street.
WHEN MY LOVE SIGHS
Words im-1 Music by NECTARINE
I HEAR." — New Song.
IUNNT8IDB, Esq , Author of
too, am ocventeen, Mamma." Price 2a Sd.
Co. men. BsAUS, and Co., 20], Regent-street.
MENDELSSOHN'S SONGS WITHOUT WORDS,
edited by J. W. Davis >u. The Six Books, price One Shilling each. Bucacy
and Hons* Musical Library, 28, HoUee-slreot.
MENDELSSOHN^ SONGS WITHOUT WORD8,
edited by J. W Davison. The Six Books, iu one volume (doth) price OS .
with preface by the odltor. and (.orirail la very superior bin-Jloc. Ts. ssL
Boosey and Bona' Musical Ubrary, ffl. Hollos street.
BR IN LEY RICHARDS' LATEST PIANOFORTE
MUSIC— Chime ursln, beautlnjl hells. Is. ; Net cor plh noa ml sen to, with
vajlaUons, Ss. ; Uio Naiad sdroaro. 2s. : Warblings at eve 2s ; the Echo nocturne,
Marie, nocturne gp OOj »a Ssransde, op, M. to,; the T
H
omf; SWEET
W. Vincsnt Walloos.
HOME,"
l't-rf rmod
transcribed (or
consuntly with
by
OTYRIENNE, pour Piana By W. Vincent Wallace. 3s.
O —"Amongst writers if musk, for ttio pUuoforto, Mr. Wallace Ukss a fats-
moat plsoe. Tbe piece before us will add to his reputaUon in tho drawing rooms
of this country, and "ill l» most popular "—Hull Advcrtisur, A|*ll 10. ,-A
Uarnod and elegant composition. As a study for advanced pupils it will he an
exoellui.t scUiitluc exercise." — Glasgow Times, April 11.
G1EMS FROM THE GREAT MASTERS, both Sacred
I and SecuUr. BcIoele-1 aod imngwl for the Vvoaotortc by Q F. West Tba
first •eric* in now complete of thii popuUr work- Uj ih« una Autbcr, Ve
H yn .fj, 9s» ; tMj'i* AutruutD, 3« ; Ku«ftitui Hrmn "
tts«und the loud Umbrsd. lev «StL : thfl Prayer fr. -v
Robert Docks axid Co., Now Burlington ••troof, W
Mcai^Fiuo"'^-™^-
THK ARION BOOK — Just published— To be continued
X Mouthly. A collection of Part Bonga by tbe most celebrated Compsavra,
transUted and odltad by F. Krcaraes Rcllley. Book 1. contains : — Mendelsanhn's
Autumn Hong, The Happy Wanderer, The Golden Bridge (published for tha ant
time in England), Beichardt's S|iamsh Canxonot und Inuge of the Rose, Pcaruer's
Cci-ki-h.sfers Naore and Parts, price -I- , or In Two I'.hIs. 2s eu-h ; separate
New P^ant
at 8*.
1.-LA MIA
Pries la. each.
' Musical Library, 24 and So, Holles-streel, Oxfords
SKCOND KDITION.
"THE ARROW AND THE SONG,'
BALLAD,
■r
LONGFELLOW AND BALFE.
I shot an Arrow Into tba sir.
It fell to earth I know not whore :
For so swiftly It Sew. tbe sight
Could not follow it in its flljit.
I breathed a Bong Into tho air.
It foil to earth I know not where :
Fur who has sight so keen and strong.
That It can follow the flight of a song T
Lang. long, afterward In an oak
I found the Arr..w still unb
AND
' MUSICAL LillRART, »,
Digitized by Google
[April 24, 1858.
THE MUSICAL WORLD.
259
MR. JAMES KA K AND THE PILTLILARMONIC
SOCIETY.
[We have been requ cited to publish the following corre-
.pondeuce.-ED.iT. . ^
16, Margartl-street, Carenduh-iqvart,
3IareA 1st, 1858.
Dbib Sib,— I am desired by the directors of the Philharmonic
Society to explain to yen that, in consequence of certain arrangements
which it ha* become necessary to make regarding the orcbeetra, they
find themselves unable to oner yon an engagement for tlio enauiug
season. Thie they request me to aay they deeply regret, a* they hare
a tincere reapeot and regard for your character aa an catimable brother
of the profession, and a high eenao of your long and able services to
the Society. With my beat wishes, I am alwaya
— - »_l—
1 oura meet truly,
J. Bse, Esq. Qio.
(Corr of Rbtoy.)
March 6th, 186a
Dsurn Sir,— 1 hare looked in Tain in your note for the explanation
why the acting director* of the Plulharmonio Society for tho cnauing
season should hare scut me ao unceremouioutly my dlacharge at tho
aame time aa the other professors received their engagements, it ia not
the mere loss of my engagement in that Society, but the injurious
reflection it caata upon my character, position, aod capacity for my
future endearoura to lire by my profession, which ia quite enough for
me in theae daya, when thoae whoso position would enable them to do
good for tho profession were only actuated to lower their means of
maintaining themselves in anything like respectability.
Being dismissed without any erplained cause from a aituation I
haro held for ao many year* to the entiifaction of every conductor (I
believe) who have presided oyer those concert*, I cannot understand
what thoae certain arrangemente are to which you allude, that hare
become necessary to make regarding the orchestra, to which I can
bo an impediment by renewing) my engagement. You must hare
eonic one in the situation I bare held, aod boworer superior that person
might be in talent, I bare over done my duty in the orchestra . he can
do no more. If persons in any position in society held their situations
no longer than their superiors in require meats might be found, regard-
leas of previous character and conduct, it would be • sad reflection for
I truat. Sir, for the reason* I hare assigned, I may be favored with
aomo justifiable explanation.
I remain, dear Sir, your* rcry truly,
MENDELSSOHN'S UNPUBLISHED M.S.
2b the Editor of the Musical World.
Sib, — Sometime about the year 1863, there was a rather sharp con-
troversy took place in the musical community respecting tho alwre.
We were told that the M.SS. bad paased from Mendr! sohn's wife to
his brother Paul Mendelssohn, the banker, who, not being a musician
himself, handed them over to Hcrr Schlciniti, the worthy composer's
successor at the Leipsio Conservatoire, for the purpose of revising and
publishing them. This gentleman, however, either not having time,
or inclination, or something else, delayed bringing them forth, so the
charge intrusted to his cars was taken from him aod put into the
hands of four leading Leipaic professors, via., Messrs. Moscheles.
Ilauptmann, Kieti, and David. Such are tbe facta. Now what I wish
to ask is— do you or any of your reader* know whether theae four
gentlemen' havo done ani thing towards presenting the precious M.8S.
to the world, or hsve they been content with looking them oven and
because Mendelssohn has attained sufficient popularity by that which
we hax-e, think themselves justified in withholding that which we have
not, fearing least, on production, " the irvrld tcould think lets of Men-
deUtuAn's genius."
If nothing hss been done in this case, and the long-wished for M.SS.
are securely locked np in some strong box belonging to any of the
above-named gentlemen, or in the archives of lbs Oewandhauf, let us
-beg of that
with
wo can apply to their
■men, or in »no arcuiTes oi mo uvwsiniusu*, icw us
tee in charge again to take up the matter, and not
an idle excuse like the above; or else the only
adttct in England will be '
I remain, Sir, yoora truly,
RECOLLECTIONS OF CALIFORNIA di AUSTRALIA.
BY A MUSICIAN.
(Continued from pity 230.)
As we emerged from our hotel down the dingy stone stairs
and into the court-yard beneath, where slumbered several broken-
down volantes (the cabriolets of Havana), we involuntarily
drew a deep breath, and experienced a profound feeling or relief
at exchanging the close air of our dormitory for the cool and
perfumed land breeze, which at this early hour always blows
steadily until eight o'clock, when immediately it changes, and a
firm and equal pressure of air commences, and continues without
intermission until about noon ; and it ia quite interesting at
times to watch the arrival of vessels at the mouth of the harbour
waiting with exemplary patience the breath of old ocean to
waft them safely into their land-locked haven.
Tho streets were empty : not a sound was heard, not a shop
displayed its wares in the open air (son* /entire) as we, myself
and my six feet-two American friend, having found a glorious
bath-house close to the hotel, started to see one of the lions of
Havana, viz. : the fruit market at early morning.
From what reason I know not, my extensive friend had tho
impression upon his mind that I spoke Spanish ; possibly from
having heard me attempt a little French on board : indeed so
firmly did he seem impressed with my philological acquirements,
that had we met with Dominie Sampson himself, and the dear
old Dominie had challenged me (like Henry Bertram) to a dis-
quisition in the Bengalee dialect, ho would have backed me to
any amount, or aa he would more euphoniously ejaculate " He'd
go his pile upon my slinging the nastiest tongue in Kooba."
My friend being so perfectly convinced of my powers, I was
of course expected soon to put them to the test : for in quitting
the bath-house, we had missed our way, and seeing a rather
gentlemanlike individual taking down the shutters of a shop
that looked as if there had been an explosion of gas there, and
all the window frames had been blown out, I advanced and in
the true Cast i linn style made a low bow, and insanely trusting
to tho possibility of the individual being acquainted with French,
the following interesting dialogue took place :
Myself. — " Bon jour. Monsieur 1"
The Individual. — " Buenos diss, Scfior I"
Myself.— u Paries vous franfais, Monsieur t"
The Individ uaL—u 81, Scfior
Mss,)
Mvself.—" Vc
{The Lord forgive him for
ft/self.— u V onles rous me faire voir la Marche, ou la Halle,
Monsieur 1" ( i'ou see what a linguist I am.)
The Individual (grarely). — No intende, Honor.
Here was a pickle ! The wretch did not know a word of French;
and aa Lovers well-known tale of " Lend tac the loan of a
gridiron" came to my mind, I felt how abominably ridiculous
I must have looked in the eyes of my extensive henchtnau :
when I suddenly recollected the old story of Jarnovick the
fiddle-player finding his way to Marl borough-street by whistling
the air of Marlbrook, and so I determined npon the following
coup d'essai.
Myself.— You know opera, Sif,mor1
Individual (rather impatiently) Opera! Si, Senor, si !
Myself.— Teatro Tacon t (the name of the Grand Opera-
house).
Individval.-Si, Siguor ! Teatro Tacon !
Myself.— Oiicra Francesco ? Masanietto t
Individual (very savage indeed).— Si, si, si ojiera MatanieUot
Then here goes says I ; aud in that mellifluous voice which
would be such u blessing to mothers to frighten naughty children
with, I yelped the "Market-chorus" of Aubcr.
By this time the individual looked as if he had a strong doubt
of my sanity. I proceeded almost in despair. He seized the iron
bar of his shutters, and stood upon the defensive ; my friend
from Illinois buttoned his coat, turned up his sleeves, and was.
as be afterwards told me in confidence, " prepared for a difficulty,'5
("a difficulty" being the general term, out West, for gentlemen
trying to butcher each other).
My desire seemed at once to flash upon him, and he really
danced with delight, struck his forehead, seemed to upbraid his
obtuseness, and uttering about a thousand " Clarajos, shut up
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THE MUSICAL WORLD.
[April 24, 1858.
his shop, and lrd us captives to the market-place, where the
beauty of the fruits and vcgctablea in the pure early morning,
and the exquisite perfume, combined with the novelty of their
form*, present a scene of loveliness worth travelling over the
world to behold. Our new friend was in ccstacies of delight,
and kept continually stopping his acquaintances and relating my
novel method of acquiring information ; and I don't mind
telling anybody now, that we drank a bottle of excellent claret
together ; and that before breakfast too, and it did'nt hurt ns a
bit. But oh ! that breakfast, that delicate, exquisite breakfast,
ao charmingly in tune with the climate ; those little, little
mites of fried fish, so numerous in kind that the inhabitant*
wou't take the trouble to name them specially, those Bweet
plantains and bananas, those French preserves, that glorious
claret, that guava jelly, not forgetting "Tho substantiate, Sir
Giles, the substantials ;" and, to crown all, the coffee and cigars !
Where can you, even in Scotland, get such a breakfast I And it
comes just at the right time of day — ten o'clock ; after your
matitunal coffee and your oranges : always oranges before
breakfast — for what says the Spanish proverb of the orange,
" Gold in the morning, 8ilver at noon, and Ijead at night."
So, breakfast over, we start, all the thirteen, but one,
to see the Bishop's garden, in the outskirts of the city.
The bishop's garden is about four miles outside the walls,
encloses a very large space of ground, and was originally in-
tended as a place for botanical and zoological students, having
been planted with every kind of tropical tree and shrub, and
possessing a large menagerie of animals kept in nearly as
admirable a manner as our own Zoological Gardens : but tunes
changed, the church estates were seized by the general govern-
ment, convents and monasteries were converted into pnblic
offices, and the bishop's garden, which thousands had been
lavished to beautify, was left neglected. But oh ! how wildly
beautiful in that neglect ; those Broken fountains choked with
weeds, the lizards basking in their dry basins, the overarching
bamboos rattling in the gentle breeze, the semicircular benches
covered with moss, Uiu cocoa-nut, palmetto, palm, plantain and
banana mingling in rudo luxuriance, while the melancholy croak
of some sexagenarian parrot, ono of the few remaining specimens
of the hordes of animals that once made the garden resemble
that of Eden before the fall, sounds like a querulous old eccle-
siastic mumbling his breviary. There sits poor Polly, mourn-
fully scratching his old poll and croaking out "Lorita," as
If asking sympathy of him the Spaniard deems almost an
enemy.
Our party had wondered much at the unaccountable absence
of the Dominie (number thirteen), a kind good-natured creature,
and a general favourite, whom we fully expected to meet at the
garden, but who was not to be found.
Now the dominie, be it known, was a clergyman, and being
fearful that his cloth might possibly be soiled by too close
contact with ns heathen, ho cleverly gave us the slip, and
trusting to his knowledge of Spanish, hailed a volant e, and
desired to be driven to the " Palacio Obispo," thinking, naturally
enough, that tho garden was attached to the Bishop's Palace ;
but such not being the case, and after waiting an hour while
tho Bishop finished mass, and then his breakfast, he was intro-
duced with much ceremony to the reverend Prelate, and after
an odd conversation in all sorts of languages, of which the
principal was Latin, discovered the mistake ho had made, upon
which the kind and polite old gentleman insisted upon his
staying to luncheon with him, little dreaming that he was
entertaining a heretic priest.
As we were to renew our voyage the next day, and that day
being Sunday, we, the thirteen, met in solemn conclave to devise
ways and means for promoting our comfort while crossing the
much dreaded Isthmus of Darien, for in that time the railroad
was not in being, and we had to asccud the Chagres river in
canoes or boats, aud all sorts of raw-head and bloody-bones
stories of the ferocity of " tho salvages " (as old Cotton Mather
termed the Iudiaus) were in great vogue among the passengers ;
so wo formed ourselves into sub-committees of three, with a
captain (a New Jersey militia major) to direct the whole : tho
various committees bravely did their duty, and we were well
provided with every kind of French preserved meats, herme-
tically sealed, sardiues, hams, tongues, bolognas, and tins of
biscuit; and as the liquid department was left to the expe-
rienced care of your humble servant, the Dominie, and an editor
of a newspaper (who now sloeps his last slumber In a groveof
cocoa-nut trees in the stranger's burial ground at AcapuTco, with
the dull roar of the Pacific singing his requiem,) everything
connected with our department was in apple -pie order, and
" No, Mrs. Grundy, we didn't forget the knives and forks,
nor did we mix the mustard with the currant jelly, as you
seemed to infer just now ; but we did every thing in a workman-
like manner, and great was our comfort in consequence thereof."
And so at two o'clock on Sunday afternoon we went on board
our crazy old craft again, and bode adieu to this delightful place,
with its balmy air, its quaint old houses, iU polite inhabitants,
(whose graceful manner of returning your cigar after taking a
light, with a delicate twist of the wrist, and a slight thrust en
Kaeconnadt, must be seen to be appreciated,) its old churches,
'its shovel-hatted, Don Basilic- like, priests, its lovely women with
their mice-like feet (" No ma'am, that is not my idea, bat Sir
John Suckling's, as recollect—
LJe^iMl^rn1ce^pwpe^\n°«fd ouL'")
And talking of feet, we musn't forget that extraordinary fashion
the female negro slaves have of appropriating tho delicate white
or coloured satin slippers of their mistresses, and scuffling along
the street with them stuck on their great toes, the principal one
of which (tho identical one that went to market, my little niece
says, at my elbow) just fits the miniature chauaeure ; nor must
we lose sight of those green and gold-bedizcucd gentlemen, the
volante-dri vers, they wear neither boots nor shoes, but in lieu
thereof enormous spurs upon their naked heels. So farewell all
thy charms and oddities, beautiful Havana! we have lingered
lovingly among thy recollections, and like Niagara, thy beauty
but increases as we linger. " Increase of appetite doth grow by
what it feeds on." (I believe that is the correct quotation.)
Well, onward through the Corribbean Sea we rolled, leaving
Cuba upon our left, passing Cape San Antonio, and Providence
Island, formerly one of the many resorts in these seas of the
early buccaneers and pirates, and in four days and a half from
the time of our last ofling we came in sight of Chagres.
Chagres has simply a roadstead, and a very rough one it is
too, for we kept bobbing up and down while at anchor, until
I thought wo should have been pulled to pieces. The land did
not look very inviting, there being only what appeared a rising
ground, or bluff, and a semi-circular sandy beach, with tall cocoa-
nut trees ; and as for the water — ugh ! the very recollection
mokes me shudder; it was literally alive with sharks, and the
feeling was anything but cozy or comfortable, in getting from
the vessel into the whale boots which swarmed around us, to
see these obscene fish nuzzling up against the gunwales of the
light craft, which kept dancing np and down from one to twenty
feet in the pea-green water ; however, at lost at the expense of
some barking of shins, our party with our luggage got safely
away in various boats, and I had then time to look about me ;
and as we neared tho entrance of the river the land assumed
quite a different appearance than as seen from the lofty sides of
the steamer. Tho Chagres river has its rise in the interior
mountains, and in its rapid course towards tho ocean (when
swollen by the terrific rains that pour without intermission for
at least four months of the year), it deposits at its mouth a vast
quantity of alluvial soil, which, quickened by the generating
neat (which is here within ten degrees of being equatorial), a
dense jungle is formed, and the mangrove branches growing
beneath the water seem to threaten completely to close the river,
which rolls seaward, black and unctuous with its pestilent
miasma. Upon the left of the entrance, perched high in air,
are the rains of an old Spanish fort, covered with creeping
Dita, and defended by some old honeycombed cannon, wbicfi
often done good service in old times in defending the cara-
vans of precious metal which were brought from South America
to cross the Isthmus and be reshipped at Chagres. The town
(so called) was on the opposite side, and on the spit of land upon
which the cocoa-nut trees grew. It consisted of numerous
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April 24, 1858.]
THE MUSICAL WORLD.
native huts, that looked like dirty beehives, and several woodon-
f mined houses imported by speculating youths from the Eastern
states, who were rapidly amassing fortunes by preying upon the
unwary travellers, at the expense of health, both mental and ,
bodily. I speak of the town in the past tense, as undoubtedly
by this time it has resolved into it* pristine ruin and solitude,
the abode of a few fishermen and the ubiquitous turkey-
buzzards ; for the building of Aspinwall, about twenty miles
down the coast, and the Atlantic terminus of the railroad across
the Isthmus having been completed, the Chagres river as a
medium of travel has ceased to be available, and you now walk
ashore from the deck of tho steamer into a railroad car, and in
from four to six hours walk out of the car into a steamer on the
Pacific Ocean, having avoided the difficulties and dangers of the
river and land passage, through the engineer's triumph, and
over a railroad whose every yard of length has cost a human
life.
The principal articles of consumption in this precious town,
were very fine brandy and quinine j the bitter exquisite bitter
being vended at the extremely low price of five dollars per
dose. Several of our passengers here began deliberately to sow
the seeds of that fearful disease, Chagrea fever, which has made
so many a home desolate, has strewn the Isthmus, aud polluted
the waters of the Pacific, with the yellow and putrid bodies of
its victims. For God's sake let us get out of this horrible place 1
We hunted up a padrone, or owner of a boat large enough to
take oar party and luggage to G&rgona, then tho head of
navigation of the river ; and having secured everything to our
liking, and at really a reasonable charge, the next thing to be
done was to stir up the boatmen ; and this was one of the most
difficult things to accomplish, for the vagabonds were busy on
the opposite side of the river playing monti, a Spanish game of
cards, the principal peculiarity of which seemed to mo to be
like those enticing delights they used to have at races, in which
" Noble and sporting games, the more you put down, the less
you take up/' I crossed with the padrone, (a very dark
coloured gentleman from Haytn to arouse our "merry merry
men," but as they were in the thick of excitement, it was per-
fectly useless to attempt to move them ; so the padrone and I
sat down quietly in the shade, enjoying some noble plantation
cigars about a foot long, until the sporting gentlemen had lost
all their money, which took place in the smoking of two cigars ;
when four lithe and active black follows came out of tho hut
quite cleaned out, and evidently much in the same frame of
mind as our young friend Cornet Filz-Spooneyville, as he
desperately staggers up St. James's Street, after a pleasant
evening at ecarte with his dear friend Jack Swiudleford. How-
ever tho ill-humour of our boatmen soon wore away, and as they
found that we were tolerably decent hombrci and did not haggle
at their charge nor abuse them unmercifully, (as too many ofthe
royageun used to do, thereby engendering the bad blood that
too often has resulted in the brutal murder of the innocent,)
they cheerfully packed our trunks in tho boat, the padrone sat
in the stern as coxswain, we cracked a bottle or two of glorious
claret (which with my amazing artfulness I had hong an hour
before in the sun. wrapped in wet flannel waistcoats to cool the
wine by external evaporation,) and giving three hearty cheers
of delight at leaving this home of pestilence, the boatmen pulled
away lustily chanting (as well as my memory serves me) some-
thing very like this—
The words to which cheerful ditty being (as my sable Padrone
informed me) rather of too facetious a naturo to suit a transla-
tion I am reluctantly obliged to omit.
JOHN CRAMER.
J has Baptists Craves, eldest son of William Cramer — the
celebrated German violin player — was born at Mauheim in 1771.
He was a mere boy when lie accompanied his father to England.
His talents for music displayed themselves at an early ace,
and were cultivated with care. His father at first taught him the
violin, and intended him for the instrument ; but the young Jean
betokened a decided predilection for the piano. He took every
opportunity that presented itself of practising, and exhibited
such perseverance, that his father decided to let him follow his
own inclinations, and placed him under tho instructions of a
pianoforte teacher named Denser. After having taken lessons
from this professor for three years, Cramer, in 1782, was trans-
ferred to Scbrooter.and finally, in the autumnof the followingyear,
became the pnpil of Clemcnti. He had, however, the advantage
ofthat renowned master'scouoselforoucyear only, Clomontibaving
left England in 1784, to travelonthe Continent. The following year
was employed by Cramer in making himself familiar with the
works of the great masters, especially those of Handel and
Sebastian Bach. He had hardly attained his thirteenth year
when he signalised himself by his remarkable talents as an
executant on the pianoforte. He received many engagements
to p'ay in public, and astonished his hearers by the purity and
brilliancy of his performance. In 1785, he studied the theory of
music, under Charles Frederick Abel. Having terminated his
studies, he set out on a continental tour at the age of seventeen,
performing in public at every town and city on his travels, and
everywhere exciting astonishment and admiration. He returned
to England in 1791, and commenced teaching the pianoforte. He
had already gained some reputation as a composer by the publi-
cation of several sonatas. Some years afterwards he again
quitted England and repaired to Vienna, when he renewed his
acquaintance with Haydn, whom he had known in England.
From Vienna he went to Italy. On his return to England
he married, and from that timo resided in London, making it his
fixed residence, excepting when ho took short excursions to
Paris or the Low Countries. After some years, when his talents
and accomplishments became well-known, ho was made professor
of tho pianoforte at the Royal Academy of Music
Among the numerous and various compositions which Johu
Cramer wrote for the pianoforte, his " Studies" have gained the
greatest reputation by the interest of the subjects, and their
felicitous treatment. They arc, indeed, eminently classical.
The entire collection of his compositions embraces one hundred
and five sonatas for the pianoforte, divided into forty-three
"operas;" seven concertos with orchestral accompaniments ;
three duets for four hands; two duels for piuno and harp;
grand quintet for piano, violin, tenor, violoncello, and contra*
basso ; quatuor for piano, violin, violoncello, and coulra-basso,
two nocturnes ; two suites cTitudes, and a multitude of de-
tached morceatur, rondos, marches, waltzes, air* variee*, fan-
tasias, and bagatelles.-'
Cramer was remarkable for tho manner in which he played
adagios, and for the variety of his tone. Nothing could surpass
the delicacy of his touch. His manner was entirely his own,
and resembled that of no other great pianist.
Miss Arabella Goddard tx Bach's Music. — But excellently
as she played throughout the evening, in no other piece did
Miss Goddard sun-ass her performance of Bach's two fugues.
Brilliance of touch and careful study of the music are joined to
a finish of execution aud a distinctness of jwrforroance so per-
fect, especially in passages with the left hand, as to justify a
conjecture that Miss Goddard docs not possess one — but that
the fair fingers which produce so wonderful an effect arc in
truth two nght hands. In Bach's music she is unrivalled ; no
one does or can attempt to surpass her, and to equal her in this
walk is a task which scarcely any of our pianists would like
to set themselves ; and vastly are the lovers of this music
indebted to her for the oxquisite performances she from time to
time gives of the chief pianoforte works of this great composer.
— Musical Gazette.
• Since this c-Ulogue (borrowed from M. Petit) was made, Cramer
published many more workt.-Ep. 3f. W.
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262
THE MUSICAL WORLD.
[A phil 24, 1858.
8IGISMUND NEUKOMM.
This indefatigable composer and traveller, whose career was
destined to be prolonged over so long a period, commenced music
at an early ape. He was bom at Salzburg, on the 10th July, 1 778.
Ilia musical instinct was developed when he was only in his tenth
year. He had Weissaner, the organist, as his first master, and
was soon able to help him. He studied successively the me-
chanism of moat stringed instruments so well as to acquire a
remarkable degree of skill on some of them. At fifteen, he
obtained the post of organist at the University, but this did not
prevent his continuing his classical studies, under the guidance
of his father, professor at the Norm.-il School of Salzburg.
Michael Haydn, whose wife was related to Neukomm's mother,
gave tho subject of this memoir lessons in thorough-bass and
harmony ; frequently, indeed, he caused his pupil to officiate for
him as Court organist. He was destined to procure him, more-
over, a far superior advantage, uamely, the protection and
of his illustrious brother, Joseph Haydn. Whem
completed the usual course of philosophy ana
j and filled the place of eo-repttiteur at the Opera,
young Sigisraund left Salzburg for Vienna, ho was welcomed at
the latter place by the great master, who, for seven or eight
years, treated him less as a punil than as a son. Towards the
end of 1806, Neukomm left for Russia, taking Sweden in his
way. At Stockholm, he was uiado a member of the Academy
of Music ; at St Petersburg, lie was entrusted with the direction
of the German Opera, and the Philharmonic Society admitted
him among its members. He caused several of his own compo-
sitions to bo executed in this city, as well as at Moscow, but it
was in Germany that he first published anything. He had been
summoned back thither by tho death of his father, and was
present at the last moments of Haydu.
Neukomm wont to Paris after tho peace of 1800, anil was
induced to remain by his connection with distinguished men of
all classes— scholars, artists, and diplomatists. The Princess de
Vaudemont presented him to Prince Talloyrand ; and Dussek,
then attached, as pianist, to tho Prince's establishment, happen-
ing to die, Neukomm succeeded him. In 1814, ho followed the
Prince to the Congress of Vienna, and a Requiem he had com-
posed, in commomoration of the death of Louis XVI, was
executed in St. Stephen's Church, by a chorus of 300 persons
in the presence of the Emperors, Kings, and Princes assembled
at the Congress. In 1815, the decoration of the Legion of
Honour, together with letters of nobility, was conferred on
him. In 1810, he accompanied the Duke de Luxembourg, when
the latter was sent as ambassador extraordinary to Rio Janeiro.
He was appointed mallre-de-c/utpelle to Dom Pedro, and remained
in that situation four years. Having returned to Europe in con-
sequence of the Brazilian revolution, he re-aasumod his place in
the establishment of Prince Talleyrand. But an irresistible
impulse led him, shortly afterwards to Italy, Holland, England,
and Scotland. In the last named country he was warmly welcomed
by Sir Walter Scott. After the revolution of July, he followed
Prince Talleyrand in his embassy to London, whence he pro-
ceeded to Berlin, ami thence back again to London and Paris'
After this period his whole time was spent in travelling, and
residing, for various periods, in different parts of Europe. The
more he advanced in age, the less sedentary did he become.
Latterly, however, he resolved ou remaining with his family,
aud died at Paris, on the 3rd April, surrounded by his brother,
Antoine Neukomm, his sister-in-law, aud his nephew.
Despite his nomadic life, Sigiamund Neukomm was an artist
of tho most legular and methodical habits. Every day he per-
formed with unalterable punctuality the task he had set him.
self; every day he w
work suffered in no <
self; every day he wrote or improvised at a fired hour, and his
work suffered in no wiso from the many acquaintanceships he
had the art to keep np. In the Biographie Unicertelle d«*
Muiicims, M. F6tis gives a summary or tho thematic catalogue
which Neukomm had kept of his works from the time he was
five-and-twenty, and which then stopped at the month of August,
1830. This catalogue did not contain less than 624 vocal, and
210 instrumental nieces, making 713 in all. Since then, tweutv-
two years have elapsed, and Neukomm employed them as fie
had employed the others: ho was no less laborious and no less
fertile. A great number of these compositions have been pub-
lished in France, Germany, and England, but the larger portion
is still in manuscript.
Sigiamund Neukomm's obsequies were celebrated on Monday,
tho 5th April, in the church of Notre Dame de Lorette. A
friend of the family, M. Boissiere, member of the Philotechnie
Society, pronounced the last words of regret and the lastadieux
over his tomb.
MUSIC AT NAPLES.
(From La Frane* Muticalf.)
NapUt, 27/* .
Tnis year, as usual, the works of Maettro Verdi
alone supplied oor first lyrical theatre, and, despite the i
and inefficient manner in which they were rendered, have mot with
a more brilliant reception than any other productions. Signor
Verdi was only ablo to be present at one performance of Z«
Vipree Siciliennet — he bad not the courage to go again. The book
was mutilated and changed into Until Je di Tttrtnna — the first
transformation, Oiovanna di Outman, adopted in all the other
states of the Peninsula, not having been considered innocent
enough by the Neapolitan censorship. The execution was imper-
fect ; the score arranged so as to suit the powers of those charged
to interpret it; and the miit-«n~*c4ne mean. All this was not
very attractive for the composer. The opera was, however, con-
sidered by every one here to be the spoilt child of the manager.
He had loosened his purse-strings, and incurred expense for
scenery and costumes more willingly than for any other work.
Since the month of October, when the winter season com-
menced, the following operas have been played in succession: —
/ Lombardi, It Trovatore, VioUtta, La Traviala, Batilde di
Turenna {La* Vipret), LioneUo, Rigoletto, Luisa Miller, and / Ihit
Foscari. The amount received for these works, compared with
that received for the Vettale, I Puritani, and Linda, is an elo-
quent testimony of tho preference evinced by the public for
Verdi's compositions.
Tho management of the theatre here, wishing to give the
illustrious composer a mark of their gratitudejhave brought
an action to recover special damages from him. Why? Because
he would not write an opera to a fearfully mutilated libretto.
Signor Jacovacci (the manager of the theatre at Rome) was
here for three days, during which period he was clever enough
to come to terms with Signor Verdi about a new opera. The
composer signed the engagement, on condition that Fraschini,
the tenor, and a contralto should be engaged. Signor Jacovaco
engaged Fraschini tho same day. and then set oat tor a contralto.
By this time he must have found oue. This is a good '
our managers, Rome has chiteUed them out of the com
their best artist. Long deliberations and longer convsi:
were required to engage Signor Verdi at Naples. To engage
him for Rome, Signor Jacovacci needed only five minutes anil a
signature at the bottom of a letter. Luckily, the public protest
loudly against such faults on the part of managers.
While on the subject, I cannot pass over in silence the bril-
liant ovation offered to Verdi, a few days since, by the pupils of
the Conservatory of Music. His Royal Highness the Prince of
Syracuse having expressed a desire to hear some pieces of
classical music well executed, the pupils of the college per-
formed, under Mercadante's direction, Beethoven's symphony
in E fiat, aud Mozart's Zauberflote. The audience con-
sisted of our moat distinguished musicians and of mem-
bers of the most fashionable circles. Tho performance was
irreproachable. After the above selection, tho overtures to
Utifdtio and the Vipret Sicilunnet were played. At the con-
clusion of tho concert, Verdi visited tho archives of the Conser-
vatory, the Chevalier Florimo. the keeper of them, doing the
honours. The illustrious visitor examined successively the
manuscripts of the most celebrated composers, and, among
them, those of Scarlatti, Cimaroea, Piccini, Jomclli, Paeaiello,
etc. On his arrival at the f"
principal professors of the i
a triple round of cheers.
aud tho pupils again cheered the two celebrated
Bottesini, the incomparable contrabaasist, will shortly play for
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April 24, 1868.]
THE MUSICAL WORLD.
263
the benefit of the victim* of the earthquake. It it impossible
to describe the success achieved by him in the saloons -where he
has already played, that ia to say. at his Roy id Highness the
Prince of Syracuse's and Mercadante's. The maestro had
invited the chief Neapolitan professors to meet him. All the
Monteliveto room, where Bottcsini is to give his concert, is let
Luckily, the celebrated artist has promised to play there more
than once. C. H.
MUSIC IN LIVERPOOL.
{From the "Literpool Daily Post")
Tnx third subscription concert of the Philharmonic Society
was u'ivcn on Tuesday night. The vocalists were Madame
Castellan, Miss Dolby, and Herr Deck. The solo instru-
mentalist was Mis* Arabella Ooddard. The programme was as
follows :—
PART I.
jr. in C minor ... ... ... ... Haydn.
• quesla bella mauo "— Hcrr Deck ... Mozart.
Aria— "Delia ro*a" (Buries)— Madame Castellan RoMini.
Madrigal— "Sweet honer-incling bees" Wilbye.
Arl*-" MUle voile sal esmpo "- Mill Dolby ... Donizetti.
Concerto in A flat— Hits Arabella Ooddard ... Humuxd.
Trio-"L'u*atoardir"
Bslfr.
Tbalbeif
Ros.ini.
a-bubert.
Harold.
PAST II.
Overture (Midsummer Night's Dream) ...
Song—" The green trees - M its Dolby ...
Fsntaaia (Msssniello)- Mil* Arabella Ooddard
Song—" Arpa gentil "■— Msdaine
Four- Part Song— 14 The deep
Duct — " Serbami ognor "
Song—" The Wanderer "— Ilerr Deck
Overture — (Le Pre" aux Clercs)
The symphony (No. 6, of Saloman's twelve) was very well
played. In the other orchestral works the band appeared to
considerable advantage. Madame Castellan's roost successful
attempt was in the duet, " Serbami ognor," with Miss Dolby,
towards the end of the second part. Miss Dolby was in
excellent voice. Her reading, so refined and free from affecta-
tion, was everywhere admirable. She delighted the audience in
Boife's " Green trees whlsnered low and mild,'' and was encored.
Herr Deck appeared for tne first time. Schubert's " Wanderer "
was his best effort, though he sang Mozart's " Per quests bella
niano" with much taste. Mr. Thomas played the obbligato
accompaniment very well on the violin. The chorus gave Wil-
bye's madrigal, "Sweet honey-sucking bees," very creditably,
but appeared to most advantage in Mendelssohn's four-part song.
The great feature, however, of the evening, was undoubtedly
Miss Goddard. Her performance of Hummel's beautiful con-
certo in A flat was something mar
She has a purity of
style, evenness of touch coupled with great power, and a delicacy,
that places her in the very foremost rank of pianists. We never
saw a performer so free from affectation. With powers of the
highest excellence, she takes her place at the piano with a lady-
like ease and dignity every way to be admired. Her pose ia
graceful throughout : there is no labouring, however great the
difficult v ; and our ears give the only evidence that the music
■he is playing, so far from being the simplest in construction, is
replete with every conceivable manual difficulty. The concerto
of Hummel was undoubtedly a rich treat to the educated musi-
cian ; yet we cannot but adroit that Thalberg'a Masaniello, and
" Home, sweet home" (given on the former being encored), were
more fitted to the taste of a mixed audience. We should have
liked something of Beethoveu or Mendelssohn, although the
arrangements of both the fantasias aro perfect in their style.
In the MasanieUo, the treatment of the "Tarantella" and
- Prayer," in combination, was masterly, and the way in which
Miss Goddard maintained each melody intact was a triumph of
oxecutive skill. We have reason to be proud of having auch a
countrywoman. Wo hope it will not be long before we again
have to welcome this gifted lady amongst us. Pianoforte playing
• indeed while we look at Miss Goddard. We have
only, however, to glance at the music, to see what years of
labour must have been spent, aided by a heart y love for her art
and natural gifts of no ordinary character, to attain to that
facility and excellence which so much delighted us.
On this occasion Mr. Herrmann conducted with that watch-
fulness and skill which so much conduce to a satisfactory result.
Krioatk. — A concert was given, on Thursday evening, at the
Town Hall, by the Choral Society, under the direction of
Mr. Thurnam, assisted by Miss Hughes and Mr. Cumminga.
The programme comprised, in the first part, selections from
the works of Handel, Haydn, Mendelssohn, Rossini, Dr. Elvey,
and Costa. The second part, devoted to lighter music, comprised
glees, dnets, and part-songs. The singing of Miss Hughes and
Air. Cuiuniings was excellent, and both were honoured oy more
than one encore, a compliment which was also paid to the
chorus, in a part-song, by Miss Stirling. The success of the
Choral Society, when the difficulties are considered, is highly
creditable to their conductor. The Town Hall was too crowded
for the comfort either of the audience or the performers.
Ehitu — (From a Correspondent). — On Friday, at the Assembly
Rooms, Pier Hotel, a concert was given by the Erith Philhar-
monic Society, to a crowded audience. Mr. Hall conducted the
band. The vocalists were Miss Hall Miss Haynes, Mr. G. Dell,
and Mr. G. C. Bliss. The programme consisted of some of the
most popular music of the day, and was executed in such a
manner as to give perfect satisfaction to all present.
Lkicebtbk— -( From a Correspondent).— The Concerts for the
People (under the direction of Mr. Henry Nicholson) have been
brought to a most successful termination; the local papers
speak in the highest terms of the whole series. " Excellence
and variety of entertainment have been particularly marked
features."— Mr. Elliot Osier's Opera Company, aided by Mr.
Nicholson's excellent little orchestra, are now performing at the
Theatre Koyal. — J ullien announces a concert on Tuesday_evcn-
iug next the 27th, with
Mr. Uuiue'uyi (solo violin),
amuttur " of the ■ great pu"
from hi* Leicester friend*.
PRINCESS'S THEATRE
Mr. Citable* Kean has achieved in King Lear a success that
will do more to confirm him in his high position than any he has
vet attained. Fine as was his acting in Cardinal Wolsey and
Richard IL, the spl endid accessories by which he was surrounded
enabled his detractors to sink the merits of the actor in those of
the manager, and to declare that, in the case of these pieces, the
decorations were the main attractions. Louie XI. and Hamlet
had indeed fully revealed the power of Mr. Charles Kean to
rely on his unaided genius ; but the former was not a Shaks-
perean part, and the latter was so much identified with his
youth, that it might be cited as an exceptional character. Now
his triumph a* Lear, which combines the elaboration of Louis
with a display of emotion altogether unprecedented, i* purely an
actor's Bucceaa, and that in one of the loftiest of Shaksperc's crea-
tion*. Bv the intensity of the curse, by the combat between grief
and rage in the second act, by the details of insanity, by the sud-
denly awakened love for Cordelia, docs he cause all who listen to
m announces a concert on Tuesday evci
i Miss Louisa V inning, Miss Kate Ranoi
iolin), 4c., &c. No doubt the "gran
at public" will receive a hearty welcom
him to thrill with awe, or to melt with sympathy, and the
would l>e the same, if the shabby scenery that lined the »M
in the old days of the Haymarket occupied the place of I
beautiful views of Anglo-Saxon England that now decorate the
Princess's. Never was the inspiration of genius, and the con-
scientiousness of art, more thoroughly brought into harmony
with each other, than in this groat Shakspcrean delineation.
MAINTEN ANT DONG.
(From "Punch.")
Wk'vk got a great artist, a lady named Titiens,
Whose praises wad sing, but her name will not rhyme.
Stuff I Horace reminds you, with " Tantalus eitiene,"
We've Thirsted for music like her* a long ( '
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264
THE MUSICAL WORLD.
[April 24, 1858,
ROYAL PRINCESS'S THEATRE.
TUB MANAGEMENT OP MR. CHARLES KE.VN
ON Monday, Wednesday, and Friday, KING LEAR,
urcceded by SAMUEL IN BEARCH OK HIMSKLP. TiiwUy »nd Thurs-
jrcceded br SAMUEL IN BEARCH OK HIMSELF. Tuesday and Tuura-
EXCHANGE ; or The Green Buotnesa. FAUST AND MAR-
MUEL IN SEARCn OF HIMSELF SaMirdnv, THE STOCK
The Green Business. A MIDSUMMER NIGHT'S
and SAMUEL I
fOYAL OLYMPIC THEATRE— On Saturday evening
, the fcrfcrnuna will commence with the new eomedictu.
THEATRE ROYAL, ADELPHI. — On Saturday
ewnlne. April Stlh. the performance will commence with the popular drum*
of THE POUR STROLLERS. After which will be produced a tfnuid oriental
spectacular operatic drama, in two net*, with new scenery, dnuee. decorations
he . called the CAUPH OF BAGDAD
ST. JAMES'S Til KATRE— PROFESSOR WILJALBA
FRIKRI.L— Positively the Law Week preslous to Prafueeor Frikiu's dep»r-
ture for Hutaia. "TWO HOURS OK ILLUSIONS," ae performed, by command,
before Her Moat Gracious Majesty (he Queen and Court, at Windsor Castle Every
evening, nt Eight; Wednmiday, and Saturday altcmixma »t Tlire* Stall*. *» ;
Holcooy Menu. 4a ; Boxes 3* ; Pit, Si ; Gallery, la Private Botes and places
may be aoriired at Mr. Mitchell's Royal Library. 13 Old Bond-street,
GREAT NATIONAL STANDARD THEATRE
BHOREDiTCH — Proprietor, Mr. Jomr DatnuM.
Engagement of Mi Phelps, Mr. H. Mars too. Mr. F R)bitisori. MUe Atkinson,
c.l Sadler's Well*, und tho popular vocalist, Miss Rebecca Iso/ics. Ou Monday,
VIKUINIC*. Ou Tuesday. WINTERS TALK. On Wodneeda,. ITALIAN WIPE.
OuThormlay, Friday, and Saturday, a I*lay. in which Mr. l'lielps wtU jmrfbrm.
Afterpece.. THE PET OF THE PUBLIC and THE KISS AND THE ROME, in
which Miss Rebecca Isaacs will sustain her original characters. To conclude with
THE SEVEN CASTLES OP THE PASSIONS- No advance in the prices.
THE MUSICAL WORLD.
LONDON, SATURDAY, Aran, 24th, 1858.
John Cramer died on tho evening of Friday the 1 6th
instant, and was interred, at Bronipton Cemetery, on the
morning of Thursday last. He had reached the advanced
age of eighty-eight, and till within a year or two of his
decease was in all the vigour of health and the fullest enjoy-
ment of his faculties.
Cramer was a celebrity both of the eighteenth and nine-
teenth centuries. In early youth ho had attained the highest
rank as a pianist, and his famesp read everywhere. In the course
of his long career he was esteemed a worthy rival and associate
of Clemen ti, Woe 111, Stcibclt, John Field, Dussek, Hummel,
Ferdinand Ries, Moscheles, and other eminent " virtuosi,"*
who made the age in which they lived, and wrote ami played,
an age as famous for pianists as the Byronic age for poets.
From dementi's counsels, and the study and practice of
dementi's works, Cramer derived that faultless mechanism
for which he was distinguished. His iieculiar style of playing
(especially in the jierformancc of adatjios) may, however,
be traced to Dussck, who was his model in compo-
sition. Certainly a greater genius than dementi, Dussek,
nevertheless, was not to be compared with tho renowned
Italian as a masician of acquirement; and it was easier
to imitate Dussek's strongly defined manner than de-
menti's marvellous ingenuity. Although one of the most
prolific composers that ever lived, Cramer was by no rueaun
learned. Tho number of his published works is prodigious,
and still more remarkable, the fact that they are now almost
all forgotten. The reason of this is evident. Not one of
them bears the stamp of genius. Cramer had no genius;
he possessed that extraordinary faculty which is so
taken for genius at first sight, but which is as remote
it as mere oratorical fluency from the godlike gift of poesy.
Those who have access to his works can verify by reference
the truth of our assertion. They were made for tho hour.
His concertos and sonatas — in short, his important composi-
tions without exceptiou^xamined from the point at which
musical taste has now arrived, arc like ancient dresses and
decorations, that may have shone and sparkled in their day,
but are now wont and faded, and if handled at all roughly
will fall to pieces. A concerto of Cramer can no more bear
looking at in the present time than a quartet of his his-
torically illustrious patron, Priuce Ferdinand of Prussia,
whose death, by tho way, inspired the genial Dussek with an
effusion of such deep feeling, and glowingly imaginative
beauty, as could never at any time have proceeded from
Cramer.*
Cramer passed the greater part of his life in England,
but lus fame, both as a pianist and composer for the piano-
forte, was European. He was acquainted with almost all
the contemporary celebrities. The date of his birth is
interesting, from the fact that Haydn, Mozart, and Beet-
hoven were all living — Haydn in theprimo of life, Mozart, a
very young man, already in the vigour of production, Beet-
hoven, the future giant, in lus cradle. Cramer knew Haydn
intimately, and frequently profited by his advice. It may,
be said of him that ho was nursed in the lap of
• To^s^aolWng of the giant,
who stood nlof.f from and
therefore,
music How it was that in such a nursery the boy grew" up
to 1ms little better than a first-class virtuoso, it is not for as
to say. Suffice it, Cramer was a meteor, dazzling in its
course, but, once departed, lost in utter darkness —
" Drunk up bj thirsty nothing."
But let us be just. One work of Cramer's is, in all pro-
bability, destined to immortal honours. His Studio per U
Piano (tamiliarly known as Cramer'* Studies) is tho most
valuable bequest in its way that was ever made to the world
of pianists. Professors and amateurs have alike profited by
the study of this admirable guide, and will continue to profit
by it so long as the pianoforte holds its place among musical
instruments. In the face of similar works from some of the
greatest of composers, it continues to maintain its rank,
and has every chance of going down to posterity with
the Clavier bien Temperc of John Sebastian Bach, and the
Gradue ad Panuusum of dementi, with which, although of
course it can bear no comparison in a certain elevated sense,
it has fin evident affinity. Just as the fugues of dementi,
Bach, and Handel form the mind, the exercises of Cramer
train the fingers of the student. But this is not all the
praise to which the Studio is entitled. It consists of beautiful
and finely written music from end to end ; and upon this one
production must rest tho future fame of Jean Baptist*
Cramer.
Many a chequered year has elapsed since an esteemed
friend of ours sent to this journal the following pithy
pro|Kwition : —
" All men arc brethren— Coins and AbeU."
We have read a great deal, and we have forgotten a great
deal, since the above smart sentence was published in the
Musical World, and we have heard much smarter things
emanate from the month of the writer. But somehow or
other it has always held a resting-place in some corner of
our memories, whence, ou the slightest provocation, it has
been ready to start forth. Provocatives not always slight
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Apbil 24, 1858.]
THE MUSICAL WORLD.
265
have been frequent, and the wisdom of Charles Lamb
Konnoy has proved lamentably correct.
The maxim or aphorism (alas ! may we not even say the
" axiom "1) rose upon our minds the other evening as we sat
in St. James's Hall, illumined, like devout Islamites, by the
small chandeliers that, in mosque-like fashion, dangled from
the roof. The hall was bright and beautiful, — statues of
Cupids or male Muses, such as might have sprung from the
hand of Phidias or of Madame Tussaud, smiled down upon
us, and dissipated our Moslem fancies. We pondered, also,
on the names of the musical immortalities painted on the
panels that adorn tho upper part of the room, and some of
these we worshipped with a full knowledge of their deserts :
others we revered in the spirit of faith ; for with the nature
of their claim to the unfading laurel wo were but imperfectly
acquainted. And wo said, truly immortality is, in some
respects, like death. For whereas death puts the high and
the low into one common earth, so doth immortality write the
names of the renowned and the obscure on one common
tablet, and that tablet is at St. James's HalL
Thus we looked around, and we reflected, and we senti-
mentalised, till suddenly we asked ourselves, why, of all the
organs of sense that connected ua with the external world,
our eyes were alone employed 1 There was an orchestra,
and there were vocalists, and there was a band immediately
before us — and we think that, somewhere in the background,
we discerned a chorus; but, nevertheless, the appeals made
to our ears had not interrupted the operations of our eyes.
How was thisl Here was new matter for reflection.
Why did that orchestra stand before us as a silent sphinx,
with a riddle hot issuing from its lips, but written on its
forehead! At last the truth flashed upon us, bright as
those gas-constellations that were shining from a heaven of
the bluest plaster. The ball, although called a Music Hall,
was made to be looked at, not to be a temple of sound.
Therefore was a portion of the edifice fashioned like tho
alcove of a French bedroom, that the muses of melody and
harmony might slumber therein, and not disturb the devo-
tions offered by the faithful to the genius of architecture.
Truly, the Mueicai World is not fit to appreciate the merits
of the St. James's Music Hall— the only journal to which it
is addressed is the Builder.
St. James's Music Hall ! Thus is there a place in London
called tho ,; Cider Cellars," at which cider is the only drink
not consumed. Thus was shaving the last purpose contem-
plated by the manufacturer of Peter Pindar's razors. What's
in a name f P faith, a great deal The musical properties
of St. James's Hall lie in its name, and nowhere else.
Nevertheless, the company to whom the property belongs
intended to have a music hall in reality. Nay, the finest
music hall in England. Let them hasten towards the ful-
filment of this wish, and in spite of architectural remon-
strances. That alcove will not do ,it would make a capital
safe for the preservation of title-deeds, and in the summer
season it might be used for the purposes to which the Hlack
Hole at Calcutta was once devoted ; but it is bad for the
transmission of sound. As the Elizabethan Benedict told
us that the world must be peopled, so doth the Victorian
Benedict tell us that a music hall should be tilled with music.
Owen Glcndower could call spit its out of the vasty deep.
Owen Jones reverses tho operation, and thrusts the spirits of
Mozart and Mendelssohn into an abyss, from which no
enchanter can free them. Othello's taste for music was such,
that tho clown said to the musicians, "If yon have any
music that may not be heard, to't again ; bnt, as they say,
to hoar music, the General doth not greatly care." Doubtless
if Othello had wished to be present at the execution of a
great classical work, he would have stationed the musicians
in the orchestra of St. James's Hall.
But what has all this to do with the maxim, wherewith
we commenced our lucubrations, and why did the imperfect
acoustics of St. James's Hall recall it to our minds ?
Why, we thought that as all men are brethren, namely,
Cains and Abels, so the arts were sisters, namely, members
of the Cinderella family. Music is the poor slighted Cin-
derella, who sings in an obscure corner, while tho other arts
are the haughty sisters, who go about flaunting in their fine
clothes amid the admiration of the world.
The directors of the Crystal Palace have issued their
prospectus — a document of portentous significance, replete
with a variety of promises.
The season opens on the First of May, with a grand
musical, floricultural, and artiatical display. A series of
monster concerts follows, and tho public is called upon to be
joyful for great choral demonstrations of National School
Children, combinations of choirs, on a large scale, from
remote provinces, gigantic entertainments by the children
of tho Tonic Sol-Fa Association, Titanic performances of
the Handel Metropolitan Festival Chorus, with all the means
and appliances of tho Sacred Harmonic Society, first-class
concerts, vocal and instrumental, under the direction of Mr.
Manns, others by Mr. Henry Leslie's choir and the celebrated
band of the Garde Nationalc of Paris, three Grand Horti-
cultural and Floricultural Fetes, two Shows of Poultry, two
of Pigeons and two of Rabbite.
But this is not all. Courses of popular lectures on tho
various departments are in contemplation, and a Penny
Guide, in a popular style, is in embryo.
Soberly speaking, what good do the directors expect from
Monster Concerts, and, above all, Monster Concerts, with
children as the sole executants 1 What end is contem-
plated by sending to Yorkshire for a chorus, which might
be found in Middlesex I — or engaging a band from Paris
when as good may be obtained at Chatham ? The directors
acknowledge their inefficiency in every line of the prospectus.
They have no band — or they would not have to send to
Paris. Instead of a choir of their own, which should havo
existed from the first establishment of concerts at the
Crystal Palace, they are compelled to borrow singers from
the northern provinces, or to lay embargos on Mr. Leslie's
Choir, the National School Children, and the Tonic Sol- Fa
Why do not the directors pursue the same course with
regard to music as with the other fine arts t Music alone is
not properly represented, and has no separate department.
Painting and sculpture are considered of paramount import-
ance, both from a scientific and artistic point of view ;• while
music, the loveliest of the sisters, is treated with indifference
and neglect — like Cinderella in tho fairy tale. And yet it
is to the musical attractions that the directors especially look
when the treasury needs replenishing, and which never fails
them at a pinch. To no other of the fine arts could they,
by any ingenuity of management, hope for such a success as
that which attended the Handel Commemoration. The
Crystal Palace should have a numerous and efficient baud,
a complete body of choristers, and first-class solo singers.
These should belong exclusively to the Palace, and be heard
nowhere else. The attraction would be quadrupled, and
the Crystal Palace Concerts become as much the fashion
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266
THE MUSICAL WORLD.
[April 24, 1858.
as the beet standard entertainment* in the metropolis. By
this means, too, a vast saving, in the end, would be effected,
and no recourse need be had to " National Schools " and
"Juvenile Associations."
But not to their own band, chorus, and principals, should
the directors confino themselves. We see no reason why
they should not establish other amusements, hitherto
uncontemplated at the Crystal Palace— dancing, for instance.
What could be more appropriate than to have a ballet in
the very temple of statues aud flowers 1 A good band, good
dancers, and a green curtain, is all that is wanted. The
Palace would supply its own scenery, and real flowers would
offer a pleasing variety. If we might be allowed to sug-
gest, we would recommend the ballet to take place in the
central transept during dinner-time, and a table might be
laid for five thousand people, all of whom, by a simple
arrangement, could witness the performance.
Above all, we would implore tho directors not to take
Exeter Hall to Sydenham, nor make the special entertain-
ment provided in the Strand for subscribers to the
Sacred Harmonic Society a recreation for the multitude
in the Crystal Palace. None can accuse us of underrating
the importance attached to the performances of sacred ora-
torios, and the immense influence they exercise in the pro-
gress and appreciation of the best music. But everything
has its time and place. People go to Exeter Hall to hear
the Messiah, Elijah, the Requiem, or the Stabat Mater, and
for no other purpose. They are subject to no interruptions and
no distractions when the performance has commenced ; nor,
were they ever so inclined to be inattentive, is there any-
thing to interfere with their reverence and respect. Nay,
when the idle and the volatile— as will sometimes happen
from many causes— are induced unwittingly to step within
the precincts of the temple in tho Strand, they are compelled,
by tho absenco of external attraction, to listen and affect
gravity ; or, better, they become insensibly interested, and
depart confirmed admirers of Handel. All this is very
different at the Crystal Palace. People go there to be
amused, to bo recreated, to be refreshed, to experience as great
a number of sensations ns possible in the shortest space of
time — to make a holiday, in short To these tho performance
of an oratorio would be no temptation, but the contrary. Of
course there should be attractions for all classes. Many, no
doubt, would be invited to Sydenham by the performance of
the Messiah, Elijah, or, The Creation, whom nothing else
would induce to pay a visit to the Crystal Palace. But the
great man* flock to Sydenham, leaving thought and occupa-
tion behind them, to enjoy the fresh air, see the beautiful
sights and hear the beautiful sounds — to walk among the
shrubberies, inhale the breath of flowers, and behold the
crystal fountains ; or, as A re tarns hath it : —
" Viure wpe amnei nitidof, pcrsnurasqoo Temps,
Et placidat summis secUri in montibu* surss.
Except, indeed, on occasions of high festivals — anni-
versaries, and special commemorations, when the mind is
worked up to the proper tone of feeling — the proper attention
cannot be paid to large and Berious works at Sydenham.
Everything around is antagonistic. The eye is bewildered
with enchantments ; the odour of the flowers intoxicates
the sense of smell ; the mind insensibly wanders outside
to the grassy lawns and marble terraces, and wonders what
can possibly detain anyone within doors, when art and
nature are so prodigal of excitement without
HER MAJESTY'S THEATRE.
Tbs Huguenots wag given for the third time on Saturday,
and Madlle. Titiens justified all that has been said about her
acting and singing. There can now be little doubt that the new
prima donna is destined to occupy tho highest position on the
lyric stage. As an actress, notwithstanding her magnificent
voice and the largeness of her style, we even thiuk more of her
thsn as a singer. To passion and natural earnestness, she adda
unerring judgment. The great scene with Raoul is worthy of
any actress, and leaves an ineffaceable impression.
Madlle. Piccotomiui made her first appearance on Tuesday as
Norma in Don I'asquate, when the reception awarded her
showed that her light had not boon extinguished in the efful-
gence of the now "star." Madlle. Piocolomini was applauded,
recalled, and presented with " bouquet* " as usual at the fall of
the curtain. She was forced to appear oo less than four times.
Siguor Rossi would succeed better in Don Pasquale if he had
any voice and any humour. Siguor Belletti sings the music of
Dr. Malatesta admirably, but wants humour almost as much as
Siguor Rossi. The jiai-t of Ernesto was sustained by Signer Belart,
the new tenor, who achieved so decided a success last season.
Signor Belart sang the music of Ernesto like a true artist, and
was encored in " Com* e gentil."
The new ballet-diivtiissemeitt, Calislo, followed, in which
Madlle. Pocchini, now the most favoured daughter of Terpsi-
chore, added largely to her list of admirers.
On Thursday, the Huguenots and the now ballet-divertissement
was repeated.
The Huguenots, with Madlle. Titiens as the heroine, and
Giuglinl as Raoul, continues to run, and is announced for Tues-
day and Thursday. The Trovatore, the next opera in which
Madlle. Titiens will appear, is fixed for Tuesday, May 4th, with
Mad. Alboni as the gipsy, aud Sig. Qiuglini as the Troubadour.
Verdi's Luisa Milter, with Madlle. Piocolomini, is also in re-
hearsal ; and ou Saturday a new ballet (Fleur dts Champs) will
be produced for Madlle. Poochini.
Madllb. Victoibe Balfr has arrived from Paris. She was
engaged to sing at the last Dublin Philharmonic Concert.
M ada uk Oassikh has arrived in London.
Hcrb Joseph Joachim arrived on Thursday, and will attend
the rehearsal for the second Philharmonic concert to-day.
M. JuiAiKX. — Tho provincial tour which this most renowned
of caterers fur the public entertainment is now making, is, we
aro glad to learn, one of the most lucrative ho has ever under-
taken. The weather has been propitious, and the success uni-
formly triumphant
Tub Vocal Association of 300 voices will give a grand per-
formance at St James's Hall, lie gent-street and PiccadUly, on
Friday eveniug, April 30. The programme will be of a most
interesting character. Messrs. Benedict and Slope r will perform
a. duet on two pianofortes, and other instrumental works of
importance will be introduced.
Ma. Joseph Bomxs, who may be remembered as the ad-
mirable and unctuous clown of the Amateur Pantomimes, ha*
announced a benefit to take place at the Lyceum, ou Saturday,
May the 8th, assisted by first- rate talent. We sball allude
further to the subject in our next.
Leeds Town Hall Obqan. — The contract for building the
case of the Town Hall organ, designed by Mr. Brodrick
(architect), has lieeu lot to Messrs. Thorpe and Atkinson,
of this town. Last week an inspection was made of that
portion of the organ already completed at Messrs. Gray and
Davison's factory, in London. There were present, Professor
Sterudalo Bennett, Aldermeu Kitsou, George, BotterilL and
Gill ; Mr. Brodrick, Mr. Henry Smart and Mr. Spark, the de-
signers of the iustiuuieut, and the contractors. Arrangements
were made as to the disposing of the hydraulic apparatus in
the Towu Hall, for supplying wiud to the organ, and also on
matters connected with the case. Great satisfaction was ex-
pressed with the progress of the gigantic instrument and there
is no doubt that it will be fuily completed in time for tho
Musical Festival. Tho contractors will take possession of the
Town Hall orchestra at the close of next month.— Leeds Mercury.
Digitized by Google
April 24, 1858.]
THE MUSICAL WORLD.
267
MISS ARABELLA GODDARD'S SOIREES.
(From " Th» Leadsr.")
Miss Arabella Goddard, in her early and already brilliant
career, presents a uoblo nnd encouraging example of the true
beauty and dignity of Art, earnestly and devotedly pursued for
its own sake. Richly gifted by nature, with uncommon faculties
and graces abort* measure, unspoiled by the exuberant eulogies
of admirers, undisturbed by the jealousies that accompany the
rising of a reputation like the mists around the morning star,
this yoang lady has, in her vernal years, reached the very sum-
mit of a profession crowded with celebrities ; and, at the
present moment, she may be said to take rank with easy pre-
eminence, among tho first piauists in Europe. The aeries of
soirtts lately given at her private residence, attracted a select
aristocracy of lovers of classical music; but she has wisely
enlarged the area (as they say in Parliament) of her audience,
and the upper saloon at Willis's Booms was thronged, on Wed-
nesday evening last, with a brilliant assemblage of rapt, atten-
tive, and critical listeners, amongst whom almost every virtuoto
in London, and a host of notabilities in the various ranks of art
and literature, sat silent and entranced. Surely such a gather-
ing as this was a noble tribute of admiration and respect to the
young lady who, to all her other rare qualifications, unites the
rarer charm of an unpretending simplicity of manner not often
perceived in the professional celebrities of the Continent As a
pianist, Miss Arabella Goddard is a perfect prodigy of deep
and various learning ; all forms of composition, the severely
classical, the conventionally brilliant, are equally within her
power ; in all alike the mechanical difficulties are conquered
with the same force and flexibility of hand ; in all alike the
touch is round, rich, and soft, the expression stamped with
strength and grace, the reading bright with intelligence. Buch
is the correctness, and such the mechanical dexterity, that we
are almost tempted to accuse a faultless accuracy of want of
feeling. These toiriu are the cream of the musical season. Hie
next will be on the 26th instant.
ST. MARTIN'S HALL.
Handel's Samson, performed on Wednesday evening by
Mr. Hnllah's First Upper Singing School, despite of some
shortcomings, was, on the whole, a very creditable performance
— far more satisfactory indeed than the recent performance of
Israel in EyypL The want of the additional accompaniments
was sensibly felt, although the band, by extreme care, did all in
their power to supply the deficiency. The " cuts " were not so
numerous as those made by Mr. Costa, and the consequence was
that the performance was too long.
The principal singers were Miss Banks, Mis* Fanny Rowland,
Miss Palmer, Mr. Sims Beeves, Mr. W. Evans, Mr. Santley, and
Mr. Thomas. The singing was not all first-rate. Miss Palmer spoils
a nice talent by exaggeration of style and forcing the lower notes.
Mr. Sims Reeves sang as grandly as ever, and created an im-
mense effect in " Why docs the God of Israel sleep ?" — one of his
very finest efforts— and in the duet, " Go, coward, go," with Mr.
Thomas. The last-named gentleman was loudly and universally
applauded in the air, "Honour and arms." The Hall was
crowded in every jiart.
CRYSTAL PALACE CON(
(From our own Corrtspondtut.)
Norwood, April 20.
The last four Saturday concerts have been of average interest.
I have attended them all, but observing your columns filled with
reports of metropolitan performances of greater importance, I
did not think it worth while to send you a separate account of
each, week by week. The programme on March 27th
follows : —
Dublin — (From a Correspondent). — Before you receive an
account from your own Correspondent, perhaps you would like
to learn that Mdlle. Victoire Balfe achieved a remarkable suc-
i at the Philharmonic Concert here, on Wednesday evening.
in everything she sung, and the plaudits after
e were deafeniDg. The Lord-Lieutenant and
" the Dublin
Overture, "Faniaks" — Cherubim. Scans, "Throoeh the forest,"
Mr. Miranda— Weber. Fantasia, violin, "La StreK*hee," M. Reroenyi
— Pagaaini. Aria, " Tares la notto," Miss Louisa Tinning— Verdi.
Symphony No. 58. in D— Beethoven. Ballad, M Good bye sweetheart,"
Mr. Miranda— Hatton. Violin solo, " Caraaval de Veniae," Mr. Krmeuyi
— Pagauini, Krust, and Itemcnyi. Ballad, "Too late," Miss Louisa
Viumng— Pratten. March from Athalie— Mendelssohn.
Cherubini's fine and vigorous overture, so well known to the
Philharmonic subscribers, and Mendelssohn's glorious march,
began and ended this concert worthily. But even better played
than either of these, were the andant* and last movement of the
second symphony of Beethoven, which formed a splendid piiet
d* Hsistanct in the middle. On. he violin playing of Mr. Remenyi,
I do not pretend to judge. Suffice it that he created a great
impression, especially in the Carnaral ds Vtni**. This was
encored, but Mr. Remenyi came back without his Straduarius,
and bowed his acknowledgments. The vocal music was not
striking on this occasion. Mr. Miranda was not admired, either in
the ballad or the teena — the last, by the way, altogether beyond
his reach. Miss Lonisa Vinning sings "Tacea la notto" too
often. She pleased most in Mr. Pratten's 1 -a I Lid, " Too late,"
which was redemanded and repeated.
On April 3rd, we had the selection subjoined : —
Overture, " Coriolan " — Beethoven. Aria, " Non piu sndrai,"
Mr. Thomas — Mozart. Concerto Dramatiqua, Violin, M. Remenyi —
Spohr. Aria, " Butti, batti," Madame Castellan — Moiart. Symphony
in D— Haydn. Song, " The tribute of s tear," Mr. Thomas — Loder.
Aris, "Ah, non erodes," Msdame Castellan — Bellini. Violin Solo,
*' Carnaval da Venire," M. Remeiiy i. Overture, " The Siege of Bochcllo'
—Balfe.
Mr. Manns and his doughty little orchestra distinguished
themselves honorably on this occasion. The sublime overture
of Beethoven was excellently played, while the capital sym-
phony of TIaydn (for the first time at these concerts), equally
well given, had also the good fortune to obtain a very attentive
hearing. As for Mr. Balfe's overture, the baud knows it by
heart, and " Interprets " it to perfection. The grand soena dra-
matica of Spohr ia not suited to the peculiar style of Mr.
Remenyi, who again created ufurort in trie Carnaral de Vinise,
with variations by Paganini, ErnBt, and himself, some of which,
the "encore" being persisted in, he was obliged to repeat.
Madame Castellan pleased very much in both her songs, and in
the first had the advantago of an effective execution of the
violoncello obbligato, by Herr Daubert, a member of the band.
Bellini's aria (and the majority of the audience) "narrowly
escaped an encore," as the phrase goes. Mr. Thomas sang "Non
piu sndrai " famously, and was much applauded. Mr. Loder' h
quiet and pleasing ballad hardly suited the audience so well.
At tho next concert (April It)) the programme was also
interesting, as may be seen below :
Overture, " Die Veatalinn" — Spontini. Cavatiaa (Donna Oarita),
Madlle. Ventaldi — Mercadante. Fantasia, pianoforte (on s German
melody), Herr Theodore Mauss — Mans*. Recitative and aria, "Dove
Bono," Madame Oaatetlan — Moxarl. Symphony, So. C (Psatorat) —
Beethoven. Rataplan, Mdlle. Ventaldi— Malibran. Solo, flute (" Blaa
bells of Scotland,") Mr. Svendsen — Arts. Aria, "O luce di quest*
anima," Madamo Cattellan — Donixetti. Gipsy March, " Prcclose"—
Weber.
Spontini's overture (for the first time at the Crystal Palace)
i- a fine work. It deserves to bo hoard oftener, never-
theless (like his Ftrnand Corttz and NourmaJial, a wonderfully
clever parody of Rossini's Semiramtds). »nd if played as well
as by the orchestra under Herr Mann's direction, can never fail
to please, like on the present occasion. The gorgeous Pastoral
Digitized by Google
2G8
THE MUSICAL WORLD.
[April 24, 1858.
Symphony is just the work to make a mixed crowd in love with
orchestral music. The execution of this great piece was marked
by good luck from end to end. Not only was the " ensemble"
admirable, hut the various obbligato passages for flute, oboe,
clarionet, bassoon, and horn, were even,' one of them happily
hit ofT. ' Not one of the audience mad* a move towards the
door, (as is generally the ease with some twenty or thirty
" rustics" fit these concerts, when the Symphony is about to
begin), and not one left his place till the end The audience
listened as attentively as the band played, and the result was a
triumph for "the grand Beethoven, (Punch). Weber's delicious
march, although it came at the fag-end, was unanimously liked.
Mr. Svendsen s flute solo was remarkably effective as a display
of execution ; but the music of (Herr ?— Monsieur ? — Signor 1 —
Mr. t) Arts, cannot be profusely enlogised. Tho poor flautist
has not a rich collection of masterpieces at disposal, it is true ;
but that does not make Arts' music a bit more welcome. The
pianoforte solo was mediocre, both in respect to composition and
performance. Madame Castellan was singing her very best,
and obtained a loud encore in the cavatina from Linda di
Chamouni. Madlle. Ventaldi, too, was encored (against the
wish of the majority) in the " Rataplan" of Malibran. This
lady has a good contralto voice, but her intonation is unsatis-
factory.
The programme on April 17th had some good points, but on
the whole was inferior to its immediate predecessors : —
Overture (Demetrius)— Cusins. Socos, "Son Temer," Madame
Borohardt— Mosirt. Introduction and Rondo, pianoforte, "LeRstour
& Londrc*," Mr. W. O. Cu.ins— Hummel. Scens, " Ah, »i, ben mio."
Mr. George Perron —Verdi. Symphony in C (Jupiter) — Moxart,
Air, "Ah quelle nuit," Madame Borchardt— Auber. Pianoforte solo.
Fantasia Etude, "Perles d'Kcum." Mr. W. O. Cusins — Kullak!
Ballad. "In this old chair," Mr. George Perron — lialfe. Overture
(lluy Bias)— Mendelssohn.
The mighty Jupiter was the feature of the concert, and I was
glad to hear it so well played, ttnd to find it so warmly appre-
ciated by the audience. The performance of Mendelssohn's
brilliant overture was, however, still better. The Demetrius of
Mr. Cuains is not a very remarkable work ; but, in revenge, be
gave Hummel's graceful (and difficult) rondo with the utmost
spirit, and the worn-oat Perles d'Ecutnt (not " Ecvm ") of Herr
Kullak so well as to obtain and merit an " encore." Madame
NEW PHILHARMONIC CONCERTS.
Borchardt sang Auber air charmingly, and would have been
more successful in Mozart's "Non temer" had she committed
the pianoforte accompaniment to some other hands than her
own. Mr. Cusins was at call, and would readily have under-
taken it The violin ■ obbligato" part was carefully given by Mr.
Watson. Mr. Perron sang Verdi's aria with effect, and was
encored in Mr. Balfe's ballad.
And so enough of the Saturday Concerts for the present.
Great preparations are making for the Friday Concerts, which
are to supersede those of the Royal Italian Opera " troupe," and
EXETER HALL.
A choral meetings of the Tonic Sol-Fa Association was held
at Exeter Hall on Thursday evoning, the 15th instant. The
choir numbered 800 voices, and the selection comprised the most
popular madrigals, glees, and part-songs, together with the
chorale, ^O God of Strength," harmonised by Bach, and the
" Amen " chorus from the Messiah. The singing, in general, was
excellent, the effect from such a body of young, fresh, and
vigorous Yoicea— in the pieces most familiar— being very re-
markable. Of course there wcro encores, and attempts at
encores, but the able conductors— there were three— very
properly »et their batons against them, and only a few were
complied with.
A brief and very interesting lecture was dchvered between
r.!?"!'" y. Mr> Curwon. the energetic founder and promoter
of the Association, in which he claimed indulgence for his choir on
Dr.Wvldk has at length confessed what the public suspected
long ago, viz., that the New Philharmonic Society and Dr.
Wylde are one and the same thing. In the address prefixed to
the programme of his first concert this season (the 7th), he
accepts tho entire responsibility, and declares that henceforth
the performances will bo conducted under his unaided manage-
ment* The Doctor's right to call his concerto " New Philhar-
monic Concerts " has been questioned, but with no more justice
than if we were to arraign a well-known weekly paper, published
on Saturday, for calling itself " Sunday Times." Dr. Wylda's
concerts are just as philharmonic as their elders and devanciers,
and therefore are appropriately named. Besides, have we not
" Philharmonics " in all parts of Great Britain i The more of
them the better.
Dr. Wylde has prudently selected St. James's Hall for his
concerts ; prudently, because that beautiful building can accom-
modate a multitude of people comfortably — and because he is
there enabled to ask reasonable prices, and be sure of a profit in
the bargain. He will give further proofs of wisdom by urging
the representatives of the company to set to work without
delay, and contrive such alterations in that part of the building
devoted to the orchestra, which at present, in the unanimous
opinion of competent judges, ia wholly inadequate. A music-
hall, the acoustic properties or which aro not favorable to music,
may just as well be dedicated exclusively to flower-shows and
fancy-fairs.
The first concert took place on Monday night, and the brilliant
audience assembled spoke well for the subscription list. The
hall never looked more animated, dazzling, and cheerful. It ia
certainly a jewel of a hall. But oh ! those acoustics ! Just as
Professor Porson, coming home drunk, cursed " the natnre of
things," so might the lover of music, visiting St. James's Hall
with a hope of hearing a fine orchestra to advantage, rail at
" the nature of accouRtica." The chairs and tables that Porson
overturned, when be could not succeed in lighting his candle,
were not more inconvenient to the inebriate pundit than that
provoking recess and the -reverberations that inhabit it to the
baffled amateur.
But to leave grumbling — the programme was capitid, and the
bund first-rate (as may be seen by a glance at the list of mem-
bers—all good, from Willy (" leader ") to Middleditcli (" casta ").
The selection was as follows : —
Overture (Kgmont) ... ... ... ...
Duet (Mount of Olives), Mad. Borohardt and
Mr. Tonnant
Conoerto^u^E^flst, jjianofortc and orchestra, Miss
Arts, « Ah qual furor " (Fideiio), Mad.
Svinphony in C minor
FAST II.
Overture (Freischulx)
Aria (Bianca e Falirro), Mad. Castellan
Aria (Domino Noir), Mad. Borohardt
Aria. " O luce di que.f anima," Mad. Castellan
i (Maaanicllo) 2
Weber
Rossini.
Auber.
Conductor— Dr. Wylde.
The first part — the Beethoven part— was of coarse the 1
Dr. Wylde adheres to his principle of only giving one symphony ;
«»d he "Aybo rignt. though we confess wo could willingly have
(which produced no effect) for
dispensed with tTie vocal
another. The
and the familiar "C
* " Tiie performances will take place in future under the titJe of
The Sete Philharmonic Concert*. They will be under the sols direc-
tion of the original promoter, who has never ceased to do all ia bis
power to cany out the promises made to the public at the com rear*
ment, Tho performances will be in reality a series of subscript i
ie highest class, interpreted by the P '
Digitizedjby Google
April 24, 1858.]
THE MUSICAL WORLD.
were played with extraordinary vigour and " tnlrain," and (a
'• slip'" or two excepted, in the symphony, upon wliich we need not
expatiate,) with point, decision, and general correctness in
the bargain. Perhaps the andante was a shade too slow ; but
an experienced musician like Dr. Wylde, has an undoubted
right to an interpretation of his own, however that may differ
from the " oris tare hi" of the press — those " anonymous critios"
who are expelled from the " 1 n," as tho Peri was ex-
pelled from Paradise.
With regard to the pianoforte concerto, the Morning Pott baa
written so eloquently, and so much to the purpose, that our
readers will not chide us for allowing the remarks of our
contemporary to stand in place of any observations of our
i's pisnoforCe concerto in E fist is tho
dcrful expression, in tone,
of feelings
i beautiful and irnaginstivc kind, tho interpretation of
> bat a performer of the highest genius should attempt. If
maaic be an imitative art, like all the rest, what marvellous sounds
snd images most hsre been moving about in Beethoven's mind when
he composed this eitraordinary muiical poem ! What super-
natural roioes must hare been singing to him of God-like lore,
passion, heroism, or despair ! What noble snd lovely forms, moving
with unearthly power, swiftness, snd beauty, must hsre been
passing before his mental vision ! Otherwise where could he have found
all those strange accents, speaking to the soul plainly almost as verbsl
language, yet how much move beautifully ? — snd where thst wondrous
variety of rhythm, in which may bo traced the most grand snd lovely
movements of the human form divine, the faithful delineation but of
one of whirl r would suffice to make a sculptor famous for ever ? So!
Beethoven did not take bis long solitsry wslks in the country, at sll
times and seasons for nothing.
" How it is thst tho electric current of the soul flows down to the
lingers' sods, and makes them speak the language of feeling snd passion,
mute si plainly snd much more touchingly than mere words could
do, we must leave to the learned in natural philosophy to explain. But
certain are we that no singer, sided even by words, could possibly
touch tho heart or exeite the passion > more effectually than can a
really great instrumentalist, or than did our celebrated English pianist,
Miss Arabella Goddard, in her truly poetical rendering of Beethoven's
greatest concerto on the present occasion. In following so fine a per-
formance throughout, we should necessarily exceed our limits, otherwise
numerous ' points ' might be cited, in which Hiss Arabella's genius
shono with surpassing lustre, snd which, taken collectively, would pre-
sent a mass of merits, such ss rarely, if ever, are found assembled in
the executancy of one pianist. Of course the slow movement was most
admired (slow movements nearly always are) ; and its rendering was
certainly one of the most exquisitely-beautiful pieces of cantabile play-
ing we ever listened to ; but the rest of the work was quite as finely
given, and deserved at least equal applause. At the termination of the
concerto, kliss '
The above may seem high praise, but it is nothing more than
In due to the prodigious grandeur of the work, and it* wonderful
i by our gifted young coon'
Dr. Wylde, on appearing in the orchestra, was welcomed
moat cordially. At the end of the first part we were compelled
to leave. At the second concert, Mozart will have the honours ;
and at the third and fourth, respectively, Mendelssohn and
Weber ; so that the system introduced by M. Jullien would
his new snd popular
Handel and his Contemporaries," on Wednesday
Hackniy. — Mr. Charles Salsman delivered
concert-lecture,
evening last, at the Manor House Assembly Rooms, Hackney, before a
numerous gsthrring of tho members of the Literary and Scientific
Institution. He was assisted in bis illustrations by Miss Rothschild
and Mr. Theodore Distin. The selections from the Italisn operas of
Handel and bis famous contemporaries, Leonsrdo Leo, Galuppi, Per-
ffolosi, and Bononcini, were received with great applauae. Mr. SaUman
performed on the pianoforte Handel's overture to (Mho; his air, with
variations.in D minor.from the third,"
i by Doroenko Scarlatti.
AMATEUR MUSICAL SOCIETY.
Thr fifth concert of the regular season (the Amateurs have,
also, their irregular season) took place at the Hanovcr-equaro
Rooms, on Monday evening, and attracted a very crowded and
fashionable audience. The programme was as follows : —
Pa»t I.— Orerture (Figaro)— Mozart. Trio for soprano, contralto,
and tenor, " O Memory"— Miss Griffith, Miss E. Griffith and Mr. A,
Coleridge — Henry Lcahe. Symphony, Letter It— Haydn. Glees, " By
Celia's arbour," ''Come, let us join the roundelay"— Messrs. Homing,
Coleridge, Bushby, and Pownall— Horsley and Beale. Overture (Eury-
anthe)— Weber.
Pah: II.— Rondo Brilliante, in B minor — Miss Froetb — Men-
delssohn. Quintet, "Di sorivermi" (Cosi fan tutti)— Miss Griffith,
Muo E. Griffith, Mr. A. Coleridge, Mr. A. Bu.hby, and Mr. Pownall—
Glee, "L'epe e la serpe"— R. Spofforth. March (Csop of
The orchestral pieces were all very well played. Those deserving
particular notice' were the first alltgro in the Symphony; Mr.
Graham Browne's admirable flute playing in the A ndantt, \ '
applause; andMr. Alfred
Browne's admirable flute
gained, and most deservedly, a
Pollock's oboe solo in the Trio.
Miss Freeth highly distinguished herself in the beautiful Rondo
BriUante of Mendelssohn, as did tho band in the accompaniment
—at least in the amateur department, for there were several
" slips" among the professionals, which was anything bat credi-
table in a piece so well-known.
There was more vocal music than usual, and it was all
" concerted." Mr. Leslie's Trio was excellently sung by the
Misses Griffith and Mr. Coleridge, and the charming Quintet,
'* Cosi fan tuttl," was loudly encored.
The Glees— admirable specimens of thoir respective authors-
were given in a style hardly to be excelled. Beale's, " Come, let
us join the roundelay," was asked for twice, and, accordingly, re-
peated, the Amateurs not having yet made up their mind to
adopt the suggestions of Mr. Punch.*
A vigorous execution of Meyerbeer's March brought the
performancpa to an end, about half-past ten.
" will be given on May 3rd.
THE THEATRE-LYRIQUE, PARIS
"PRECIOSA,"
A Come
(Translated from the Bevue et Gazttt, j
" P&eciosa" is, properly speaking, a " melo-drama," <
not signify the same in Germany as it does among ourselves.
A melodrama, in Germany, is a work in which the story occupies
the greater space, having hare and there a little comer for the
music. There is an overture, some music between the acts, a
few choruses, a march, a little dance music, and, if necessary, a
ballad and a few stanzas, connected with the action, bat never
standing in tho way of it. Sometimes the music is added
subsequently to the poem. QoiSthe only made Count Egmont
a tragedy ; Beethoven transformed the tragedy into a melo-
drama, and the tragedy has lost nothing by the change.
Melodrama, after tho German fashion, has been tried several
times in Paris, but it is difficult to find persons to play it, on
account of the strictness with which the various lines of busi-
ness are marked oat. We should need a good orchestra, a
well-trained chorus, and a company of actors sufficiently com-
plete to depend on their own resources. There is not such a
thing in any theatre of the capital.
To return to Preciota. It is in Germany, a three-act drama,
with incidental music (Dram* mile de mutique), as people used
to say. But this incidental music is the work of a composer
of genius, and the little there is of it bas been sufficient to give
the piece an immense value. Weber wrote two gipsy choruses,
a romance, a brigand's song, a march, some ballet airs, and an
overture, which is a summary of all the rest. Some years ago
the Societe de Sainte-Cecilo executed this little score twice at
I do not know why the Society de« Concerts du Conser-
• More
for them,— Mr. P**cJk, snd the E». M. W.
Digitized by Google
270
[April 24, 1868.
vatoiro allowed the other society to be first in the field any more
than I know wby, since the syruphouiata of the former associa-
tion have been dispersed, it has taken no trouble to enter on the
inheritance left by its rival. M. Carvalho baa taken possession
of it. because no one else came forward to claim it, ana it is cer-
tainly right. As Weber's score is at most only sufficient for one act,
M. Carvalho has had three acts of the German piece compressed
into one. The plot of the French piece is very simple. Precioaa,
the daughter of the great Cosrocs, is, after him, the chefe (chief-
tuiness, as a certain author once said) of a horde of j/itanot,
whom the Captain-General of Andalusia pursues hotly in the
Sierra Nevada. This terrible captain-general has a son, a young
man of romantic disposition, who has met Precioaa in Seville,
and fallen in love with her. Precioaa, by her singing, attracts
him into the mountains, Uke the Siren at the Opera-C'omiqoe.
The gipsies seize him, and send to inform the captain-general
that, unless be ceases to pursue them, they will kill his son.
to the accursed race he has sworn to exterminate. Such being
the case, says Precioaa, I can love him without betraying my
nation. I do love him, and I will marry him. Moreover, since
we are surrounded, I will, to save every one, employ the last
resource. Raise that flagstone 1 The flagstone being raised,
shows the opening of a abaft, which is the beginning of a long
subterranean passage leading to the Alhambra of Grenada.
All the gipaies go downt the orifice is closed after them, and
the captain-general is Join.
This story needs no observations ; the authors have not taxed
their imagination much. There is a clever soene, however, be-
tween the brigands and their young prisoner, who, instead of
trembling, laughs at them, ana cKcfri the most terrible one of
them all. The whole interest lies, however, in the music, so
highly coloured, and so full of imagination and fancy, which
Weber wrote for the original work.
The music, by the way, is very well given by Mad. Borgh&e-
Dufour, M. Froment, and another artist of the name of Serdne,
who plays the ferocious brigand. The orchestra did wonders,
and so did the chorus, although it might be reproached with
being, now and then, too forcible,
ADVERTISEMENTS^
THE TWENTY-FOURTH ANNUAL REPORT of
the Dtrecton of the MUTUAL LIFE ASSURANCE SOCIETY, father
wttb the Cash Acoor/ST and Bxuscb Surer for thfl year 1867, showing lbs state
of the Society's affaire on the Slat of Dooombvr last, m presented to the General
Meeting on the 17tU or February, lSJi, also Prospectus, a. Forms of rrojoa-J. an 1
a list of th« Bonuses paid on the Claims of the past year, will bo delivered oo a
written or personal application to tha Actuary, or to any of tin Soe-sty's Agent*
Id Gnat Britain.
Hrrrn. Lira AsM'a»»ei Orrioas,
S», King Street, Cheapelde, London, R C
CHARLES I NO ALL, Actuary,
s
IGNOR FERRARI'S NEW WORK on the CUL-
of the
TIVATION of tbo VOICE and SINGING is now published, |-rica 8s., and
be hrti at his residence, Devon-hho 1,-dge, Poe-tlan-l-r. -ad, IVrUaad.plnce,
at all the principal music seHo-a. "Of all tb. treatises on th.o cultivation
J years. It is Lha moat sensible,
"Than is mora sense in thia ««k than wo find in
■ of a similar klud."-Ath«niauni. " Forms a
> weal art, end not a mora collection of
■ \ World.
MISS JULIA ST. GEORGE'S SONGS.— Sung by her
In " Uome and Foreign Lyrics." Tha most stli-acti v« eutartalttDient of
tha day — vide public pros*. The w bole of tbo music by J. F.
and Co , St, Albwiiy-stKot, W.W , and all Musk-seller*.
T AURENTS MAUD VALSE, ^ird edition, illustrated,
Sic, price Sa^poet (roo
JLJ price 4a Also a cheap edition of Laurent's
log sixteen popular 0,uadrtll
Booaay and Sons' Musical Library, Hollesstrcct
SIM8 REEVES' NEW SONGS. — 1, « Phabe, dearest,"
or J. L. Batten; t, ••Tha las* good night," by Uareltt ; S, ■• Who aball bo
fairest,* by rrank M..n : «, "Omni ni»-!.t, beloved,- by BaTfo ; 6, "Come into tha
EjS M b? u^'«- A» UlttstrsUd With portrait of Mr. Sim. Recve..-
SPRINC AND 8UMMER PARIS FASHIONS.
MADAME LEBARRE,
or rs.HioxB ros tbs ntr-SBM siowta*.
Begs to a-ate tha h*r FCLL-slZKl) PAPER MODELS of all tin novelli* for
the present Kuan are now rrady, made up in the moat brilliant colours, and tha
trimmings oxaet In every particular, so tiiat the effect of the article, wheal made
up, may bo Instantly ssan. A Flat Pattern, to cut from, la given with < sell
article tn a Set ; and l«r the convenience of Ladies who don"t vi.lt Pari* Madame
Lebarre liaa established an A*-ent In London, from whom all her " New Models "
assy be hat simultaneously with their sppesrauoe In tbe French capital.
*f a d
l*w«lvo articles In box. including Mantelets, Bodies, Jeoquettee,
Slorvea, and Children's Drosses, fhll Trimmed .. ..110
Six ditto, ditto, box Included .. ., .. • 10 0
Or, frco per poet, iu packet, for .. • » •
SiiUflo Models forwarded, post-free, to any part of the United Kingdom at the
following prices :
<d I Bodes, S« ; Sleeves. Is 6d. ; JaoquoUa Bodies, Is. ; sad
u, /or Boy or Girl, is «d each.
Orders must bo accompanied by a Ttwntttineo (Post-office Order cr Stamps) pay.
able at the General OfBoe. to AUKLE I.KBAKRR
ton -on Depot—fl, WAN8FORD PLACK, Oakley square. Camden To«n IN.W ).
within ten minutes of the Ottat Soithcrn, Camdaa Town, aud NortU-WesUrn
le Throat or Chest,
'#X*i?%ttaffi
K EATING'S COUGH LOZENGES. — A good speech
or an effective sons cani.ot be ffiveri If the vocrU organs are in an unsouud
otmdltioo, or a-ocUfl with li-mrscr.css or Irritation. To remedy the latter, and to
produce mo'ndlous enunciation, every public chancier, whether of the Bar. tbe
Senate, or tbe Pulpit, should have athand Kestivo » Oooos Ixiirsors. w
patrouiawl by tlx mnjoiity i f tbe Imperial Parliament, the Bench,
leading' members of the Operatic Corps. For affections of the l—
and for Winter Cou.-l>, tSey are unfailing*. Prepared i
and tins, la Sd. ca-h, by Til' -MAS KEATIKO, O
Cliurch-yard, Loodon Retail by all Druggists
GREY HAIR RESTORED TO ITS ORIGINAL
COLOUR Neuralgia. Nervous Headache, liheumatlsm, and BUS Joints
core.1 by F. M. UERRINO'S PATENT M.VONETlC COMBH, HAIR AND FLESH
DltUSlllta The) require no preparation, are always ready for use, and cannot
get out of order. B'ushes, 10s. sud 1 Aej. ; Combe from is. W. to Ma. Grey lialr
and b-J-lness i>rr\-vat*d by F M. H.'s Patent Prevetitiie Brush, price is and is
Offices, tl, Bas nghall-slrcet, London, lllnstrated T««H'*^^t« "WhF Hair
Grey, and It. Remedy. * gratis, or by post for r„ur sUmps. Sold by all
and perflin
el.emuu «
mcrs of repute.
PIANOFORTES.— DEWRANCE'S COMPENSATING
PI ANO may now be Sean at tha degnt. S3, Sobo-sqiuire. By the applicaboii
of this principle a heavier tfnng can be uaod, tbe result of which is, that the full
power of a grand is obtainrd from a cottage Instrument, at the same time the
wires sad the frame on widen tltey are strung expand and ooutraot with changw
of tempera tore equally sod together, so that tha necessity for frequent tuning, sa
In the ordinary Instrument, is entirely obviated,
to
in tl*e ord*nru-y instrument, Is entirely ol
lone, with extraordinary powers of niod«
-•quailed, at tbs same time the price, Is no 1
lor fitness i.nd roundness of
A LLEN8 ILLUSTRATED CATALOGUE of PORT-
XI. MANTEAU", Despatch liases, WrtUng and Dressing Cases, Travelling Basra
with square openings, and tiOO olhnr artirlas for trav.lllnir, by post for tsrostasnps.
ALLEN'S PATENT 80UD LEATHER PORTMANTEAU, with four Oor.-
partments.
ALLEN'S PATKNT DESPATCH BOX, with and without Droesuit; Oaae.
Al.l.KN'rt PATENT TRAVELLING BAO, with squaru opculog. Tl.os- srtldoa
are tbe best oi the kind rot Invented.
J. W. and T. ALLEN, Manufacturers of Portable Barr
Military Outfitters (see separata Catalogue). IS and 23, Strand
PERSONAL GRACES.
!• rendered additionally pleoajng by tha well
In dnasing tha
' «<■ t nf
or tbe flowing tree
hair, nothing
ingsd.-ni L IM
can o-jixsJ the
ROWLANDS
Rendering U so admirably soR that It
flowing curls, and by tbe transcendent lustre It Imparts,
MACASSAR Oils.
soft that It will He In any direction,
truly onctianting.
ROWLANDS' IALYDOl
la a preparation or unisumlLoled efficiency In Improving- and bcaiitlf}foc the akin
and complexion, prater* tug tlicin from every viiissi*. uds of li e weather, maA
completely eradicating all Cutaneous Eruptions, Freckles, and Disoolaralioria, and
lOWLA ND b ' O D O N T O,
OR, PEARL DENTIFRICE,
Is alike InvalusMe for Its beautifying and preservative effects on Ui* teeth and |
per or label of each bears tha name of "
preceding that cs" tbe article.
fold by A, uo^^^e^^'^^}^f^*a'
Digitized by Google
April 24, 1858.] THE MUSICAL WORLD 271
MESSRS. DUNCAN DAVISON & CO.'S PUBLICATIONS.
PIANOFORTE BACHIANA.
Seled Pieeei (Preludes and Fugues) from the umcelianeout Pianoforte Work* of JOHN SEBASTIAN BACH.
No. l.-FUGA SCIIERZANDO in A minor, a* performed in pubbe b, Mi* Arabella Qoddard .„ 8 0
CLARICE, Morcenu de Concert ... ... ... ... ... ... ... ... ... ... ... 4 0
"The. versatility of MLas Arabella OoAUrd'n grain* wo* aljo etrSklngly exemplified by her brilliant rendering of the more*
it motodxiua and snowy composition, aucb aa our fur amateur pianists universally delight Hi. — Afenuap r*
BELLA FIOLIA (Rigoletto) by Jptw Bbimac ... ... ... ... ... ... ... ... ... 8 6
" Among the many pianoforte arrangements of Bignor Ycrdi'a very popular quartet, we hare not seen one more unpretending anil at the mm lime man
complete th.«u this. The composer's xieee or. reapocterf, while tb. display snd the convenience of the pianist are consulted ; and tbe result 1. a piece of 1
A BUSCHKE'S DAT, Romance, by Ecobxi Mosiot ... ... ... ... ... ... ... ... ... 8 0
" 'A Summer's Day ' U one of tbo neatest mi l moat pleasant nmaienl trifle* we have met with for a long time. M. Mouiot cvidoutly puestiss a much poetical
fueling. wMcb be baa very cleverly lufueed Into this composition."— HteTyOal Matt.
THREE LIEDER OHNK WORTE, by C. J. Hargitt ... ... ... ... ... ... ... ... 8 0
"Quito worthy of this talented young composer."
PAULINE. Nocturne, by O. A. OfiBOBXB 8 0
LA JOYECSE, Souvenir dra Champ. Klywea, C. McKobxku, ... ... ... ... ... ... ... ... 3 0
MEYERBEER'S NEW VOCAL COMPOSITIONS.
TUB LORD'S PRAYER, for four voices (soprano, alto, tenor, and baas) with English and Latin text, organ ad lib., in score
Separate vocal parts to the above
" We have met with few devotional songs of Isle years so calculated to 1
arranged with the most masterly akill ; while the enMoct, being oi
* who profess and call themselves Christian.' " — BriMot Mnxury.
NEAR TO THEE (Nebon Dir), for voice, piano, and violoncello ... ... ... ... ... ... ... ... 4 0
HERE, HERE ON THE MOUNTAIN RECLINING (Dcs Schafcr. Lied), for voice, piano, and clarinet, or harmonium. Sang by
Herr Reicbardt 4 0
TAs above two toags are eminently calculated for singing at public concsrts.
THIS HOUSE TO LOVE IS HOLY, Serenado for eight voice (2 sopranos, 2 contraltos 2 tenors, and 2 basses), without accompaniment,
in vocal score ... ,„ ... ,,. ,., ,„ iM ... .,, ... ... 3 fl
i to the atx}vo ... t«. each 0 45
' We have receiv.d an Bogliafa version, by John Oxenfbrd. Kso.. of Meyerbeer * hymeneal serenade, 'This Uouw to Lovo Is holy.' It U composed for eight
1 1 W1SM. or, rather. In eight part*, stnoe each part may be strengthened by any number of voices.
"In or! or to attain clearness, he conet-tutes hta two choirs of different material*— one choir consists of /eswle voices, first and second soprani, first and
second alti ; the other choir ooua.au of »le voice*, first and second teunri. fir.t and second basal. Tbe first verse la commenced by the male cliolr. and la
afterwards tsken up by tbe female. The anmo muelcal autdect Is then divided iuto phrases of two or three bars, and given to the choirs alternately. Thirdly,
both otiolrs comMoo.
"While he equals the Old Masters In Us oarrl.ige of tin voices, in the parity of writing, sad progression of the parte, he has imparled a charm of motody
to which their canons and fugues never attained and has a-ldsd a richness of molulalioo which was unknown to thorn. We would particularly Inatance
an abrupt modulation, from 0 Sat to A natural (enharmonic (or dooUe B fiatX and back again to D flat. The English words also are fittingly wedded to
tbe music" — Iirwywl Hail.
NEW VOCAL MUSIC.
a. d. I »■ (!
"sT» irery angels weep, dear" (Trennung und WIedcmrciiiigung), " Quick arise, Maiden mine," Air Styrien, by J. DsMariS ... 2 0
Song, by MOEABT 8 0 "Lord hear us" (l)ieu que ma voix), prayer, in V, from "La
" Sweet little Jenny," Ballad, by M. KKniitMonw 8 0 Jmvo," by Halbvy 8 0
" My Mary" ditto ditto 8 0 "He will be here" (II va vcnlr), romance, in C, from "La Juive,"
Hie above nre Madame Endcrseohns newest and moat popnlar ballads. by HixiVT 2 0
"The old Willow Tree," Ballad, by S. J. St. Lboib 8 0 "To-morrow," Ballad, by C. J. Haboitt 2 G
The Troub. Ws Lament," by Lotus. Yabbold 8 6
In tls Prsst.
■ I lore when the ran ia aot" (Paquita), by Q. A. MACVABBB*, composed for and sting by La Signora FumagaUi 2 6
" PBR.SE VERB," or, the Career of Haveloclt, composed and sung by Mr. Cbarlca Bruliam 3 0
"MART A."
The copyright of the new Italian and French versions of M. Flotow's opera of " Mart*," performed with tho greatest success at tlie Italian
Opera, Paria, and to be produced this season at tbe Roval Italian Opera, are verted in MM. Bbaudps asd Dufoob, of Paris. M««»rs. D. Davison
and Co. bare the complete opera in octavo (Italian and* French words), as well as tbe vocal music, with Italian words, in wparaU pieces, on sale.
LONDON:
DUNCAN DAVISON AND CO.,
DEPOT GENERAL DB LA MAISON BBANDCS, DE PARIS,
244, REGENT-STREET, CORNER OP LITTLE ARGYLL-STREET.
Digitized by Google
272
THE MUSICAL WORLD.
[April 24, 1858.
NEW ENGLISH SONGS.
STEPHEN MASSETT.
«■ I BE MEMBER THE HOUSE WHERE I WAS BORN".
"A SABBATH SCENE"
" I'LL LOOK FOB THEE, MABY "
" IT IS NOT AS IT U8ED TO BE "
"I WOULD NOT HAVE THEE YOUNG AGAIN"
"WHEN THE MOON ON THE LAKE IS BEAMING"
i, d.
2 0
2
9
a
s
s
M. W. 1! A I l1 E.
OF
MISS FRICKER.
"I DO NOT WATCH ALONE"
W. T. WRIGHTON.
-8PEAK GENTLY." Second edit ion ...
C. J. HARGITT.
" TUE LAST GOOD NIGHT "— Serenade. Composed for
1 SLUMBEB, DARLING, LULLABY"
E. H. PROUT.
'THE MOONLIT SEA"
R. S. PRATTEN.
' TOO LATE ! TOO LATE !" Sung witb grent
by
JOHN L. HATTON.
" PHOEBE, DEAREST" — Ballad. Comrwewi for On Bcctc... 2 C
" I STOOD ON THE BEACH." Composed for Mi» Dolby ... 2 6
" HOW SWEETLY GLEAMS THE LIGHT OF LOVE"—
Duct. Compowd for Mr. and Mx». Simi Ettvee ... 8 0
2 0
2 0
... 2 0
NORDMANN.
1 THE NEEDLE," « Distich, by George Hodder. Embroidered
• •• ••• *■• ... ... 2 6
2 6
2 0
2 0
2 0
E. W. FAITHFUL.
"THOSE DE A It OLD TIMES"— Ballnd. Sang by Mh» DoJby... 2 6
KOinojn
BOOSEY AND SONS, 28, HOLLBS STREET, OXFORD STREET.
MADAME OURY'S
NEW PIANOFORTE MUSIC.
O BE RON, Polka de Salon
ROBERT, TOI QUE J'AIME ...
MES SOUVENIRS D'ECOSSE ...
EANTA1SIE ON PRUSSIAN AIRS
SECOND EDITIONS.
LA MIA LETIZ1A ...
ANNIE LAURIE ...
LE ROSSIGNOL VALSE
IL TROVATORE,
LA TRAVIATA,
RIGOLETTO,
■. d.
... 3 0
... 4 0
... 4 0
... 4 0
... > 0
... 3 0
... 3 0
..4 0
... 4 0
... 4 0
LONDON :
BOOSEY AND 80NS, 28, HOLLES 8TBEET, OXFORD-STREET.
Jutt PtllitM.
MENDELSSOHN'S
SONGS WITHOUT WORDS.
EDITO BY
J. W. DAVISON,
III Six Book*, price Oho SbiUioe each ; or, complete in Ooe Volume, with Preface
by tbo KiJtfor, ftud purtrwi, price 0*. ; or, in aupertor bUinUnftV <» M.
B008BT AND SON8* MUSICAL LIBRARY, -u k 'IS. HOLLES-3TREET
NEW PIANOFORTE MUSIC
RUDOLF NORDMANN.
«. d.
TOW KB SCENE. MISEREIU: and All I CI1B LA MORTK. from
" 11 TroTetrre .. .. .. .. ■• i B
BRIKDIgl. LIU»im% from "L« TnvrteU"' .. .. » °
LA 8ICIIJENNE, lira ' Vi'pfT«"do Vrrdt « •
IBABF.LLE, Romance S «
flENKVE, Morsam de Salon .. .; 2 «
LA MIA LKTim. from "1 Lombardl" - *
81 LA STANC11EZZA, ••TTOr»tor•", » •
LA C A RITA. Trio de Rneaini * •
MANDOLINE, Nocturne ' 0
TUB HUNTS PRATER » 0
THE BARCAROLLE ia •• lUirolctto" ' •
LA DANSE I1ES FEES » •
ORKBK PIRATE'S CHORDS » •
1L HA1.F.N, - Troraloro " 1 ■
^^SSM-rw^Awi soxbs :: :: .11
— — — _ — ____
BOOSEY AND 80X8' MUSICAL LIBRARY, 24 * 28. HOIXBg-3TRKCT.
PublUlicl by .1.1:1s Bnoj.tr. of Gutlcbar-hUL in tho parteh of Kettng. in V '
Oountr of Middkeel. at the office of BooeaT A SoKa. 2S. Hollee-etreet. Bold
aim by liricD, li. Jolui-etreet, Orcat PDrtlan.l-etroet : Alli>. WArenck-
U»e; Vii'hh Ilr.U-wtil-etreet; Kiitb. Pnowea, A Co , 44, Cheapaidc ;
O. *cii*thia*k. Ho. Newgatc-atreot ; Jobw Shwhi
IUaar M»r. 11. Ho.b©m-bar». Agenta for Scotland.
Edlnhurgh and GUegow ; for Ireland, U. BtieuLU Dublin ; 1
wllera.
Printed by Wiu iiM Srrscita Jon*«on, ■' Naaeeu Steam Preen,"
laae, In the Parteh of St. Marttn-lutlie-riekU, in the County of 1
" •, April t4. UK
Digitized by Google
»r Postage, 20s. per annum-Payable in advance, by Cash or ]
to BOOSET & SONS, 28, Holies Street,
VOL. 36.— No. 18.
SATURDAY, MAY 1, 1858.
ROYAL ITALIAN OPERA, COVENT GARDEN.
Mm. Qt« lis* Ui« honour to announce tl,4t the
NEW THEATRE WILL. OPEN
SATUEDAY, MAT 15,
will bo performed Meyerbeer.
LES HUGUENOTS
HER MAJESTY'S THEATRE — Titiens, Alboni,
Giugllnl, Vlaletti, and Mattloli.-II. TROV ATORR — On Tuesday, May 4tb,
will be leilwd Verdi', opera IL TIlOVATORB. Leonora, Moll's "
Axucnus. Madxmo Alb"ui(bcr firslnppssrai.ee thi. season); Manrlm, big (
Ferra.vlo. Big. Via'etti ; mil tl Coi.te di Luue. »g M.ttloli (hi. first ep
A!.Uo» IbOlej. ^entitled FLEUR I.. Eh C1IAMTS, the 1
Oi> Thursday next. Mar 6th. an extra night, sill be repealed IL TROVAT
And new Bullet FLEUR DES CHAMPS.
A limited number of boxes lime besu reserved for the i
Six. II. eecb ; may be hud at the Box-office at tbc Theatre
CRYSTAL PALACE— FIFTH SEASON, 1858-59.—
The Now Season com IBM THIS DAT, SATURDAY. MAT let. SKA SO?*
TICKETS, xvailsbk to the SOth April. ISM*, are now ready. I'KICK ONE
GUINEA; Children under Twelve, Iialf-e-Oiiinca. Tbsse Tickets will admit to
the Palace on the following occasions, rtx. :—
The Opening Musical and FVrieuitursI OispUv on M ,r 1 (thin dsvV
The Pwllval of the National School Choral SocMe
The Three Gran 1 Fo«cr Snow. In M.jr, June, and September (fire days In all).
The Performances of the Parle Garde Netimulr
The &nc> of daaaloal and MieeeJI.moou. Concert*.
The Grand Display of the Great Water- wor Ic -
TheOrxnd Cbonil Displiy by the Handel Pestival Chorus. Military Ran da. *e
The Concert, of the T nlc Sol-fa Axwxiatlot.. Mr HrXsTt Leslie'. Cbolr, and of
the Bradford Choral Association..
Tho I'o-.iltry and ntler Shows
The Lectures
The Saturilay Floral Promenades iunl Fountain Displays.
ra SSM tkKS.w, £
n r.ifnf \o i rtrnisxci • «*« ior prrwvf m "linDO (llr
> an'y occaa^T.fnTh^ ^hi. pow""^
'» will be given
six In
excr-
Tratis- pi
PALACE SEASON TICKETS FOR
lMS-i!>, One Guinea; Children under Twilee, Ualf-n Guinea Tlicxe
are now ready tor Issue, and may U «btAiii<Ha< the Railway nnd Centra
" B London
LAST PERFORMANCE OF CLASSICAL
take place on Wednesday Errning. May lJth. at IMf-peat *3gut, in WilU»x
jyjISS ARABELLA GODDARD'S THIRD AND
take pi
Klng.etn.-ot, St. James's.
' On i Me i«c*etoo, Miea Ooddard will have the honour of performing,, among
other pii-coa. w. i.i j Uraud Sonata In K minor; Fugues by Handel, S -irluU,
J. S. Bach, and Mende'teobu ; and IS EE THO v EN *S GRAND SONATA is
B PLAT. Op. 1M.
Reserved I'laces. 10a. 6d. ; Unreserved, ;•. To be had of Mian Arabella Ooddard,
47. Welbock-fttrtet, Ca*oidLrli-»piarv ; and of tbo principal Music-piibli.bsrs,
w
R. LANOTON WILLIAMS begs to announce to his
(rlcnd. end the public M hi. ANNUAL CONCERT will take place at
the Mi.m. HsJL Store-etrcel, on Mondsy, M»y the Mth, supported by the moat
eminent art-nla, -.
•f the
Crx-Mal r.lnce ; at the Often of
r. L-ndoii fledge, nnd Hegvut Cirous. Piccadilly
at Plmlton ; at the Otntral T.ck.t "fflce, 3, Exeter
the Company.
ticket* to bt by Cheque or Poet Office Order, payable
, no* n« had of all tl» agents
PALACE. — NATIONAL SCHOOL
glGNORA^ F^UMAOALU^ SIGKOR^DI UIORGI,
tious !5Ir tho^^cei^or' the BlUMflllaftC be a-idr«>ed to Mr. CnarieaRndiei,,,
Manager.
MR. ALBERT SMITH'S MONT BLANC, Naples,
Pomtjrii. and Venul » • very night (except Saturday) at » ; and Tucaday,
Thiirndat'. and Sa'unl iy aflcninon. at J. I' acce can be •eonrcrt at the Box-olBca,
Egypllnn-hall, daily, between U and 4, without any extra charge,
R. AND^fRS. GERMAN REED'S NEW ENTER^
TAINMENT — The a«w S.-rie« of Illuatnitloni by Mr nnd Mra Reed (late
Mite P. Hoeton) wilt be repented every evening fevc-t-l Saturday) at Kl«ht
Saturday ARem-oti.t Three. Admission. Is, xs. and 3s ; Stall, secured without
extra charge at the Royal Gallery of IilmlraUon. 14,
Cramer. B.ele, and Go 's. Ml. lucent-street.
M1
^HMal. FXBTIVAL, in AID of the I
" BXNBVOLENT FUND
£?r
a large
ARCHBISHOP OF CANTERBURY.
THE ARCHBISHOP OF YORK.
nOP OF LONDON.
OF MARLBOROUGH.
MAHO.UIH OF LANSDOWNK.
118 OF SAUsnURY.
OF CARLISLE
of the
_ CoswmHter of the National School Choral Society have determined upon
hoM/VK ■ GREAT CHORAL FBSTIVAl, on Saturday, May ^ at tho Crystal
Wm. The Chitdrvn will pnrfons In the orchestra erected for the Great Hv .del
Tistl ' sod the Committee intertaiu the confident belief that '
SasMtwjxysMt^s siiiiilallixi' of the numerous ml
SXtl I iSjS. who have booonred them wiLh thc-r .upper-..
T>>e Orchestra will consist of Dearly 5,000 of the Children, Pwpfl
Teachers of National and Endowed Schools of the Metropolis and It.
vicinity, and wil) be aided by the mil Band ol the Royal Military
- Ths r*ss Us m*—ce w 111 eessiet of a carefully amngrd Select! or
Seculsvr Mlusio, commencinji at Tlirec o'clock, t> rtu.nn of which will be
periled by the organ erected for the Great Handel Festival.
Ttekota «f adu.isriou, 1m ed. each— lo Rrarrvrii Seats. 2x 8.1. extra; or to
PatrooV Ressivid 8la1ls, 4> extra; may be had at the Crystal
Csnirsl OfBcs, % Exeter Ball; and of ibe usual agents.
Asylum
i of Snared ami
THE ROYAL FAMILY
ifi most respectfully to snnouuoe that be U open to engagements
with his highly approved. iuterefilDg, pleasing, and inrtraetive
MUSICAL ENTERTAINMENT,
xCHTtTtCD
DR. MARK AND HIS LITTLE MEN,
JUVENILE ORCHESTRA.
I Boolch boys, from live to
duets, quart, u, u
ww of aire, who stew
narxi-.es, and |>-lkaa ; and
and to whom he gives a
. ..II Lsuiicularx may be obtained, and plnn* of scats inspected, at the Oftco of
the Nuttowal Bcl.cd Chord Sooctr. No 2, Kxeier Hull.
""ir 1 aVavqh' BR0WS|"UTH
Iv. No.
,Mr. 0. W MAJvriN
18
■drllles,
, *c , In a m mi effective manner, and to whom be gives i
gratttitoii. geeieral and musical education in order to illustrate his highly approved
system cf musical educarlon. and with whom lie travels about the eountrv to
excitu an intercet fur and help to cstsbliai, mua.es.1 Useiltutiooe called "Con
•ervaMreaof Musiii" for litt'e chi'drex In every town. city, and viUasri cf this
gnat empire. - - ■ . 7~"
All tettere sddrcse. |4enss. Free Trade Hall, Manchester, or to the under-
montloued iilaceaof engagements.
Dr. Mark and
Vr.
his Utile M.u will perform. May S and I. .v.J^xt>ei
bu Utile Men will inform. May A. at OeJteeheinj
irjr.
J 3
h;s\i
274
THE MUSICAL WORLD.
[May 1, 1858.
HEBR REICH AKDT, 23, Alfred-place Wes, Brompton.
JOHN" WEIPPERTS ROYAL QUADRILLE BAND.
Address 21. SOH0-8QUAR8.
MADAME SZAVARDT (Wilholmina Clausa) has
Arrived in London for the aeason. Communications to he uddreaaod to
Mr MitctipH'e Royal Library S3. Old Boudstreet
OECOND-HAND ORGANS FOR SALE. — Messrs.
O FORSTEFt AND ANDREWS, Organ bniMcrs. Hull, bare several second-
Chareh m l Cnsmbor Orgsns for aale In thorough repair Prir* and par-
rs (..rwsrted on applies! inn lo F.ealer and Andresre, Organ-builders, Hull.
HANOVER SQUARE ROOMS. — These elegant and
cm > indent rooma having brain ro-d«cor»u-d sod entirely o*w lighted with
the brilliant sun-lauta, an- in ha let fir C-nocrla, Pubic .ml Private B-tlla,
Ac No ooneert-ruoma can compcto wiili them for sound, for
For term, ajiply at
Bazaars. M- etiuge, «o. No concert-rooms can compcto wi:li them for aoiind
either rami or instrumental music, or for public sicaklrg For terma |
MM Rooms, No. 4. Hanoeor-sq.iMv. hetaccu ibe hours of leu and four dally.
SIGNOR LUCCHESI, primo tenons from the Italian
Opera, Pari., and of Her M.\)e»ti's Theatre ami Uie Rnja) Italian 0|«ra,
London, baa th* bonoar to announce taut lie It lo town for tbu present season
Omvnunicsili >ns t».pecthig public iiu i private c-noerts and finishing lessons in
zinging, may be addreaaed to him at Meaerx Cramer, 0eoie, and Co. 'a. SOI, Regent-
Sir, vt.
REUNION DES ARTS. — Horr GofTrio respectfully
inf rmi the m- inbers of Ml orchestra that the FIRST REHEARSAL (lull
ban i) will I k- p oc- on Wednesday evening, May 5, at Jiaif-paet seven o'caxk pre-
eiaely. ai 70, Hail yilreet.
R
EUNION des ARTS, 76, I Iarley street— The mem born
act/oily informed thai the Ho IK EC* MUSICAI ,E8 of tba
the 19tli Mar, and will embraoo MOM
loir, comprehending the heat amateur
w lama'eur) striiagtd and wind tnsini-
to Herr G ffric, 61, Margaret-street,
EIQHTH SEASON win
new featur**, via, an oreh*»tra and c!
U nit, Ac. Theiv ai« veaticles M a f.
m.nts F. r further particulars, apply
Oavendish-equare.
MR. CHARLES HALLE begs respectfully to announce
. that he will r mini h a Pianoforte Re. its! s, at hla reakdon'A 59. Cheehaon-
place, BeluMve-aijuare, ou Thursday. May U' U. lo commence at thrve o'cloom.
8ub»crii.lioii for the Seme of Three VI aim**. One guinea. Hubecrllwra" oan.ee
received at Cramer. Heale. and Co , 201, Rodent-street, R Ollivler'e, OU Bond,
street, andat Mi. Hatl6"s residence.
M
R. AGUILAR begs to announco that he will givo
a Matinee Mualcele at tho Hanover-square Rooma on Monday, May V4.
Jndoiiupil nt Sign.* Ferrari, lier first appuaranc In p thllc)
and Hignor MarTO-. Instrumentalist. — Herr Jaii-a. M. Clcmetili, iierr G.irTrio.
M Paquo Mr. Howe I, and Mr A (pillar. Reserr.d Beat". Ills. Bd. ; Single
tickets, 7a . to be bad at all H e inrirMUpal music pul-l.. .cr-, and of Mr. Aguilur,
151, Albany-street, Regent's pink, N.W.
HERR OBERTHUR'S MORNING CONCERT will
lake plaoe at Willis's Rooms, on S.imr<Uy. the ath of May Artiata |
Madame Ferrsri. Mm Stabbacb. Sigifr Ferrari. Flano, Mia* Pre- th ; Harpa,
Hi* Chatloiton, Mi>a R Vinnmg, and Miaa Freeth (who wi I prrform a Nocturne
far three hariei); Cnctrtlna Hlfiior K<tfondl : Violin, Ilcrr Jan-u; Violoncello,
H.rr Mdel, Oenduclora, 1 1 err W Oan« and Herr Pir»cber,
Tickets, 10a. 6d and 7a cd.. to be btvl of the priuelpal mualc-wJIeis, and of
Herr Oberthur, 14, Cottage rood, Weattwun.o-ten»ce North, W.
HERR ADOLPH SCULOEvSSEH has the honour to
snnouncw that Ui> ORAN1) EVENING CONCERT will take place at the
Manorer-vpi ire Rooma, on WeJnead.iy, 12th May. 1SA8, to Cimiuence st elgcht
o'clock Vo.aliata— Madame Clara Nonllo, Mr. Sautlcy ; Pianoforte — Herr Adolpli
Schlocaeer. The oreliratra will 1^ on the moat complete aesle. Conductor,
Mr. Heucdiot. Numbervl Roxned Sulla, 10s fid . to Iw b:id at all the Principal
Maate-eellera. and of Heir Adotph Schloesrer. M, Cambrl Jge-etree:, Hyle-purk, V
ROYAL ACADEMY OF MUSIC— By Command.—
fjridsr the immediate patronage of the QUEEN and of the ROYAL
FAMILY and elan or llio Patmru and Parr mwaea of the Roial Acadnuy of
Muaic. A GRAND EVENING CONCEKT. whidi H r M.Ieaty »ia» aigmti.d her
g'acloua iiiteait'oo of hoiiouiinii with her proacuce, will take plact i ■ * St Jatnee a
Hall, on W.d'iesiliiy evening, the aii 1 of June A liat nl the Ladies Polriinea.ee.
of whom alone voacera oa«i lie obtaiucl. to l>e exchantfia! fo' ttcceta, f-r tl.r ares
of tue hsll. in which Her MaJ aty .ind th- Royul Vi-ltor* will La) aeat<d. will be
abortly pnbliabed. Further particulara of the oonceri will be duly announced.
AN EVENING WITH BEETHOVEN.— MR. CHAS.
HALAM AN. at the request of bia pnpila, sill repeat lila CONCERT
LECTURE on BEETHOVEN and his COMPOSITIONS, at hla re.id noe. S4. Baker-
atreet, W , ou Tuea<L>y oveniug. May 4, at tialf-psat Etgbt o'clock. Pinnoforte,
Mr. Sslsma... Violin, Herr Deicliroani. VlolotK»llo, lUrr Lldel. Vocsliat,
Hughes A Ucuited number of tickets, st Ss, to be had only of
MR. FERDINAND GLOVER (principal baritone to tho
Pyne and Harrison opera ooenpr ny) will return to town for toe esason ou
the Srd of May All coinmiiolcati . iir U> be lett at Cadby a Muaic Wareho-ise.
42, New Bon-l«reet ; or at Louie a HoteU 10, f ~
HARP MATINEE. — Mr. TRUST begs to announce that
bia Second Harp Concert will take place on Wednesday next, May 5th, st
bis residence 13, Portaviown-road, Maid* vale, commencing st Three o'clock, when
be will be ssetfted try the IWhiwli g artiste:— Miss Marian Presents. Miaa Mario
Salrmann ; Messrs. Lyatt, R Sidney PratUn. Jomtt, Stsnden, and Herr Oberthar
ONE OF THE FINEST 0RGAH8 IN THE WORLD
TO BE SOLD,
SI ITS KM! ro« A
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL.
Apply to the Publishers of the " Musical World."
THE LONDON MUSICAL SEASON.
tToTutrt agmti; ©Ht»,
2, BEAK STREET, REGENT STREET.
CRYSTAL PALACE.
J. DISTIN'M FAREWELL CONCERT
''I feel great pleasure in rccomn:
1 engaged him to arrange my Concert, on th
wae bighJy aatlsfac'ory, there being upw;
asaemblexl ou Ihv occasion.
lit* Mr Mb as a manager of Concerts.
19th September. 1WT. The result
da of Twenty Thousand persons
••J DIBTlN."
CONCERT AGENCY, &c — MR. VAN PRAAO
tei d rr lila thsnka to hla patrons and friends for the tibersl encouragement
be baa for ao many years reoelv. i1, and begs to inform them bs still continue* the
manageaient of ooncerta, maiiupoa. euliees, Ac, tec— AH cotumuniciUona
a.ldreased to him, at Mr. Ilrettdl a S8, Rupert -etrort, Hsjmsrket, will be duly
M
R. W.
W. GRICE begs respectfully to inform the
Pn'resalon s<nl parties giving concerts that he undertakes the
and^sup-rint iidence of orctcatrss— Addless, 13, North^trect,
THE NUNS PRAYER. — An Illustrated
Popnlsr Flees U published this day. price 3a. Bocsey and
niirsry, 2s. Hoiies^trevt
of this
Sou' Ma
bo.iitifully enirravcl i
complete, 8» S B Ask f r RokH-rt C-*ka and
Cocka und Co., New Bur tngtoo -street. W.
CZERNY, WALLACE, AND HAMILTON. — Cierny's
ETUDE DE LA VELOC1TK (tho most iwtfect ediUonX with notes by
Ujmiltun; togotber wpli nine new iutrudnctory ..aen-iscs. and a new study on
octaves, composed by Cail 0* ruv expressly for this odiUoti ; to which is added s
Uvo irtte " Nocturne,' by W. Vincent Wallace, ttnd edition, bwutlfully .^graved
on exlr. s ted i.latca, music folio, t«o |»rts each 6s ; or complete in one, l«a 6d
N n Ask for ffob.-rt Cocks and Oo. a edlUwu —London : Robert Cocks and Co.
New Bnrlinirtou^treet, W.
rpHE MODERN GUIDE TO THE STAGE, OR,
A AMATEURS' INSTRUCTION BOOK, dewibing_and taaarfilng ^Uie arts
and P"tu
Madness.
VUiany
noc asnry lo apeediiy .|Ua!ify young
pUsaaut profaaaiou. Also Ihe Nil
Tlieatre* all
work (warm
Addrsas irce by p st 1
Fi-bei and Son, Klngi
.1 Fi.tuna— Phvsksily and FJi elitlonary, in Live, Despair, Grief. J.siCKisy,
adnesa. Remorse, Rage, natred, K«vonge, Joy. Hyiocn.y, Tyranny, sad
llany; with nil tha tuoro eUtfant pointa in Opera. BurUaque, and Oenody.
■peedily onsiiry young iM.rwr.s of both sexes for this lucrative sad
rtssaion. Also Ihe Names and Residences of Managers apd thssr
orsrUisKin.-doiM. the Col-nle*. snd the United States. This new
i from tin. ]iicaaX snd never lief re In print, will bs seot t« soy
i by p at fur twcl«e post irtamp.— punctually per return poet. Iru-aet
'".bed 1»«T
id, l^iudon latabli.
SIGNOR FERRARI'S NEW WORK on the Cul-
tivation of the VOICE and SINGING is now published, t-rfos Ssv. sod
may be bsl at hit re.uienee, Devondnre Lodge, r. rtlir.ii r ad, Portlaad-plsM.
and at all the principal muaic sella <s. "Of all the treatises ou the enltirat oa
of the voice ihat hare appsaie-1 Tar uisny yssra, It is the most sensible, eoocias,
snd uae4\il.H— Daily News ••Theru is tuon. sense In this work than «e find in
nine oil of ten publications of s similar kind."— Athsnssum. "Forms a kind
of grammar of the vocal art, sud not s mere ooUsatlon of exercises."— CrifJe.
Digitized by Google
May 1, 1858.]
THE MUSICAL WORLD
275
THE WESTMINSTER ABBEY EVENING
SERVICES.
To tts Editor of tit livncal World.
London, 27M April, I86&
disgracefully interrupted and quite put out by the conduct, or
rather misconduct, of the organist, at leant the following ex-
tract would seem to imply it :
" When (ho ror.rrnd gentleman had reached about the middle of tl.«
first lesson, tlie organ rtruck ap with imuemsk vioodh, to (lie no
•mull aMonUliruent of Mr. Krrrc himself."
It ia really too had that such gross misrepresentations should
find their way into the papers ; the " immense vigour " referred
to being nothing else than the accidental touching of one of tho
notes, and the consequent emission of a sound, which huited not
more than a few seconds.
I was rather astonished next morning on beiug complimented
by several persons on the disgraceful manner in which the
service had been done, and was still nisru astonished on being
referred to one of the morning papers for a confirmation of
the same.
Whoever the individual may chance to be, whose duty it is to
report the proceedings at the Abbey Evening Services, he has
proved himself entirely unequal to the task, for some weeks
b«ck it was stated in one of the leading papers that " the choir
acquitted itself well, being under the superintendanee of
Mr. Helmore," or some words to that effect.
Mr. Helraoro has nothing more to do with the super-
intendanee of the choir than your own good self.
It ia true that he has kindly permitted the Chapel Royal
Boys to sing there, and we have the honour of reckoning him
among our number ; and it is also too true that should any
particular point be taken up too soon, or any particular note
hold on too long, it can generally be traced to the end seat, back
row, of the Dean's side.
I remain. Sir, your obedient servant, A Subbcribkr.
ON THE PROJECTED KHECTION OF HANDEL'S
MONUMENT AT HALLE
Whew Haudel's statue, in famed Halle town,
On lolly pedestal, it plnred before u»,
A manc-fctc no doubt the day «ill crown.
And (hen they'll ting the HALLclujah Oh
Knwinn Hals.
[Two things arc to be regretted in surveying the above in-
genious and spirited impromptu — first, that the poet's patronymic
nbould only contain oueL; next, that the poet should 'have
neglected to dedicate his inspiration to M. Halle, who plays the
music of Handel so skilfully. Only fancy— Halle (the birth-place
of Handel) ; Halle (the performer of Handel's Suite*) i Hnllo(-
luinh— the chorus in Handel's Mtuiah) ; and (Edward) Halle
(Handel's centenary poet). The lyrical jcu-d'etprit would have
been perfectly worthy of Mr. naydu Wilson), aud might have
circulated in the "Hallea." — Ed. J/. II'.]
Rota I, Academy or Music. — Her Majesty, who takes the
greatest interest in this institution, has intimated to the Earl of
Westmoreland her command that a grand evening concert be
given In St, James's Hall on Wednesday, the 83rd of June, at
which tUe Queen and Prince Albert will be present. A com-
mittee will be formed to issue vouchers for the centra of the
hull, which will be occupied by the Iloyal visitors. The or-
gan iMAtion of the programme, to render it worthy of such an
occasion, will be carefully attended to. Not only will tha past
and present students, the former comprising the most eminent
professors, vocal and instrumental, assist, but the co-operation
of the liading artistes, native and foreign, will be called into
play. Air. Costa will be the conductor. The event cannot fail
to ©Jtcitja universal interest in
THE THEATRES IN ITALY.
(From our Milan Corretpondent.)
No.L
I fromibkd you in my last from this place some observations
on the system of management which prevails in nearly ail
the Italian theatres, and also on the conduct towards Euglish
artists of a certain " Signor Curtani" of Pavia. Among tho
many causes which are hastening tlic "decadence" of the lyric
art in Italy, tho greatest is, perhaps, the immoral and thoroughly
ignorant way in which tho theatres arc conducted. A theatre is
naturally a field for envy and jealousy, and we readily concede
that some of our own may not be patterns of morality ; but God
forbid they should bo tlio Augean stables which most Italian
theatres represent. One ot nur popular modern authors has,
however, observed that " the English make a noise about
imuiurality, while the Italians think nothing of it, because vice
is our episode, but their epic." *
It is, in the first place, necessary to state that all tho engage-
ments for the theatres in Italy are made by a set of men who
swarm in the capital cities, and are called " ajente ttatrale."
These " theatrical agents," with few exceptions, are the "foot-
pads" upou tho artists' road. With regaru to male singers, tbey
sell engagements to the highest bidder in the shape ol "com-
mission," independent of fitness or ability, which keeps the poor,
and perhaps more talented, singer out of the field. The female
artist, it ia notorious (and these gentlemen make no secret of tho
"mysteries" of their profession), too commonly purchases tho
honour of being on Mr. A. or Mr. B.'s list by sacrifices that shall
be nameless.
An Italian imprttario is generally a jack-of-all-trades. — now
an hotel-keeper, now a pastry-cook, now a bankrupt, now starting
up again, aud exclaiming, like Tate Wilkiusou to Touy Lebran
the actor, " Cua-o-God, Tony, I'm a manager !"+ Sometimes ha
is a man with a little judgment, but no money ; at others with
a little money, but no judgment In the first case, he borrows
the "needful' of some friend, who is "a damn'd unconscionable
dog," and charges him awful interest, keeping him completely
under his thumb ; in the socond, he is sure to be surrounded by
a set of intriguing charlatans connected with the theatre, who,
under the pretext of devotion to his interests, swindle him right
and left, and, when his means are exhausted, shake him off, and
call him " <mi.<o / " A practice prevails in Italy when an imprt-
tario takes a theatre, great or small, of " going round with tho
for tno most part ths
hat"— the contributors to the "hat" I
same persons from season to season, these chiefly consist of
respectable tradesmen or persons of the city or town who are
fond of music, and form the only intelligent and honest part of
the " direction" of the theatre ; for as such their contribution
entitles them to be considered. They are entitled " Socios."
Thus we have Manager No. 1, Mr. Impresario, in his own per-
son ; Managers No. 2, the Socios ; and Managers No. 3, (As
"Direction, or, as it is designated in several theatres, "the
Noble Direction ! " This improper power behind the throno —
the more improper because irresponsible — is a fatal stumbling-
block in the progress of the lyric art, aud highly injurious to tha
interests of the honourabto artists, as well as ruinous to managers.
' The Noble Direction" is omnipotent. Tho operas to be per-
formed, the singers to be engaged, must eventually meet with its
high aud mighty approval. Its members are the Solous — tho
Macsi'Dases (I feel tempted to write the Midascs) of the theatres.
And of what materials, you will naturally ask, is this enlight-
ened body composed f In tho first place, of such of the aristo-
cracy as hold shares or interest in the theatre ; next, of some of
the Government officials (the theatres in Italy beiug undor their
mrreiUance) ; and lastly, of two or three conceited " '
The first rarely take an active part— and are to ba <
for their good sense ; the second are generally passive,
on important occasions ; but the last are always' thrusting
solves forward, as if to prove that " a little learning is a >
ous thing." The |*riod for the exercise of this despotic power
is generally reserved for the gran prot* (last rehearsal), when.
* Bulwer.
t See Rilsy'. /tissrsaf, or
of an
»
Digitized by Google
276
THE MUSICAL WORLD.
[May 1, 1858.
according to the unwholesome regulations of Italian theatre*,
the direction may "protest" any of the artists ; and against such
decision neither manager nor artist has any appeal. Thus, if
the manager has engaged a singer who does not bow down and
worship Mr. Director, or has refused to engage the prima donna
of his recommendation (and the " actives " have alwayi
always
"chire amie" at hand)— no matter the talent of the artist — no
matter however satisfied the manager and disinterested judges
may be of their ability — the moment for the gratification of vanity,
spite, or malevolence has arrived, and the singer is "protested ;"
the theatre must be closed until another singer is "up'' in the
part, and if the " protested" artist be a dtbutanle, or even young
in the profession, a serious, a fatal, an irrecoverable blow is in-
flicted. We well know that the ability of judging may exist
separately from the power of execution. An amateur may not
be an artist, though an artist should always be an amateur;
and it therefore behoves the dilettanti to exhibit some show of
modesty — some evidence of education — when they take upon
themselves to issue fiats against professional artists, the result of
which may be to deprive them of their means of support, and to
1 their prospects of fame and emolument, for which they have
rs of laborious study,
lied "lover, of art"-one of these
gentleman who does the bufo business in
, and attempts "subterraneous bass^'— that I have
to speak. His conduct towards an English artist during
the last Carnival season at Pavia merits severe reprehension.
A young English lady, who has been studying the Italian
school of music here for upwards of four years, and possesses
high qualifications, was engaged hy the manager of the theatre
at Pavia directly he heard her sing, to make her debut at his
theatre. The rehearsala were progressed to the satisfaction of
all ; but after the gran prova was coucluded, forth came the
delegated representative of the " noblo direction," who does
utility business in the comedy of the Judgment of Midat at
Pavia, and thus spoke the oracle : — "The prima donna is English
—we must have another." "But why — why?" was anxiously
demanded by the frightened manager ; she has a fine voice, sings
well, with taste and feeling, and is evidently a good musician."
The oracle looked rather blank ; bat, after ruminating for some
e prima
in acting." (No wonder ;— the prima donna was a dtbutanle.)
In vain the manager, director of the orchestra, and the tocioi
nil urged and pleaded, " Try her— try her t" No;— the sen-
tence had been passed— the English girl should not sing—
8ignor Curtani says so— the " lover of art" protests against the
Now let us pause, to ask this magnanimous connoisseur if he
be aware how completely he stultified himself. We leave him
in possession of whatever gratification he may feel at the success
of his narrow-minded prejudice against English talent, and tell
him that to "protest" a lyric artist— a dibutantt, too— at a re-
hearsal (when vro all know singers rarely or never act) was
equal in point of justice to " protesting" a painter before he has
touched the canvas — a sculptor before he has used the chisel —
to declare a battle lost before a sword was drawn, or the enemy
in sight. Waa the " Daniel" of Pavia in possession of the fact,
that many of the first singers that ever existed (including several
of his own countrymen), after long piactice, and even up to the
close of their career, were bad actors, and that even the great
Ruhini, in the zenith of his fame (except in momenta of apparent
inspiration), was a perfect "stick" on the stage 1 The true
artist will always bow with deference to the opinion of the public,
and strive to remedy faults, but it is heartbreaking (especially
for a tyro),to be debarred from the only legitimate tribunal by
a private enemy, a bigot, or a charlatan.
I am both sorry and reluctant to state, that conduct like Signor
Curtani's finds but too many imitators among his countrymen ;
some of whom, from their education, position in society, and
knowledge of the manner in which Italian artists are received
in London, ought to know better. But the enemies of English
artists in Italy are engaged in a hopeless task. Where genius
sad talent exist, they are not to be crushed, but will eventually
make way through a hundred obstacles.
When will respectable, fair-judging Italians rouse themselves,
and shake off these plague-spots, these illiberal " cliques," that
justly create so much prejudice against them in the minds of
intelligent foreigners 1 Italian public ! hear, that you may judge ;
and where there is talent, foster it, encourage it — no matter the
country whence it comes. The days of monopoly are gone. Look
truth boldly in the face, and acknowledge that your prestige is at
any rate diminished. Do this frankly, and you will then deserve
and receive the respect and the sympathy of English artists, and
your beautiful land still continue to be honoured as the " Mother
of Art."
P.S.— I propose in my next to speak of the profeetional Italian
cabal against English artists in Italy, and also of certain parties
who go over to England to fulfil lucrative engagements every
season, and then return to Milan to abuse the English, and join
in the conspiracies against the English singers here. They will
perhaps take the hint. Your correspondent has his eye upon
mahogany trees,
RECOLLECTIONS OF CALIFORNIA & AUSTRALIA.
BT A MUSICIAN.
(Continued from pagt 2C1.)
A rr.w dozen strokes of the oars and we turned a bend in the
river, and seemed to be floating in a lake of liquid blacking
fringed with a forest of combs ; for the stems of the mangrove
bushes having been denuded of their leaves, looked more like
those useful adjuncts of the nursery thau anything else I can
think of. By degrees, however, there came a patch of terra-
firma, then fewer mangroves, then an old banana or plaintain-
tree, with great rich, lazy, half-broken leaves, just trembling as
that ring-tailed monkey scampers off, frightened by the sound
of our oars, and bearing away the luscious fruit. " Now, Cap-
tain, how can you be so cruel I" says our good-natured dominie,
a* our muddle-headed chieftain takes aim at the little native,
" what is the use of shooting him — is there not room enough in
the world for your huge carcass J" And so diverting his aim,
the dominie winks at me, and I open a bottle of claret, aa Master
Jacko pops his head from behind the trunk of a mahogany tree,
and grins an adieu to his would-be murderer. The banks grow
still more open, and at last huge mountains are seen surround-
ing us on all sides, covered with the magni
and alive with the brilliant plumage of n«
The scenery was now positively sublime, and aa we i
Indian village named Oatnn, about seven miles up the river, we
determined to stop, rest our men, and have a look at the
natives. And here I met with a mishap; for in stepping out of
the boat upon what I supposed to be dry land, the treacherous
black slime gave way with me, and I was up to my middle in a.
composition apparently composed of Day and Martin's blacking,
soft soap, and that mysterious preparation denominated by
plasterers compo. I did not feel at all comfortable while
waiting for my comrades to pull me out, which, after laughing
awhile, they did (and I came out with a like a ginger-beer
cork); for, as this river swarms with alligators, and as theae
amiable Niobcshave a fashion of making dirt-pies of themselves
in the muddy banks, it was not improbable that they might
have taken a fancy to ras; in which case ray only consolation
would have been like Sidney Smith's to the missionary bishop,
"That I should have disagreed with them."
I do not think the Indian village of Gatun likely ever to tjvke
any prominent position among the great cities of the world, m
it consists entirely of huts made in the dirty bee-hive style, and
the inhabitants devote themselves principally to hunting and
pastoral pursuit*— I mean such Arcadian delights as cam be
found in " The flocks shall leave the mountains" of each other's
noddlea. In costume they are exceedingly primitive— none but
the elderly females wearing anything at all, and, ns their
principal diet is of a vegetable character, their figures assume very
much the appearance of an orange with a couple of tobacco-
pipes stuck in it. Well, after stopping long enough ( for me
to scrape myself, and, giving soma small silver com* to the
little ones who begged lor " little a pislareen para Mi\chacho,
Caballeros," we again embark upon the Styx-like t*-
Diq
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our captain, who had been imprudently drinking on shore the
fiery aguadiente of the country, annoyed our good Charon, the
padrone, by giving similar doses to the boatmen ; the conse-
quence waa that they became uncommonly facetious, and at
last when, at nine o'clock, we arrived at a portion of the river
called Doa Hermanofl, where the stream begins to assume a
rapid character, they positively refused to go any further without
rest, so perforce we landed again ; and here we saw the most
enormous green turtle it is possible to imagine. It was lying on
its back, and the flat yellow shell had been taken off. It was
the moat extraordinary waste of the raw material I ever beheld;
for these poor devils, the nati res, do not know how to cook it —
simply heating the flesh upon the embers, and throwing the
" delicious green fat" to the turkey buzzards. I am quite
sure that the late respected Mr. Birch would have gone dis-
tracted with the idea, and very probably have drowned himself
in the shell, which was quite large enough. I should mention,
en pauant, that these noble reptiles are caught outside the river's
mouth upon the sandy beach, about four miles below Chagres,
where they are very plentiful.
The first thing done by our boatmen waa deliberately to
scoop holes in a bank of sand that had been exposed all day to
the sun, get in, cover themselves up, and in two minutes they
were sound asleep, under the arrangement that they were to
start again at miduigbt. We then took it by turns, four or five at
a time, to wander on shore, first taking the precaution of leaving
a good guard over our goods and chattels, as many boats were
lying here while their passengers were emulating our example.
Here we got some execrable coffee and tortillas, which are very
much like those cakes that all children like to pat in their
hands, and bake in the fire-shovel, when pies are being manu-
factured at home. At last midnight came, and with it came our
captain, fearfully and wonderfully tipsy — the only man in that
condition I am happy to say. It would be painful to linger over
the shortcomings of a great man ; but I feel it my duty as a
faithful chronicler to say that he waa then and there igno-
miuiously deposed and put to sleep among the boxes to awake
upon the morrow "a wiser and a smaller man." Our boatmen
rose instantly and cheerfully commenced their laborious ascent
of the rapid river — which here does not admit of the use of the
oar — by poling us up ; which operation consists in starting
from the dow of the boat and pushing against a pole with the
chest, as the boatman strides from stem to stern. Our party
now were very sleepy, and disposed themselves for a comfortable
night's rest as beat they could, covered with cloaks and coat* to
keep off the dew, which was now very heavy ; but, as I feared
to sleep in this heavy tropical moisture, I decided upon keeping
the padrone company for the night, and I found him a very in-
telligent companion, possessing a great fund of exceedingly
useful information , and, still better, he waa a Freemason. I
waa induced to keep this night's watch, mainly in order that I
might see the constellation of the Southern Cross, which all the
poeta, from Camoens downward, have raved so about, and which
would be visible above the horizon about three in the morning.
Well, it rose, and I saw it for the first time (oh ! how many
dreary nights since have I watched those four Btars!), and
cannot sufficiently express my disappointment. It has neither,
size, form, brilliancy, nor equality of magnitude. In ahort,
although some consideration might be mode, consequent upon
the nervousness incident to a first Appearance, I must always
look upon this much-belauded constellation as a humbug, a
poetical myth, and unworthy the place it has taken among the
poets.
Slowly and steadily the night passed away, enlivened by the
light of the myriad* of fire-flies and a sharp snapping of the
jaws of the numerous alligators, whose constant proximity to
the boat was quite a source of uneasiness to us ; for my long
friend from Illinois would insist upon putting those awful legs
of his over the gunwale of the boat into the water ; but owing
to our perseverance, although I think he got several nibbles,
there were no absolute bites. At about four o'clock the sun
suddenly made his appearance, and (as is always the case in the
tropica) we jumped from night to day without the intervening
twilight. Breakfast was soon the cry, so out came the stores,
we landed, made a fire, brewed the coffee, and we had tuck a
breakfast, enlivened by the society of some ladies, whose impro-
vident husbands had neglected to provide anyereature comforts,
trusting to the tender mercies of the natives of the isthmus, in
consequence of which the poor souls were nearly starved.
While our boatmen, with the dominie in command, poled round
a long curve in the river, the rest of the party walked across a
kind of peninsula; the ground, which had been cleared for culti-
vation, was now alive with the mimosa senaitiva, which grew
about knee-high, bearing a little lilac-coloured blossom, and
whose leaves and secondary branches shrunk as we approached,
and remained apparently dead, while our footsteps appeared to
have carried desolation in their track.
In about an hour's walking we arrived at the opposite side of
the peninsula, where, for the first time, wo entered a rancho, or
farm-house of the country. Now this rancho was built of wood,
and of what wood do you think, gentle piano and cabinet-
makers! None other than the best Spanish mahogany, simply
dressed with the broad-axe, and without the sign of a plane. I
Baw as a door to a dilapidated stabla a piece of wood that
would, in veneers, have been of great value ; but here it is so
common that a bit of deal or white pine would be looked upon
as a curiosity. Hero we got fresh-laid eggs and Allsopp's palo
ale, a great luxury in a warm climate.
Shortly the boat rounded the bend in the river, and the
dominie appeared, most dreadfully sunburnt, and cramped from
sitting in the boat. He soon recovered, with the aid of the pale
ale and the delicate attentions of a Spanish lady without shoes
or stockings and rather scanty drapery, whose exigtance seemed
to alarm the good dominie. Indeed, he afterwards told me in
confidence that he really believed she was no better than she
should be, in which opinion (to his great satisfaction) I solemnly
concurred.
From the time of our embarkation again until our arrival at
Gorgona (where we were to rest and proceed on mule-back)
nothing «f importance occurred, and we got quite used to the
iguanas and alligators— only shooting one or two by way of
amusement, to which the dominie did not object, as ho said they
were varmint.
One curious sight I must mention. Upon a large dead
mahogany tree, close to the side of the river, sat a large number
of vultures (which, as most people kuow, are of a dingy blackish
brown, with long red necks, that make them look like clean-
shaved highlanders), and upon the top of the tree was a bird
called by our padrone the king-vulture. He was perfectly
white, and was evidently treated with great consideration by
the rest of his court; now whether this bird is of a different
breed, or merely an albino, or whether the vultures change his
nature (aa the bees do that of the queen), by stuffing him with
any peculiar preparation of dead hone, I cannot say, but the
padrone aaid that we were lucky in getting a glimpse of his
majesty, as they were extremely scarce ; and he told us some
strange stories of the deference shown to him by the common
vultures. And so beguiling the way by viewing the lovely
scenery that surrounded us, ever changing, ever beautiful, we
arrived at Gorgona at nine o'clock at night, our boatmen having,
sans intermission, poled us up this rapid river without cessation
for thirty-three hours, perfectly naked in a broiling sun, a
species of labour that would have given the strongest European .,
• cwtp dt —leil in an hour. ' We bad no sooner struck the beach,
than with the glee of schoolboys just let loose, they shouldered
our heavy trunks, and scampered like monkeys up the steep
ascent to the village, where we found them in the large bar-
room, grinning with delight as we came up the steep fuming
with the heat ; we gave them thirteen dollars over and above
our agreement, aa an encouragement for their good conduct, at
which— if blessings were water-spouts— they showered enough
of them upon our heads to havo swept us into the Pacific, and
away they wcut to the Monte table, where, I have no doubt, in
an hour or two they were as penniless as wheu we took them
at Chagres ; however, they could not well starve for some
weeks, for we left them provisions enough to set up a decent
Italian warehouse or cook-shop. Our next care waa then to
see our luggage forwarded to Panama by pack-mules; this
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THE MUSICAL WORLD.
[Mat 1, I8d6.
done, to secure riding mules to start at daybreak, attempt to
eat n supper of a kind of anatomical preparation of extremely
aiit:quat*d horse (called, by courtesy, beef-steak), aud turn in
upon a canvass cot without any bedclothes, where we slept like
tops till daybreak.
(TO I* Cun'intlt l."
H, FETIS on the present state of
MUSICAL ART.
Tiir concluding articlo of M. Futis on this subject has
appeared. The various special directions which musical talent
may take are touched upon, aud the preliminary observation is
made, that, with the exception of Mozart, no composer has over
been known to impress the stamp of his genius ou every class of
production, from a serious opera to a contre-darue, and to lavish
treasures of beauty both in vocal and instrumental music, after
his powers had acquired their full development. Such an ex-
ception only the more completely proves the rule. Talent follows
a particular bent according to the physiological organisation of
the individual, and his moral characteristics ; sometimes, also,
according to his education, to certain habits contracted in youth,
to the associations amidst which ho has lived, or, lastly, to
fortuitous circumstances. Painters aud composers are frequently
blind to their own destination, and only discover it through some
unforeseen accident.
Sometimes, after obtaining success in one style, they imagiuc
themselves capable of excelling in others, make the trial, and
fail. Beethoven had reached the highest rank iu instrumental
music when ho determined to compose an oratorio, and was
only mediocre. He tried his powers in opera, and introduced
many things of greut beauty iu Fiddio ; but these beauties are
not always suited to the stage, and were achieved with the
greatest labour, the composer returning to his work at repeated
intervals, suppressing some pieces, rewritiug others entirely or
in part, but never satisfying himself or realising his intentions,
because he was deficient in the essential quality demanded by
this style— namely, the instinct of stage effect, which is very dis-
tinct from dramatic feeling*
In contrast with this example is that of Mvhul, whose talent
for dramatic composition was of so high an order. Mcliul cotu-
meueed by writing sonatas for the piano, in which there w;is
nothing to indicate the genius subsequently revealed. He com-
posed symphonies at a time when his reputation was already
spread throughout Europe, but iu these coldly designed works
there is not a spark of the creative fire with'whieh the public
were excited at the performance of Joseph, £up/<rotyite, and
Ariodunti
In France the rarest sort of talent is that for instrumental
music, iu speaking of which, M. Fetis passes over iu contempt
whst he designates the "wretched things" with which the
world has been inundated within the last half century, aud es-
pecially in quite recent days. That there should be light and
trifling things written for people of the world and young
ladies who regard music as a more or less disagree-
Me way of passing the time — all well and
HO need of any encouragement ; t"
destined sufficiently appreciates them ; but do not let us forget
that In instrumental mimic, in symphonies, quartets, quintets,
aud trios the highest ideal aims of the ai t are asserted, aud that
next to church music no style is less influenced by fashion.
Sensible as the French are to the beauties of this species of
music, few artists have cultivated it; why it is so has been
shown in previous articles. One French composer alone, the
late Onslow,! devoted the greater part of his career U> it, be-
cause, being iu the enjoyment of a fortuno more than sufficient
• With icgiud to Hie Mount uf Oliret, and ttill more emphatically
villi regard to Fidrlio, we betf our icudcr» to bclieio that we do not
»Usro the opinion* of M. Feti«.-- Ed.
+ Here again we ate irivliont to differ from M. Felis. We have often
wi.l.e.l to hear Me>iul's aymphony in O miuor at the Philharmonic
Cunojrls.— Ed.
I Who was an
good ! Such toys have
world for which they are
for his own want* and those of his family, he was not driven to
take into consideration the question of revenue and means of
livelihood from which so few artist* can set themselves free
Onslow won for himself an honourable renown in this style of
composition, and produced works of interest deficient only in
originality. Amateurs — at the time there were any—played
his music a good deal, and it is also held in much esteem in Ger-
many. Quite recently a few young composers have tried their
skill in quartets ; hut excepting those who, like Dancla, \
the talent of a violinist and can obtain a hearing for their '
they are obliged to keep them in their portfolios.
M. Folia thinks there is certainly someway of remedying so
unfortunate a state of affairs. He proposes that the directors of
"consrrparoiref/'and even the heads of brauch schools in the pro-
vinces, should establish classes of quartettista, under the guidance
of good professors. Invested by their talents with the required
authority. These classes would be joined as a matter of onliga-
tion by those students of the violin and violoncello who had
acquired a certain skill, and were good reader*. " Laureates "
of the Institute, first prize-men in composition, artists already
honorably distinguished ; and as regards those who have not yet
emerged from obscurity, those who can give a guarantee of their
title by the production of a work recognised as meritorious by a
competent committee, would enjoy the right to have their works
executed in this class, aud of explaining their intentions to the
executants. Those producing the most satisfactory effect would
bo performed in public, and admittance to the performances
might be by invitation. They would take place in summer,
when the artists arc not overwhelmed with the fatigue of rnn-
certe, toireit, rehearsals, and the labours of the winter season.
The same may be said with regard to symphonies. Several
happy expedients have, it is true, been pat into practice to faci-
litate the hearing of unpublished works, as in the Sociittdi Sf
Civile, and the association of youug artists of the Ctnuervatoire,
directed by M. Pasdeloup ; but it is impossible to overlook the
fact that the object of thus undertakings being the realisation
of a profit, the fatal obligation is incurred of sniting the
taste of the public, whose purses are aimed at. Now, it is
an incontrovertible fact, that when the public pot/, they
will not run any risks with regard to the pleasure they
are to receive. They demand security on this point, and
names of celebrity are alone capable of affording it. In a
given time, therefore, such enterprises must eventually diverge
into the habitual errors to which all similar undertakings are
subject. Performances to an invited audience can aloue afford
a guarantee against this necessary consequence, and an orchestra
formed out of the body of a school, and subject to the regulations
of a su|i«rior authority, could alono preserve its primitive
character. In a conRervatorium where the instrumental pupils
are numerous, as in Paris and Brussels, a special orchestra
might therefore be organised for the purpose of executing un-
published symphonies aud overtures, and public assemblies for
hearing them might tike place in the summer, at iutcrrals of a
fortnight.
These, and the expedients described in former articles, M.
Fetis confidently believes would infallibly furnish the means of
satisfying that imperious necessity to all composers — the obtain-
ing a hearing for their works— if they possess talent. Musicians
are not so favourably situated in this respect as painters, to
whom exhibition rooms frequented by huudreds of thousands
are periodically open for the display of their productions, and
who, if their works be of distinguished merit, are sure of realising
large sums. The musician requires that his work In? satisfac-
torily executed, and if his success be commensurate with hia
expectations the profit will bo exactly 0. The only advantage
he will have gained — an immense one no doubt — will be to haTe
given token of the worth of his talent, and to have emerged at
least from that obscurity which to an artist is the tomb.
M. Fetis then proceeds to notice another branch of his subject,
and to inquire how music may bo rescued from the degraded
state into which he sees it has fallen. A first cousie. -ration that
occurs is, the thoughtlessness with which the career is adopted
without the urgent pressure of that powerful and conscious
instinct which reveals genius innate. The career of >v <
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THE MUSICAL WORLD.
279
ia taken up as one would take up that of a house-painter,
in order to be of one trade or another. Let it be proclaimed
for the benefit of those who commit tbia error that there ia
no worse profession in the world than that of music, even when
nature has done her utmost. Let a man oak himself whether from
earliest childhood he has felt a strange uplifting of the soul, a sense
of actual beatitude at hearing certain combinations of sound, at
feeling the sensation caused by certain qualities of sound t Has
he passionately sought out every occasion for again feeling the
same pleasure ! Has he at a later period felt the impulse to
procure tbe enjoyment himself by means of the first musical
instrument he can lay hands on, without knowing how to set
about it. and with inexhaustible patience feeliug his way through
repeated trials 1 Hits he ever invented little melodies of some
sort, which to him were fraught with charm ere he had oven
heard of music ! Has ho been able to read music, as it were,
without having learned it, by rapid flashes revealing in a
mysterious manner the whole mechanism of its notation ? Has
he had the idea of harmony without knowing the laws which
govern the construction of a chord 1 Has ho been racked with
the desire to put forth ideas, to give them a shape nud to score
for the orchestra at an age when others have no thoughts
beyond childish games 1 If be had felt and done nil this, who
can say whether lie possesses genius or no ? Nevertheless, such
an indication of its existence permits M- Fetis to say to that
man, " Work, apply yourself, by-and-by we shall seo." If, on
the contrary, such a revelation has not occurred, assiduity may
make a more or less skilful musician, but there will be no
prospect of his aver becoming a composer.
(2t> be continued.)
SACRED HARMONIC SOCIETY.
Thk first performance of Handel's ltrad in Egypt, on Friday
evening in last week, attracted one of the largest audiences we
remember to have seen in Exeter Hall. Our anticipations are
about to be realised. hrael in Eyypl will soon bo only second
to the Mtuiab in inipularity. The performance last year at I lie
Crystal Palace has in a great measure led to this remit ; ami
now that the choir is undergoing so effective a training in
rehearsal* for the Handel Centenary Festival next year, wo 'may
reasonably look forward to as perfect an executiou of Handel's
grandest choral work aa of any of the better known oratorios.
The performance on Friday night was not perfect, but it was by-
far tin. best we have beard at Exeter Hall. Some of the choruses
were as fine specimens of choral singing as we ever heard. Wn
may cite "He gave them hailstones," "They loathed to drink,"
"The horse and his rider," "He spoko the word" — which, by
the way, wo heard in tune for the first time — aud " Thv right
hand, O Lord," as among tbe most successful efforts of the Sacred
Harmonic Society. The " Hailstone" Chorus was received with
such a storm of applause us to make its repetition indispensable.
The principal vocalists have little room for display in this
oratorio. The popular (aud very long) duet for the bosses,
■ The Lord is a man of war," if tolerably sung, is sure to create
effect. Nor did it fail on the present occasion, interpreted by
smch vigorous " interpreters" as Messrs. Weiss and Thomas.
The " encore," nevertheless, was not by any means unanimous,
and should not have been accepted. ■ And the enemy said,"
was quite another thing. This spirited air was sung by Mr. Sims
Reeve* in such a manner as to produce a sensation unparalleled
at Exeter Hall. It was a real furore, in which the whole baud
and chorus joined, and which, by its vehemence aud continuance,
fairly took the singer by surprise. Mr. Sims Reeves never sang
more magnificently. The air besides being extremely difficult,
—one of the most difficult of Handel's bravura songs for tenor —
requires great power of voice, combined with a ready coiumat d
of florid executiou, and a breadth of style that few vocalists
possess. Everything was found in the great English tenor. A
more unauimous "encore," or one more richly earned, was never
awarded to singer.
Madame Ruuersdorff, Miss Banks and Miss Dolby were the
other soloists. Miss Dolby acquitted herself admirably, singing
both the contralto ain in the true Handel ian style. " Their land
brought forth frogs," was given with the requisite simplicity of
expression, and " i'hou shalt bring them in " was equally good.
The soprano part ia very important, and, if Madame Rudersdorff
would attempt less with it, she would probably accomplish
more.
On Wednesday next, Mendelssohn's Atholie and Rossini's
Stabat Mater will be performed.
Bath. — The last of the series of the first-class entertain-
ments of the Bath Classical Concert Society came off on
Wednesday. Unfortunately, in consequence of those who
arranged the programme having put down for Mr. Sims
Reeves about twice as much work as he had agreed
for, great dissatisfaction was expressed at his not taking
the tenor in Leslie's trio, "Oh memory," and singing other
pieces to which his name was affixed. Mr. Sims Reeves, how-
ever, was entirely blameless iu this affair. Many might say that
Mr. Sims Reeves is paid well enough, and should not begrudge
an extra soug or two. But he is really paid his market value,
and nothing more ; for, considering the years of hard study and
continuous labour he must have gouo through, to acquire his
indisputably pre-eminent position as a scientific musician and
highly cultivated singer, if he received double or treble the
present guerdon of bis services from the public whom he
delights, be would not bu too liberally dealt with. Again, when
we take into consideration the fact that he ia called ujion, nearly
six nights in every week, to gratifv audiences hundreds of miles
apart, aud to sing beforu them nolens t'o/ent, in or out of condi-
tion, with an ease, delicacy, and finish that imply an intolerable
amount of harassing labour, we are bound to extend to him our
kindest consideration, and cannot complain at his refusal to per-
form more than ho has bargained for. He was, on this occasion,
the making of Balfe's "Come into the garden, Maud," F. Mori's
*' Who shall be fairest," Arc. &c. Explanations were volunteered
by Mr. B. Taylor and Mr. King, and after a while the dissatis-
faction of the audience seemed to subside The first appcarenco
of Miss Kemble before a Bath audience was a matter of great
interest. This young lady having but lately mad.- her dfbut in
the metropolis, has nut shaken ntf the nervousness common to
firtl appearance*, The eontntemps of the present occasion
tended to increase her trepidation, ami we are, therefore, unable
to form a judgment as to the extent of her abilities. We hope,
ere long, to have the pleasure of hearing her under more favour-
able conditions. Miss Heleu 1. Taylor sang two of her father's
compositions, Benedict's " Ange Adore," Are. Beethoven's Grand
Septuor — a ]>art at the commencement "f each section of the
entertainment — was effectively rcudered by Messrs. Blagrove,
B. Taylor, Brooke, Hutehins, Maun, Waite, and Prut ten. We
bcllev*. this work has not bem performed in Bath since the late
Mr. l/oder's last benefit concert. The other classical piece was
the first movement of Hitmrmd's Septet in D minor, by Messrs.
W. O. Oibbs, Blagrove, Koekstro, Nicholson, Maim, Waitc, and
Pralten — performed in excellent style. Since writing the above,
we have received from Mr. R. King an explanation ou behalf of
the committee. It is quite enough to say that Mr. Sims
Reeves is freed from all blame, and is acknowledged to have
invariably fulfilled his engagements with the committee faith-
fully and honorably. The conductor, in his anxiety to please
subscribers, had added two songs in Mr. Sims Reeves's name,
without his knowledge. Mr. Reeves objected as soon as he
was aware of the fact, and the committee, on hearing this,
were about to reprint the programmes aud books of the words ;
but,aa they were already circulated, thoy could not bo withdrawn.
—Itttth Paper.
BfST of Lrscf.uk. — The fot/>r of the Grand Opera of Paris
lately received an accession to its gallery ot illustrious composers
in ttie bust of LoMIBitr, author of the lltirdet and La Carem«,
and master of MM. A ui bruise Thomas, Hector Berlioz, Charles
Gounod, Ace, Ate. Lcsucur was born at Plessy, a small village
near Abbeville, where his statue in bronze has tor many years
adorned one of the principal places of the town. The complete
works of the composer have been presented by his widow to the
city of Abbeville, and are deposited iu the communal library.
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[May 1, 1858.
ROYAL PRINCESS'S THEATRE
UNDER THE MANAGEMENT OF Mi: CHARLES KBAN.
ON Monday, Wednesday, Friday, and Saturday, MUSIC
HATH CHAHMS, KING LEAR, and SAMUEL IN "SEARCH OF
HIMSELF. Tueeday and Thura "nr. THE STOCK EXCHANGE; or Th., Green
llu^n*-.^ FAUST AND MARGUERITE, and SAMUEL IN SEARCH OF
ROYAL OLYMPIC THEATRE— On Saturday evening
' next. Mar 1, the lwvformanee will commence with the n-w cocnedti'tta,
A DOUBTFUL VICTORY After which a new farce, entitled TICKLISH TIMES
To conclude with BOOTS AT THE SWAN. Commence at balf-paal T.
THEATRE ROYAL, A DELPHI On Saturday
■'Vtuing. May 1, the performance will commence with the popular drama of
LIKE AND UNLIKE. After which, the (rnuid oriental apectacular operatic
drama, to two acta, with Dew reentrr. dro-ee. dooorationi, etc., called the
CAI.IPU OF BAGDAD. To cc^lude with a uow and original
1 WELCOME. LITTLE STRANGER
ST. JAMES'S THEATRE— CARLO ANDREOLETTI,
Fhyriden to tho Court of Turin, will hare the honour of giving THREE
SOIREES OF MYSTICAL ILLUSIONS of a novel deecnptl'Mi. without the aid of
aprauMUie. at the atovo Theatre, on Monday, M.y S, W«lu)*l*y, May 5, and
Fnday^Ma^T ; roromericin| at Eight o'clock. Ticket, to be had at Mr. Mitchell1!
GREAT NATIONAL STANDARD THEATRE,
SHORKDITCH — Pr«.i»rtcU.r. Mr Johk Dorjautra,
ercning.
SHORKDITCH — Pr«.i»rtcU.r. Mr Johk Docatave.
Miee Rebecca Uteri Mr. Heury Maraton, and Miae Atkineon i
In Mond j. MACBETH On Tueelar, THE WINTER'S TALE On wedneeday.
STRANGER. On Thuredty. VIROfNIL'ft. On Friday. BVAHNE; OIL TIIE
and. f..r "
HALL OF STATUE* On Satu-day, a Play. and. f..r the llret lime. THE
DAUGHTER OF THE REGIMENT, in which Miee Rebecca laeace will perform.
. with OUR NELLY. Nelly. Miae Rebecca leasee. No advance In the
TO CORRESPONDENTS.
Mr. Aluakder 'Watt. — Wk cannot enter into such discussions.
Were we to mate an exception, our column* would be filled with
them every Keel.
M. Fkrdinapd Strauss;— J he
ikapd *rRAuaar-7*« communication of our cor-
An Admirer of I ' Genius.— Duttet died in 1812. Hit
last great sonata tea* L'luvocatiou (Op. 77), printed in Paris.
Profeuor Bennett hat performed it in public.
C. O. S. Many thanks for the polite offer of our correspondent,
which, nevertheless, we are compelled respectfully to decline.
BIRTH
On Mia 25th of April, at
Lockcy, Keq„ of a ion.
THE MUSICAL WORLD.
LONDON, SATURDAY, Mat 1st, 1858.
the wife of Ch.rlc*
The greatest curiosity was excited at the rocont soiree of
Mias Arabella Coddard by the fact of Woelfl . JVe Plus Ultra
and Dussck's Plus Ultra being both included in her pro-
gramme. Each of these sonatas possesses extraordinary
merit, and each is a genuine example of its composer's
manner. The whole soul of Duasek (an enthusiastic musi-
cian if there ever was one) is evident, as we have more than
once insisted, in the Phu) Ultra, which is more crowded with
perfectly original ideas than perhaps any other composition
for pianoforte solus not included in the repertory of the un-
equalled Beethoven. The genius of Woelfl was of a less
aident and poetical turn. Nevertheless, he was a master,*
and the allegro of his sonata is as symmetrically planned and
as skilfully carried out as though it had fallen from the pen
of Mo2art himself. The variations on " Life let us cherish,"
so unlike in character to what precedes them, demand a word
or two of explanation.
Tiic pianoforte
inC
In Woelfl's time (which was the early time of Beethoven—
the time of Duasek and Steibelt, and our unfortunate English
Pinto) there was a number of composers of the Abbe Gehnek
and Yon Each tribe, who wrote pianoforte works for display
with as little regard for true musical beauty as certain modem
virtuosi who need not be designated byname. They enjoyed,
too, like their successors, a degree of popularity far beyond
their deserts, to the detriment of more earnest labourers in
the field of art. Their compositions were on every piano-
forte, and their influence was higldy prejudicial to the taste
of amateur performers, besides offering facilities lor charlatans
to exhibit their flimsy talent at the expense of their betterls,
who would neither stoop to write, nor consent to promulgate,
such empty tours de force. Joseph Woelfl, one of the
sturdiest upholders of music in its purity, was naturally
among those most indignant at the progress made by players,
composers, and teachers, whom he knew to be nothing better
than impostors. Each fashionable professor paraded one or
two airs with variations, which, having composed himself and
got into his fingers, he would force on the attention of his
pupils. By these means the sonatas and other works of the
great masters gradually became neglected; the music of
Mozart, dementi, and Dussek — still more that of Bach and
Handel — went into disuse, and Steibelt himself, one of the
sterling men of his time, began to minister to the fashion of
the hour, and, gifted with just as much fluency as genius,
rivalled the Yon Eschs of the day, contrary to the real
musical instincts of his nature. (At this period, Beethoven
was producing his earlier compositions in rapid succession,
and by the irresistible example of his pianoforte sonatas
sustaining the good cause in another part of Europe.)
Woelfl, in vain opposing the strong tide of popular caprice, at
last hit upon an expedient which he thought might somehow
mend the matter, and help to bring about a better state of
things. Inwardly conscious that he could write display-
pieces with a great deal more facility than any of the pre-
tenders who were fast destroying the taste for pure and
healthy music, and perform them with an equal superiority, he
resolved to give the fashionable world a test of his ability.
His fame was European, and ho enjoyed the most distin-
guished position as a teacher. Thus his influence waa
considerable, and hs had only to feign adherence to the
prevalent style to swamp all his competitors. The Ae Plus
Ultra was the fruit of his new resolve. Unable, however,
to yield so gracefully to the breeze as his suppler contem-
porary, Daniel Steibelt, our more vigorous and unbending
musician began his new work with a stately adagio, followed
by an allegro solidly built on those principle* which are the
foundation of art, and with which art itself must perish.
Having thus proved that he was still Joseph Woelfl, he
immediately set about the rest, which was at once to propi-
tiate the false idol of the period and arrest the triumphs of
it* worshippers. A short andante, the air " Life let us
cherish," and the variations constructed npon it, constituted
the rest of the sonata. • 1
These variations alone would show Woelfl to be a man at
genius, since, though the offspring of a momentary caprice,
they are a prophecy of Henri Herz, who formed his style
upon them, and reproduced them in a hundred shapes, until
he had exhausted all that could bo squeezed out of them.
When ho abandoned the variations of Woelfl, Herz was no
longer Herz, but one of the thousand phantoms of Sigismund
Thalberg.
Well — the publisher of Woelfl's music, a bit of a t
he had i
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May li 1858.]
THE MUSICAL WORLD.
281
He might have exclaimed, "Avast!"— and no have fore-
shadowed a molecule of the cosmos of Dickens, as Woelfl had
foreshadowed the entire cosmos of Hers. Not so lucky,
however, as to immortalise himself by an interjection, all the
publisher said was — " Why, who the deuce can play itf
"I rill it May"— replied Woelfl, in Handelian English.
" Yea — but you wont buy the copies. No one but yourself,
or Dussek, can play the allegro — and I doubt if either of
you can master the variations." Woelfl sat down to the
instrument (a cracked old harpsichord) and convinced the
worthy publisher of his error. Not only was he convinced,
but enchanted. " But what shall we call itj" he inquired.
" Call it Nb Plcs Ultra"— eeid Woelfl, rubbing his hands
with innate satisfaction. " Now shall wc see if Herr Von
Each vill more blay, or Herr Bomdembo* make do varia-
tion." And Ne Plus Ultra was consigned to the hands of
the publisher.
The effect produced by the new sonata, and especially by
the vnriations, which (as Woelfl had suspected) were soon
sc|Mirated from the allegro, and published alone, was extra-
ordinary. The work was eagerly bought, and, to the confusion
of several professors of high repute, whose incompetency had
previously escaped detection, was placed before them by their
pupils with a very urgent request to hear it played. All
sorts of shifts and evasions were resorted to in order to avoid
going through such an ordeal; but in vain. Woelfl performed
the iVe Plus Ultra at a concert, and with such brilliant
success, that it became the fashionable piece from that moment.
Not only did he by these means obtain what he had con-
templated, in the discomfiture of those shallow practitioners
who had endeavoured to depreciate his worth, but what he
had not contemplated— the transfer of their pupils. True to
his art, however, he would never consent to give lessons on
the variations until the allegro had been studied. " Dat is
good" — he would say — "it will help to digest de variation."
The history of Dussek's Plus Ultra, how it came to be so
entitled, and how it wm dedicated to Ne Plus Ultra, has been
told. It is certainly a work of far greater genius, and for
style and expression more difficult to perform effectively than
iU rival and predecessor. Nevertheless, both deserve the at-
tention of connoisseurs. The musical public are much indebted
to Miss Arabella Goddard for rescuing such interesting com-
positions from oblivion, and endowing them with new life
and popularity through the medium of her very refined and
artistic performances. The most hidden recesses of the
library have not eluded the searching eye of this
,lady.
Ik the Homeric hymn to Hermes (which was not written
by Homer,) there is a very pleasant account of the invention
of the lute, by the ingenious deity to whom the poem is ad-
dressed. We will repeat this story, and when we speak in
verae, our words will be those of old George Chapman, the
whole of whose translations, edited by Richard Hooper,
are published in a *
[As many of our readers are doubtless of opinion that this
is a puff, we inform them that their opinion is perfectly cor-
rect We are highly delighted with the " Library of Old
Authors," published by John Russell Smith, and we take
this opportunity of giving it a lift]
The little Hermes, being scarcely a day old, displayed his
precocity by stealing the oxen of the sun, near the cave
kept,— but let the poet sing :
»pula
So
" Near the care'* inmost coverture did lurk
A lortoiec, tasting th' odoriferous grass,
Leisurely moring."
The ugly form of the tortoise displeased the fine seuse of
the baby-god ; but nevertheless, he smiled, for he felt that a
new opportunity for exercising his own power was presented.
He knew very well that he
" Could convert
To profitablcat um all desert
That nature had in any work convey'd."
And ho saw in the tortoise a promising raw I
he said:
" Thou mov'tt in me a note of excellent use,
Which thy Ul-form thall never to seduce
T* arert the good to be inform' d by it,
lu pliant force, of my form-forging wit."
[The last line, by the way, may cause a reader or two to
surmise that the god's mode of "expressing his views occa-
sionally bordered on the obscure.]
The poet has not told us whether the tortoise liked to be
killed; but that Hermes thought he was conferring an im-
mense favour by putting an end to the animal's slow, tor-
toise-like existence, and converting it into a lute, may be
gathered from this burst of gratulation addressed by him to
the highly honoured victim :
"Ail joy to the kind
Instinct of nature in thoe born to be
The spiriter of dancer*, company
For feasts, and following banquets, graced and blest
For bearing light to all the interest
Claim'd in this instrument '."
Life, in the case of the tortoise, was, according to the
opinion of Hermes, a decided disadvantage, for he went on
" Certainly thy virtue shall be known
'Qaiast greut-ill-causing incantation.
To serve us for a Unco or amulet.
And where in comfort of thy »ital heat
Tbou now brcatU'at but a sound eonfua'd for song,
Expoi'd by nature, after death more strong,
Thou a halt in sounds of art be, and command
Song infinite sweeter."
We may infer, from this, that the tortoise did sing a
little, even in the dayu of its dull life. It must have been,
however, an ineffective sort of strain, like that of a vocalist
imprisoned in the dreary recess of St. James's Hall,
here's a treat for every reader of poetical mind ! A i
account of the manner in which the tortoises
fashioned into the soul-breathing lute:—
" With either band
He took it up, and instantly took flight
Hack to Ids care with that his home-delight,
Where (giving to the mountain-tortoise vents
Of life and motion) with fit instruments
Forged of bright steel he straight informed a lute,
Put neck and frets to it, of wbieh a suit
He made of splitted quills, in equal space
Impos'd upon the neck, and did embrace
Both back and bosom. At whose height (as gins
T* extend and ease the string) ha put in pins.
Seven strings of several tunea be then applied,
Made of the entrails of a sheep well dried,
And thoroughly twisted. Next he did provide
A case for all, mode of an ox's hide ;
Out of bis counsel to preserve as well
As to create."
[Confess it in a whisper, gentle reader, you don't like this
very much— this long bit about " splitted quills" and " gins,"
and "pins," and "strings," and "entrails," and you think
that if Homer himself could nod a little, the Homeride is
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282
THE MUSICAL WOULD.
[May 1, 1858.
hero actually snoring, and palming off his snore as delightful
melody. But you are a mere blockhead if you don't admire
the passage which follows, and which, omitting this bracketed
comment, aud glucitig together the iwirts of the broken lines,
you must fit on to the above.]
" And oil (his action fell
Into an indent conaequrnce. 11 n word
And work had individual accord,
All being aa ewiftly to perfection brought
\« any worldly auui'a moat ravisb/d thought,
Of raried parta or paaiioni inetantl
Or aa the frequent twinkllngj of an'
eye.
The important fact in this story is, that the instrument is
invented by the god, not of music, but of oratory. Hence,
although the lute would seem to hnvo its proper placo
of the
I arsenal — as we keep arquebuses,
pikes, chain-armour, and the like, in the Tower — it is quite
clear that it here represents a heavy, lumpish, material turned
into a thing of beauty by the power of eloquence.
The creations of the gods are durable, and our renders
must not suppose that the lute of Hermes perished in the
mythical days. No — the luto passed on from hand to
hand— from generation to generation— frequently modified
in its form, but never losing its identity. At last, fashioned
into a guitar, it became the property of n little girl, named
Felix, who sang about the streets of Paris.
For a
while this little girl fancied that the guitar was, as it
appeared, a musical instrument, aud that her own talent was
musical ; but in process of time, it was revealed to her, that
she was the god Hurmes, in female shape, and that the
guitar was the symbol of her true vocation. A change of
sex was not new to the habits of Olympus. Zeus assumed
the form of Artemis to woo Calisto; Apollo, enamoured of
Leucothoc, put on the semblance of her mother.
About the time that her hitherto latent divinity was revealed
to her, the damsel dropped the appellation of Elisa Felix, and
took that of RacheL Under this now name she performed
a work of precisely the same kind that she had wrought
when wandering about, a baby-god, on the heights of
Cyllene. She found certain alow things, creeping lifelessly
about the boards of the Theatre Franoaia, and feebly pro-
claiming, in Alexandrian verse, that they were classical
tragedies. Pitying their inglorious condition, and perceiving
that they could be converted to nobler uses, she breathed
her own soul into them, and they charmed the civilised
world. Open tho llorace of Oorneille, read the part
of Camille, aud you will find the very dullest fragment of
tortoise-shell ; look — but no, alas, that is" no longer possible —
remember that you have looked at the Camille of Rachel,
and you will find it was one of the most sonorous and heart-
stirring chords of the Hermetic lute.
Well, the Ood Hermes having cast aside his last earthly
form, and returned to his Olympus, left the lute in the
ancient city of Lutetia. Of course those whom he had
honoured with his consanguinity during his sojourn on oarth
eagerly seixed upon the relic, and treasured it up in a sacred
shrine, resolved never more to part with it, till some new
form of Hermes, or, at any rate, some divinely-commissioned
person, should apix-ar and claim the precious deposit as a
right. No, they did nothing of the sort. On the oontrary,
they perpetrated a sin of omission, so deep in aye, that
epithets of vituperation cannot heighten tho disgust which
must necessarily bo felt by every right-minded person who
this plain record of the
cited from a contemporary journal
" A melancholy memento of the force of family afleetion wai brought
into tho market 1 ofaale and barter' the other day at Paris. Tbie waa
au old guitar, ticketed aa the very instrument with which little ]
when knowu aa Kliaa-Felix, had been uaed to go round in the daya of
her poterty aa a street-singer. When the magnificent fortune which
the gifted 'actrcsi left beblnd her ii recolloetcd, the abandonment of
anch a relic at this claima only one epithet."
The family of Rachel, enriched by the genius of Rachel,
allowed the guitar of Rachel to be sold. This was a crime
which even the great tragidietme herself could not have
made a source of interest, Sophocles, who took an ulcerous
foot for the subject of one of his finest plays, could not have
exalted this moral dirtiness. Vile fact, that no lever of
idealism can lift into respectable insignificance.
No wonder that gods visit the earth but seldom, when
they arc treated in such scurvy fashion by their mortal
kindred. We have no doubt that Minos took a horn from
the carcase of the bull once inhabited by his father Zeus,
and sold it to an economical inhabitant of ancient Caledonia,
who wanted it for a Scotch mull. We veritably believe that
a particle of tho golden shower, wherein Zeus visited Danai1,
was picked up by their son Perseus, and afterwards changed
by that hero for current coin of tho realm he happened to
be in. Epaphus, too, thought himself very hardly used
because his mother, Io, had been wooed by Zeus in the
shape of a cloud — an utterly unmarketable commodity.
Snatch up your guitar, oh Hermes, into tho heavens,
place it next to "Lyra," and guard it from further pro-
fanation till you honour weak mortals with another visit, to
be once more treated with base ingratitude.
All who recollect the manifold delights, the exquisite con-
ceits, the side-shaking pleasantries and far-shining glories of the
"amateur pantomime " will find the brightest place iu their
memories occupied by the comfortable figure of Mr. Joseph
Robins— pshu ! " Joe Robins," the Clown. That amateur
pantomime was a joyous thing. It began its career, a chubby
infant, at the Olympic Theatre, in the early jwrt of 1 855, and
then displayed Ruch wondrous precocity, while kicking,
cuffing, and tumbling, for the benefit of a literary gentleman,
now peacefully reposing from his earthly toils, that the Queen
herself desired to see its gambols, and Drury Lane became
the field for its more extended exertions. Great was the noiso
it made as Guy Fawke»,»o great, indeed, that when the "fun"
was over, it found a quiet life insupportable, so, after about a
year of inglorious repose, it agaiu rushed to Drury Lane, with
tho new name of William Tell, and there once more did it frolic
amidst the plaudits of a wondering multitude, till it became
surfeited with tho honours bestowed on it, and resolved to
retire like Charles V, in the plenitude of its |>ower.
The pantomime, then, is defunct in its corporate capacity,
but its constituents arc still in existence, and some of them
are about to meet again for a new and worthy objoet Joe
Robins, who was tho central figure of tho mirthful assembly,
has now, in consequence of commercial misfortunes, adopted
the stage as a profession, aud his friends have determined to
give him a London benefit. The brothers, Albert and
Arthur Smith are "getting up" the affair with the seal that
ever distinguishes them, when they are engaged in a work of
benevolence. Several of the amateurs, who still, in private
theatrical circles, maintain tho reputatiou they acquired in
the pantomime— the polished Wray, the
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Mat 1, 1858.]
THE MUSICAL WORLD.
and others of the same galaxy, haw determined to shine
with unwonted lmtre for the benefit of the facetious Joe.
Miss Dolby, Brinlcy Richard*, the "Kceleys" (Mary included),
have likewise responded to the call. Mr. Sorrel lias written
for the occasion » version of Let Deux Aveugles, in which, as
well as in the Spitalfelth Weaver, Joe Robins will himself
appear, and the rear will be showily brought up by those
most popular musicians, the " Christy Minstrels." The best
of clowns, and the best of good fellows thus finds that the
fable of the " Hare and many Friends" docs not admit of
universal application.
Miss Arabella Ooddah» at Liverpool. — The great " hit" of
the subscription concert of the Philb arraonir Society, on Tuesday
evening, was the truly wonderfnl playing of Miss Arabella God-
dard, a young artitte of whom England may well be prond, and
in comparison with whom the new school of unintelligible
pianists are, in the language of the turf, " nowhere." Much
as we expected from Miss Ooddard, from the recollection of
previous performances and the unanimous eulogiums of the
metropolitan critics during the preseut season, our anticipations
were more than realised, both IB Hummel's concerto in A flat,
and Thalberg's fantasia on airs from MatanitUo. Each of these
pieces, so different in their peculiar styles, was played to perfec-
tion from memory, the former displaying a degree of expression
and chastity which was in admirable contrast to Thalberg's com-
position. In each the fair pianist was quite at home ; the ease
and self-possession with which she vanquished tho difficulties
with which Thalberg has studded his composition, being only
equalled by Alboui's singing of u Non pin inesta," both artistes
being remarkable for that perfection of expression and execu-
tion and absence of effort which is so rare and so charming. We
never heard a pianist create so great and so unanimous a sensa-
tion as Miss QotMard on this occasion — a triumph the more meri-
torious, inasmuch as instrumental performers are generally kept
In the background by vocalists at provincial concert*. Wo
are sure we echo the unanimous wish of the whole audience in
hoping that Miss Goddard will soon pay us another visit. —
Liverpool Time*.
Botal SociETT of Mcbk IAKS. — The aunnal concert, in aid of
the funds of the Hoval Society of Musicians, took place at St.
James's Hall, on Wednesday evening, when the Sfett)«h was
performed under the direction of Professor Stcrndalo Bennett,
J'he band and chorus, selected from the best sources, were com-
plete and powprful, and numbered four hundred performers.
The principal vocalists were Miss Louisa Pyue, Madame Weiss,
Miss Palmer, Miss Dolby, Messrs. Sims Reeves, Benson, Thomas,
Winn, and Weiss. The'lInU was filled by a brilliant and aris-
tocratic audience, and the performance' went off with Mat.
There were no encores.
Laura Musical Festival — (From a Correspondent). ~ Pro-
fessor Sterndale Bennett, the Festival conductor elect, will visit
I^eds on Monday next, for the purpose of arranging the oratorios
to be performed, the principal singers to be engaged, Ate. The
British Association meetings are fixed to commence on Wednes-
day, 8ept. 22nd ; and it is confidently anticipated that the Festival
will now precede the Association gatheiings. This will be decided
in a few flays. The Leeds Madrigal and Motet Society gave its
annual grand concert in tho Music Hall on Thursday week. In
addition to the full chorus of the Society, there were engaged
Mdiue. Hudersdorff, Miss Newbound, Mr. Montcm Smith, and
Signer Randeggcr. Mr. Spark, musical director of the society,
oonducted. Several choruses, madrigals, and part-songs were
admirably given by the members, and the solos were highly suc-
cessful. Hatton's Robin Hood was sung iu the second part.
Mr. Spark played a pianoforte solo with great taste. The concert
gnvu satisfaction, but the proceeds were not sufficient to please
the committee.
St. Jamis'h Thbatrk. — Carlo Andreoietii, au Italian conjnrer
of great reputation, is announced for three performances next
week, under the auspices of Mr. Mitchell, commencing on Mou-
M1SS ARABELLA GODDARD'S SOIREES.
Tub second performance, on Wednesday evening, attracted
another brilliant assembly of" fashionables" and connoisseurs to
Willis's Rooms, who were treated (as Muss Goddard invariably
treats her patrons) to an intellectual entertainment of tho
highest interest and most rechtrtht character. We subjoin the
ti.
WmM.
Dusj ■».
FART I.
Sonata Duo iu A — pianoforte aud violoncello (Op. 1
Alii' Arabella Goddard and Signur
Grand Sonata in F— "Se plus ultra"
Pianoforte, Mis* Arabella Ooddard.
Preludiocon Fugs, in A minor— 4 la Tarantella (by desire) J. 8. Uach.
Pianoforte, Mis* Arabella Goddsrd.
PART II.
Grand Sonata in Aflat, " Plus ultra" (Op. 71)
Pianoforte, Mis* Arabella Goddard.
Orand Quartet, in B minor -piviofort", violin, viuln,
and violoncello M endelasohn.
Misa Arabella Goddard, M. Sainton, Herr (1 off He, and Sit. Piatti.
Of WoelfTs AV Plus Ultra we have spoken in another column.
The Plus Ultra of Dusaek was commented on at length in • notice
of one of the series of concerts held by Miss Goddard at her own
residence, when she performed it with such extraordinary success
that to repeat it at a future so i rife was indispensable. To present
them both on the same evening was a happy idea. The audience
were enabled to compare them, and to select one or the other in
preference. Both were played to perfection by Miss Goddard—
with % /hum (to employ a French word for which our language
yields no equivalent), an esprit (to use another, which enjoys a
similar monopoly), and a humour (let our lively neighbours
translate that if they can), that added indefinable charm to the
energy, expression, and unfailing mechanism for which her play-
ing is so eminently distinguished. Both sonatas delighted all
hearers In tho allegro of the Nt Plus Ultra, which abounds in
passages of double-notea to perplex the most ready and expert
executant, there was ample room for the display of that facility
admitting of no obstacles, which is one of Miss Goddard's most
enviable gifts. The variations were listened to with breathless
attention ; aud us one after the other was performed with easy
grace and well-sustained finency, subdued murmurs of pleasure
and surprise testified to the extreme satisfaction of the audience.
But the greatest musical treat was certainly Dussck's I'Ium Ultra,
which Miss Goddard played even more admirably than when she
first essayed it. The passionate expression infused into the
first movement, in many passage* appearing like a pro-
phecy of Weber (although the music generally is mora " cun-
ning" than that which Weber made for the piano) — the dignified
and unaffected feeling with which the slow movement (pure
Dussek) was delivered ; the quaint, and at the same time un-
affected sentiment that characterised the performance of ths
m'MMl and trio, (a foreshadowing of Chopin— only healthier
than Chopin ever was), and the sparkling animation cha-
racterising from end to end the execution of tbe/«afc (one of
Dussck's most genial inspirations— and which, but that Hummel,
though more learned, was rarely bo spontaneous, might be re-
garded as another prophecy of him) were one and all beyond
praise. No wouder that such lovely music, executed with such
faultless accuracy, accompanied by such exquisite taste, should
meet with enthusiastic appreciation. Dussek's Plus Ultra is
trulv one of Miss Goddard's most admirable performances.
Of the marvellous Prelude and Fugne of B*ch, and its no leas
marvellous execution by our young English pianist, we have
spoken frequently. This was the fourth time Miss Goddard
had introduced it in public, and every time it is "interpreted"
by her, its merits are rendered more apparent, As much may
be suggested, iu fewer words, of Mendelssohn's quartet in B
minor, a work of genius anyhow, but a prodigy when it is re-
membered at what an early age it was written. M. Sainton,
(the prince ot French violinists), ilerr Golfrie (who plays tenor
quite as well as he does violin), aud Signor Piatti (the greatest
Uving performer on tho violoncello), aided Miss Goddard
w:ili considerable zeal and ability ; and, perhaps, never did the
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284
Professor Sterndale Bennett's very beautiful and masterly
sonata, for piano and violoncello, with which the concert
worthily began, was magnificently played by Miss Goddard and
Signor PiattL Every movement seemed to please, and as the
work advanced, the interest of the audience evidently increased
— a strong certificate of its excellence. It was the first time
Miss Goddard had essayed this sonata, and its success was so
fre.it, that we are pretty well assured it will not be the last,
ha applause at the conclusion was a fitting tribute to the
merit* both of the composer and the executants.
At the third and last soi'rse, Weber's sonata in E minor will
be played, for the first time, in public ; and in addition to this
interesting novelty, Miss Goddard will perform, for the fourth
tim$, the grand sonata or Beethoven, Op. 106. Thus the end
will be worthy of the beginning.
PHILHARMONIC CONCERTS.
Th« second concert for the present season was one of the most
brilliant ever given by the Philharmonic Society, and one of the
best attended. The first appearance of the admirable violinist,
Ilerr Joseph Joachim, after an interval of six years, was an event
of the highest interest, and no doubt had a beneficial influence
on the sale of extra tickets. The whole performance, however,
was satisfactory, and how excellent was the programme, the
following will show : —
Siufonis in A major Mendelssohn.
Beeit. and Aria — " Non mi dir" — Msdsme Csstelkn Moisrt .
Recit. and Romania— " O lioti id" Signor Belletti
(L'Ktoil* du Nord) Meyerbeer.
Concerto, violin — Herr Joachim Beethoven.
rasr n.
Sinfonia Pastorale ... ... ... Beethoven.
Duet— "Come frcnar" — Msd.Caitellan and Sig.Bellctti Rossini.
Sonata in G minor — violin, Herr Joachim — pianoforte.
Professor Bennett Tartini.
Overture — " Der Alohymist" Spobr.
Conductor— Professor Sterndale Bennett.
The event of the evening was Herr Joseph Joachim's superla-
tively fine performance of the violin concerto of Beethoven, which
created a degree of enthusiasm almost unparalleled. In 1844,
when only thirteen years of age, Joachim made his first appear-
ance in England, at these concerts, and astonished every one by
his wonderful execution of this same concerto. The twelve years
which have elapsed hnvo ripened the genial boy into the reflect-
ing man. Oenius is as evident now as it was then in his per-
formance ; but it is genius enlightened by experience, and
strengthened by an unfailing command of natural resources such
as have beeu granted to very few. Herr Joachim has done well
by his art. He has made it a serious and unremitting pursuit,
a beloved and engrossing object, and has jienetrated into ita
secrets with all the ardour of a devotee. The goal is reached,
the reward obtained. Herr Joachim is now a great artist, in
the fullest acceptation of the term ; and a* such all Europe has
acknowledged him.
Herr Joachim's reading of the concerto was as classical and
pure as his execution was faultless. The fiddle of the young
artist was the voice of Beethoven, uttering strains of immortal
song. What Beethoven wished expressed with energy was
brought out in splendid relief, and what he wished sub-
ordinate became subordinate. Herr Joachim's discretion
Is not the least remarkable of his qualities. He possesses the
art, so rare among first-class executants, of accompanying the
orchestra, even in Bravura, wherever the composer has intended
it. Whenever a melody is allotted to the orchestra, Herr
Joachim subdues his passages, so as to give them no more than
their due prominence. Virtuosi do not generally like being
made subservient to the general effect — thinking the display of
the solo everything, and the design of the composer nothing.
But Herr Joachim is not of these. True, he is a virtuoso, but
a virtuoso of a very uncommon class. We have heard few thing*
grander than his delivery of the aUeoro, more eloquent than
Eia whole conception of the slow movement, more vigorous,
unaffected, and pointed than his execution of the rustic fxnaU—
so often spoiled by too great familiarity, but now made to
appear as graceful as euliveutn" through tho thoroughly pur*
conception and delicate colouring of ibis able, conscientious, and
gifted artist. The " cadenzas" were both admirable ; the first a
marvel of dexterity, and thoroughly in keeping with the work in
which it was introduced. Not to enter into technical descrip-
tion*, we may single out a rapid descending scale of octaves, as
a mechanical feat of singular boldness, and an example of
perfect double-stopping which we have never heard surpassed.
So extraordinary a performance could not fail to make an
impression. Herr Joachim's triumph was complete. He had
exhibited the highest artistic qualities united to a veneration
for the music entrusted to his care, which never allowed him
to obtrude himself at ite expense. We were listening to
Beethoven the whole time ; and only at the conclusion of each
movement did a sense of the distinguished merits of bis young
and ardent interpreter declare itself in rapturous cheers and
plaudits from all parte of the room. It was a triumph— nothing
less,
As an executive display— uniting almost every perfection of
" virtuosity," from the perfect phrase to the perfect trill or
shake— Tartini's sonata in G minor (with the so-called " Trillo
del Diavolo") was quite as worthy commendation as the con-
certo of Beethoven. We mean, of course, as far a* Herr Joachim
was concerned, since there is about as long au interval between
the music of Tartini and the music of Beethoven as between the
beauty of Venus and that of the " pig- faced lady." Nevertheless,
the theme of Tartini's sonata is expressive, and all that ita
expression could convey was expressed to perfection by Herr
Joachim. For the rest we own, with deference, that we do not
care greatly.
The two symphonies — masterpieces both — were superbly played
under the direction of Professor Bennett, who i* rapidly bring-
ing back the orchestra to its ancient pre-eminence among the
orchestras of England. Equally welcome was Spohr's glorious
overture to The Alchemy it, which waa, however, much too good
to play the audience out, and the more especially since it is bo
seldom heard. By the way, the subscribers have some right to
complain of being deprived of one of the accustomed two over-
ture*. Signor Tartini's dream of a devil of a shake is all very
well in its way ; but the overture to ZauberfloU, Egmont, or the
Ides of Fintfol, would have been far preferable.
What vocal music waa given may be seen by reference to the
programme. Why any vocal music at these essentially instru-
mental concerts, we never could well understand. It must cost
the society a great deal ; but we can assure the directors that
their patrons care very little for hearing Italian songs and duets
(especially duets with the best passages omitted— like that
from La (Java Ladra on Monday) after Beethoven's symphonies.
CRYSTAL PALACE CONCERTS.
The Concert of Saturday last calls for no special remarks
the only novelty being the introduction of a new prima donna.
The following was thu programme : —
Overture, " Lee Deux Journees" — Cherubim. Song, " The Reeog.
nitiou" — Proch. Concerto in G minor, pianoforte — Mendelssohn.
Cavatins, "Perche non ho" — Donixolti. Violoncello solo — Servsis.
Symphony in A, No. 7— Beethoven. Ballad— John Barnett. Piano-
forte solo— Kullsk. Song, " Tlie Three Ages of Love"— Loder. Msrche
Msrucaine — De Meyer.
Neither band nor singer* were heard to advantage, the altera-
tions in the Concert-room made for to-day's festival entirely
destroying ita hearing properties. The pianos in Mendelssohn's
Concerto— as far as wo could hear, well played by Mr. W. Q.
Cusins — were not audible ten seats off. The vocalist* were iu
the same predicament ; and Madame Liza Haynes — the lady who
created so decided a sensation at the last Shrewsbury Philhar-
monic Concert — had to appear before a London audience, for the
first time, under serious disadvantages. Nevertheless, Madame
Hayncs's talents are incontestable. She gave the cavatiua, from
Lucia, with much fluency, and sang Mr. John Barnett's ex-
pressive ballad with appropriate taste and feeling. Mr. Thomas)
afforded great satisfaction in his two songs, Loder 's especially.
Digitized by Google
[May 1, 185a
THE MUSICAL WORLD.
285
We should like to have said more of the performance of
Beethoven's Symphony ; but the sound from the orchestra wna
completely absorbed, and no effect produced.
Mr. Daubert seemed to execute the violincello solo ; but
seriously, although seated within the Concert-room, we could
hardly catch a note.
To-day, the season opens with a grand concert, in which Mr.
Sims Reeves, Miss Dolby, Madame Lemmens Sherrington, and
Mr. Weiss, are
HER MAJESTY'S THEATRE.
Oh Saturday La Figiia dd Reggimtnto introduced Madlle.
Piccolomini in the part of Maria, her conception of which differs
from that of all her predecessors, and as it indicates more of the
camp than of the drawing-room, may be said to be more true
to nature, if not so interesting. Her best vocal achievement is
" Convien partir," when the Vivandiire takes leave of her old
companions, and which, for tenderness and expression, cannot
be surpassed.
Siguor Bolart made a capital Tonio, and was encored in the
song in the first act. Signor Belletti's Serjeant Sulpizio was full
of bustle, if not instinct with comedy.
Madlle. Pocchinl appeared afterwards in Calitto.
Her Majesty and Prince Albert attended the performance on
Tuesday ; the attraction, of course, being Madlle. Titiens in
Valentine.
Mdlle. Pocchini again appeared in Calitlo.
On Thursday the Utujutnott — ami Madlle. Pocchini in Calitto,
To-night Madlle. Piccolomini iu La Truviata, and Madlle.
Pocchini in a new ballett, entitled Fteur da CAatn/n, invented
by M. Maasot, and the music composed by M. Nndaud.
On Tuesday Alboni makes her Hint appearance for the season,
as Azucena, in II Trovatore, and Madlle. Titiens her second essay
in Leonora, a part said to be one of the most striking in her
repertory. A new barytone, Signor Mattioli, innkcs his debut
aa the Count di Lima, and Signor Giuglini, of course, will
' i the part ofManrico.
ROYAL ITALIAN OPERA.
The opening of the new theatre is positively announced for
Saturday, the 15th, with the Huguenoti. The utmost exertions
•re being made to keep faith with the public, and there is no
doubt that the first performance will take place at the specified
Mad ami
iakvadt (Wilhelmim
ADVERTISEMENTS.
BUSSON"S (Paris) ACCORDEONS FLOETINAS,
ORGAN-ACCORDEONS. Ac ..— Tbo SockK des Facteure de Purl. has test
received a fresh assortment of these •upericw Instruments, which are offered to
the trade at roduco i |wlo-» fur ca.li. I>«*.-ripllvo Prlie Lista forwarded on appli-
tiou .— 100, Ch.epside EC
rpHE SOCIETfi DES FACTEURS DE FARISia'now
10*.
FREDERICK DENT,
Chronometer, Wstcb, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
fflafcrt of the Crtat Clerk tot tfjr JBcusfs of $»iliamrnt,
Gt. Strand, and 34 and 36, Boyal Exchange,
A*o connrelioH <eith 33, Cocktpur ttrtet .
MR. HOWARD, Surgeon-Dentist, 52, Fleet-street, has
intro-lucel ail entirely new description of AHTIPICIAL TEETH fixed
wllbout springe, wires, or DsMarcSi Tucjr perf ctly rceetnhle the natural
teeth M not lobe dWttt'gMlshed from thnnriilHalsby the closest observer. Theywill
never cKsniro colour or dceay. etrt will i*i found suj*rlor fo any f-etlt ever Ixtoro
need. This method doee no* rejoin* the « xi Miction of n>>te, or any painful opur.i-
t>*u, will support and preserve teeth that are loose, and ia guaranteed to r-»ture
Jcatlnu Decayed Ueth elonped and rendered sound and
52. Floct-.treet. At home from 10 nil 9
rpOO LATE!" — Miss Louisa Vinning's New Song.
X Price 2a. Booeey and Hons, Holles-etreot.
LAURENT'S MAUD VALSE, third edition, illustrated,
price 4a. Alio a cheap edition of Laurent's Album of Dance Music, contain-
ing- sixteen impulsr Quadrilles. Valaea, Polkas, Galops, Sjc , price .' • , post free
Booeey »hd Sous' Muslod Library. Hollee-stxecl.
SIMS REEVES' NEW SONGS. — 1, "Phoebe, dearest,"
by I I.. Hatt»i>; i, ' Tlie laet good night," by Hargltt; 9, "Who shall be
fairest,- he Frank II irl ; «, "Oood nuht, beloved." by Balfe ; S, "Come Into the
- with po^rait of Mr. Sim,
J:„t PuHhhfd.
i
MENDELSSOHN'S
SONGS WITHOUT WORDS.
J. W. DAVISON,
In Six Books, price One Shilling each : or, complete in One Votum*, with Pie)
by the Editor, and portrait, price 6a. ; or, in euperior binding, 7( (ML
BOOSKT AND 80X8' MUSICAL LIBRARY. «*!».:
K EATING'S COUGH LOZENGES. — A good speech
or an effective amitf eaniot bo given if the tocbI organs are in an unaoand
oon ii'ion, or a e* tod with h'uraeiieea or irritation. To remedy the latter, and to
prduce lou'.'.flous enunriatiou. every |«ib tc character, whether of the Bar, the
Senate, or the Pr.lpir, tbould hare at hand Kkatto's Co dob Loxcvois. whioh are
tutrouisc.1 by the niajoilty < f tl>e lmper>al Parliament, the Bench, and the
lending member* of the 0|<eratlc Corjia. For aftectiona of the Throat or Cheat,
and for Wmler Cou»)i. they are unfatHuK. Prepared and Hold in boxee. la lid.,
(Midline. 2a 9d curb, by THOMAS KEATING, Chemlat, *c. 70, 8t. Paul's
C luich-ywd, London. Retail by all Drigylau
G
REY HAIR RESTORED TO ITS ORIGINAL
COLOUR— Neuralgia. Nerrnae Headache. Rheumatism, and Stiff Jo! Die
cured by V. M. HERRING'S PATENT MAGNETIC COMBSt, HA1H AND FLESH
1IKUS1IF.S Tlie/ require no preparation, >re alwuya reedy for uae, and cannot
get out of order B'U.lica, 10a. and lie. ; Combe from 3a. Sd. to Ma. Orey hair
end UiUlneaa prevented by F. M. H.'a Patent Prcrei.tiie Druah. price ta. and Se.
OfB«e, SS. Baa.ngh.ll-.trtet, London IUuetmled pamphleU "WbT Hair
icwnea Orey. and i(a R.medy." «ratb\ or by poet for four aumpa. Sold by all
of r
.alien's UllustrattU Cataloaur
Of Poetmauteaua, Di-tpatch Boxee. Writing and Dt cosing Cases, Traeolllnn Bags
with eqimre oiienibgs. and .M)Q other artleiea for traTellinir. by poet for two stamps .
ALLEN'H PATENT SOLID LEATHER PORTMANTEAU, with Tour Com-
purtmenta.
ALLEN'H PATr.NT DESPATCH BOX, with and w.U
ALLEN'S PATENT TRAVELLING BAO. with •truer
are the beat of the kind yet inrented
J. YY. nnd T. ALLEN. Manufacturer! of Portable Barrnck-room
Military (Jutfltteis (see separate Catalogue). IS and St, Strand.
it Dreaeliiir Case,
penlog. Tbesv articles
rpHE TWENTY-FOURTH ANNUAL REPORT of
L the Directors or the MUTUAL LIFB ASSURANCE BOCIRTT, together
with the Cam Aococht and Hal* set Surxr for Die year 1857, showing the slate
of tbe Society's aftturs on the Slat or IiocemU-r last, as presented to the General
Meeting on the 17th of February. 1S4S, also Prospectus, s, Forma of Proroeal. and
:» Ii.t at the Booi»r« psM on tbe Claim* of tbe past year, will be delivered on a
wiii ten or peracnal api-licatlim to tbe Actuary, or to any of the Society's AgeoU
Mutual Lira
3I>. King
INGALL. Actuary,
EC
ASTHMA. — ANOTHER TESTIMONIAL
is ravova or
DR. LOCOCK'8 PULM0HIC WAFER8.
From Mr Hlchnnl Rolerta, Piti.ter, Boll Ring. HorecejUe:-"John Cooling,
of ThimMeby, Feu AlUitmeut, aavs he baa been lor a Iouk lime irrrotlr aufTerlnir
from iilfflculty of breathing, particularly during the night, and bad a conliuu.it
ri'lng of p'llegm ; took Dr Locock's WaTers. and found instant relief; nearly
cured by llio first box ; says tbey are worth their weight in gold "
DR LOCOCK'S PULMONIC WAFERS give instant reHef and a rapid cur* of
asthma, cnsumpti'io. cout-hs. and all disorders of tl o breath and lunge.
Price la t,d., -2a. vd . and lis per box. Thiyhave a pleasant taste. Sold by
nil medicine vchibrs.
CAUTION —Every box oftho genuine medicine has HsSVSrds, " DR LOCOCK'S
— " in white letters on a re-t ground In lb* Oaverntneot stamp, si
Digitized by Google
286
THE MUSICAL WORLD.
[May 1, 1858.
NEW
J. ASCHER'S
PIANOFORTE WORKS.
• d
La r^ammirij, Mazitrk^atflt-tranto 2 o
MB briltante kit 1 ['opera do " Psyche1" 2 0
Polka Uaxurka l.hllaote «ur IVipora d< ■• PayeM" » |
Duh FeVriquo, Capites de Ocare, Op. dt 8 u
Mercho de la Heine, Op. ft! s «
C»i'rt« do OoDcert»iir " I* n«lii«Trtp»M," Op 63 g 0
cViutcuIt dee A'pee. ChanU dee Monlagunrda, Op. 6« ..3 0
Dolce far nicnU-. Impromptu. Op <•', 30
An Maria. Meditation religtcuae. Op. 80 8 0
Oaprtoo Rapagnol, «ur I'oprm "Maria Pad Ilia," Op. 67 3 0
Morceau de Salon eur "Ia JuStu'' de V. Halery, On. 70 a 0
r la romance do " L'Eclair~ do F. Ilalerr, Op. 71 .. ..3 0
i Mouaquctoirca. «ur un theme de I'opcVa .to F. HaleWy. Op. 7i . , 3 0
n Main. (Duet* Op n .. !. ..so
■> >• at ..Sti
>■ opera " Maria 'de Flotow 4 0
8CHOTT AND CO.. 149, REGENT-STREET. W.
NEW~PIAN0F0RTE MUSIC
BY
RUDOLF NORDMANN.
, Old AH ! CUE IA MORTH. from "
" II Trorntnn " 3 0
BR1ND1BI. Libtamo, from "UTravlaU" 3 0
LA Bil l LI UN S R. dec V{pn»"dc Vmll SO
ISABKLLE. Romnnc * 0
OBNEVE. Morveau de Ralwi it
LA MIA LETI»A, from "I Lombardl" 10
81 LA RTANCHKlSZA, ■•IW.toro" SO
LA CARITA, Trio de Roaeini 3 0
MANDOLINE. Nocturne 3 0
THE NUN'B PRAYER 3 0
TUB BARCAROLLE lo "RleolctUi" 3 0
LA DAN'AE UBS FKES 3 0
OUEEK PIHATITH CUOUU8 SO
1L BALKN. " Trovatme " .. 3 0
HI Q UK I. LA PIRA. "Tr vnlnro" 3 0
SELECTION OF MESDELSSOnNS TWO-PARI' BONUS so
AND SONS' MUSICAL LIBRARY, 2« A 2S, HOLI.IW-STREET.
8IGN0R GUGLIELMO'S NEW SONGS.
1.— IL MATT1NO S.— LA MIA PI ETA
Fiico J» oech.
Booaey and 8oua' Muaioa) Library, 24 an 1 is, nollca-atreot, 0\ ford at rest.
"PHCEBE, DEAREST, TELL, OiTt^LL MET
COMPOSED FOR SIMS REEVES
JOHN L. HATTON.
Price 2.. Gd.
rhmbe, doereat, tell, oh ! tall me.
May I hope I hat you'll be mine?
Oh I let Uo cold frown repel me.
Leare me n' t wltb grief to Una.
' 'tie told in homely faablou.
the tale 1 tell ;
e'er wan truer, purer laenioo,
Thau within thla heart dt>th dwell.
Long I've welcb'd each rare pel
Stealing o'er that gentle brow,
Till reapect beoame affection.
Such aa that I oiler now.
U you love me, and will have me.
True 111 tw in weal and woe ;
If in proud diadain you leave me.
For a eoldior I will gn.
IaU'.c (."in! thr: r. ci'i. i Mr ^ i
What their fab*, by land or sea,
Phoebe, if wo onco are parted,
Ouoe for erer it will be.
Say then "Yea," or blindly, madly,
I will ruah upon the foe ;
" how gladly.
• me low.
UNDER THE
patronage of
the ©uteri.
LE FOLLET,
Journal du Grand Monde, Fashion, Polite Literature,
Beanz Arts, Theatres, &c.
THE MAY NUMBER CONTAINS-
An Extn Double PI ,te of LndnV Cloak* and Muutlei.
Three Plate* of Walking ami Evening Drew*, bcvullfully ongrav
"Ui M'kIu" fijf May. IrnttjTrataw. from the French.
4ND IN TUK r. 17 irony eVAtaMMMt :
Confidence, or, Ha*!y C. nelusion*, by C. Quails LastcaaTtm.
The Suitle and the Wink,
A t/mm from Lif.\ or, the Rotuatioe of a Week, by Srrnin.r «kt> Cr»vtn
Milton ami r>>i..k«pero. Extract* Opcroa, Tin
frier la. M. fiut>rrii*i»n (in rr-rraacr) 1(U. per year, port /ret.
N.D — AXKtUL
of Embroidery and
OPINIOWS OF THE
"Tl:l» Tiry beautiful Jmirad of fv*hl«Q InUy milnulne Ita repaUtion aa the
i^uid-j /Mir tjre'l.-.ice in tlie chnrniinK yt of -ulutrniu'-; femnk) !>eauty with the
otoimncC't of ttivat, Ijtdle*. wi.o are the hoi: Jad'rea in thc«e rn<era. »>1I tluok
in fur directing their iilt. -illo i n »o |>le King » publication "-- "/«•*> DwpateA,
•• U fcltn ]>rc«. rr<a ita prc-emi neuce ■<* l*f bixik of t ie f*-.hioo* It preeenla
ita fair n.T. lera with four platen, three of them bmutiiull)- coloure.1. and p-matlnff
a remarkal.b ooitnat to M.« u.if.i.Uhi--d aud .tawdry aprearanee of mnet worka of
a ninill ir ehnmctor. C. Se ire Laucuter contulnib-e a>i oroua og atory."—
"Bu'.h the pLa'ca nn 1 Ictie^reia of tliii elegant compendium of faahion, liiera-
turc, and the rlrie arm, d>.!*erre our hitfheat pmlac. • * • ig foiiH s! wild find
ita way tocterj bofnu where oooti irny I* unlbrd wit') elegance,"— Britannia.
Ml l». a* usual. ilinUugiii'lKd rar and .-ib-iTc nil coinpeen o( lt» ciaaa for the
extraur linary beauty and higb chora-tcr of ita illuatrmttona. Herein lndifra of h-j;b
and 1"W degree may luunire tln;tt a lvc* with accuracy of what ia 'the faahlou,'
and ftaiat thtlr ryoa. moreoTor, on ao uc exipilaite e*templince.tlona in the form of
eiurnivimra. There la alao nooio pleoaing p-retie and other matter attached." — -
Stutlan nMaML
'• U f«Un fully miduUinii 1!< reputiUon iu the leading Journal of faahion The
eu«T;iviuK« puLliahul In tbia work aiu iuomipiraUy aupertor to thoae In any of Ita
contemixirarioa. and, rcgnnlcd in an aruatic point of new, are p -
of art. admlrnUy nnlahed Ixith in dialgu and execution. The 1
at e extremely auluhh' and well-eeleeud."— Weetiy (Irmdl.
''We hare ao often epnkrn in tertnit of commendation of thl* Journal of the
foahhii-ahlc world, tliat any further allnalau to it becomee a tbricp-Uild l. tic. It ia
the only work of the kind that m-Vntdna any poaitl jn."— JW/'» life i« !
"The ImtiroTvmenla in the eketchea. the colouring of tho dieaaoe,
all, thoae whoae peraoiia tliey a lorn, are au uianiioat, that it mtiat at i
the m<et ohtuae oliarrver. * • " Tho dc«. riptaon of the dree»o» U> a I
and comptx'betielble tranelatlou fiam the Frencii. "— Afornio* Pari.
" le F«.'l«« mruntaloe it» pr. ud pre eminence o»er all other worka of IU ,
extant. Tin pl.itee -■<" intnitely .uiieriorto thn»^ iu any oriu contem| orirlci
WrtH v IfaMI
"U Follit ia certalidy
co^ra vlngo." — >Vrir
" There is a freehne-s and variety about till* work which it anre to
widen ' opinlona amoi g the fair aex "— i7n«d'# IVeeHy K(rl|«f<f
lieauty of iU
for it
«• i .natter, and the elejant etyle of thiaioomal. mark
d for th.. iaillea of rhe nvtbionahle world It« leading
" The tltie-ieige, tho ml.Je t
it t>u* aa prlnirii'rilly iutendtd fi
article, on ' I* Mode,' it tran«lated from the Fr. rich, >U'i giiee • detcrtptlon of
the fimhioua for the month in audi minute and preci«o terraa, that any owe in»J.
without difficulty, ceaoeire a complete pi iuim of a fa<hi nalilc dre^a. To aid
Uie imagination, ho verer. tho Jonrnal la a^niiprankod by tltree exceedingly fine
engrarlni;*, t> antifatty colourx-1, and affording a tei-t to the iiu >0naUoti, whi e it
rxemplifiee the high' «t stylo of iaaliiou. To laiies who aacir ' bi elegance rn
diota, U t'fJI't will bo iudm'jienaable. It ia incomparably the beat publication of
the kind tl.at laaun* from tLe lirttiah prcaa. Tiie purely library articlea are (-
credingiy l«tutifut. and are quilo In keeping with tho refined ntyte of the m'
•trictly fiuthionahle departm' ut ."— ffrfjo <J»ro«i<V«.
" L* Fat I rt, or the J<iurnrd of Faahion, fully malntaina Ita pro-eminrnee ae %
book of faaiiloua It provlilea Ita fair patrons wito four plotea. lltuatr.tlTe of Ua
reuHirka, throe of which arc lioautilully coloured, and offer a atriklng coutraat to
The .iterory pari '
iralers for wive*' t
extremely auitatile for tho
ll.raU
I-
if r>-j
lieruaal It la in'en 1 4 — T<rk
•• Lodiea will find the fisahlona for the month beat reported and illustrated in U
FMrt. a periodical puWlalied In Paria. and in London i by Slmpkln and Marahall.
Digitized by Googl
Mat 1, 1868.] THE MUSICAL WORLD. 287
MESSRS. DUNCAN DAVISON & CO.'S PUBLICATIONS.
"Tb* v*r»*tiUi7of MIm Arabella aoddard'* genius wu also etrikiagly ex*mpilfj*d by
PIANOFORTE.
_ i. a.
" BACHIANA," Select Piece* (Prelude* mid Fugues) from tlie miscellaneou* Pianoforte Work, of Johf Skdastiak Hicn, not tnetaded
in the " Clavier bicn tcmpere," or " 48 Prelude* and Fugue* "
No. 1.— FUOA SCUERZANDO in A minor, u performed in public by Mia* Arabella Ooddard ... ... ... ... ... 2 0
CLARICK, Morcean de Concert
"The versatility of Mix Arab
* melodious and showy composition, sss h as our ui r una
SELLA FIOLIA (Rigoletto) by Jouu Bbjmao
" Amorm tin many pianoforte arranjrerneut* of Blgnor Yerdi'i very popular quartet, w» ban not
complete than thla The mmpMct i l.iraa are rejected, while tlx) display and Uio convenience of the pi
dlflSeulty, attracilvo In more senses than one .-— Muei<at WarUI.
QUANDO LE SERE (Luirn Miller), by Juuta limeiAC ... ... ... ... ... ... ... ... ... 3 0
A SUMMER'S DAY, Bomaoce, by Eroi >n Mosiot ... ... ... ... ... ... ... ... ... S 0
" 'A Hummer* Day ' la one of the neatest an 1 meat pleasant musical trlrti* we have met with for a long tiine. M. Mooiot evidently peaacase* much poetical
feeling, wl.leh he baa very clef erly iotuasd Into tbla compoaition." — Liverpool Mail
THREE LIEDER OHNE WORTK. by C. J. Hargitt S 0
PAULINE, Nocturne, by G. A. Oiboesk »** *•* e>* la* SI* •■* eve *e* « V
LA JOYEUSE, Souvenir des Chauip. Elyaeai, C. McKobimsll ~ ...
MEYERBEER'S NEW VOCAL COMPOSITIONS.
THE LORD'S PRAYER, for four voice* (soprano, alto, tenor, and bau) with English and Latin text, organ ad lib., in (core ... ... 3 0
Separate vocal part* to the above ... ... ... ... ... ... ... ... ... each 0 6
" We have met with few devotional Kiegu of late ycare ao calculated to become widely popular. The melody la quite Han telle, and the harmonica are
arranged with the moat tuaaterty ekill ; while the «ub)oct, being one which Involve* no quart! on of doctrinal or aectarlan rtlflerenca, commends Itaeff to all
' who profeaa and call themselves Christians.' " — Brietol Mrremry.
NEAR TO THEE (Neben Dir), for voice, piano, and violoncello. (Song by Herr Reichardt) ... ... ... ... ... 4 0
HERE. HERR ON J UK MOUNTAIN RECLINING (Dc* Bchafer'* Lifcd), for voice, piano, and clarionet, or harmonium ... 4 0
The above two tontje arc eminently calculated for public concert:
THIS HOUSE TO LOVE IS HOLY, Serenade for eight voice* (2 soprano*," 2 contralto*, 2 tenor., and 2 baaac.), without accompaniment,
in vocal score ... ... ... ... o o
• vocal parU to the above ... ... ... ... ... ... ... ... ... ... each 0 6
■ V7n W. A Enaluh nnlon t,r John OinnM Ten., tit aTrvsrlMwr'* limmnl »rrr..de "n,i. tloiiM to lyint la hulv • It la onmnosed far elirht
VTe have rccciv.d an Engliah version, by John Oxen ford, Fan., of Meyerbeer-* hymeoeal serenade, "nil* House to Lore la holy.' It 1* composed
voices, or. rather. In eight parte, smce each part may be strengthen..! hy any number of voice*.
• In oHcr to stun, clearness, he crm.tnutes bis two choirs of different materials-one choir coaista of,i*a«.l< voice*, first and aeeood sonrani. first and
second altl ; she oilier choir cutis"*!* of «»i>iv voice., first and second tenth, first and second rausi. The first versa Is commenced by the male ciioir. and la
afterward, taken up by the female The name musical subject is then divided tote phrase* of two or three bars, and given to the choirs alternately. Thirdly,
both choirs combine.
"While he equals the Old Heaters In the .
to which their canon* and fugues navti
an abrupt m •dulation, from 0 fiat to i
the muste."— LtreryxU Mail.
• In the carriage of th* voice*, la the purity of writing, and progrcmiou or the |»rta, be has Impart*.! a charm of melody
nevtr attained and has added a rlchneas of mciulatlon which was unknown to tbetn. We would particularly Instance
; lo A natural (enharmonic far doable B flat), a<«l beck again to D flat The Engliah words also are fittingly wedded to
NEW VOCAL MUSIC.
s. d. i .. d.
"The very angel* weep, dear" (Trennung and Wieden'erelnigung), ' " Quick iirlse, Maiden mine," Air Styrien, by J. Dl.oicmt ... 2 0
rery ang
Song, by Mozaut 3 0
- My Mary" ' ditto' .litto 2 0
•« The old Willow Tree," Ballad, by 8. J. St. Lion 2 0
'• The Troubadour'* Lament," by Lochia Yabhold 2 6
Paquita, " I love when the son is act," by O. A. MaCFAHKITV, com posed for and sung by La S ignore Fumagalli ... ... ... ■ vi
Lord hear u*" (Dieu que ma veix), prayer, in F, from " La
Juive," by Habtw 2 0
" He will be here" (II ra venir). romance, in C, from "La Juive,"
by HAifcvT ... sfl V
'Ballad, by C.J. Haboitt 2 6
PERSEVERE," ot, the Career of Havaloek, compoaed and «ung by Mr. Charlea Brabant 3 0
Thou art ao far, and yat n near compoacd and anug by Herr Reichardt 8 6
"MARTA.
The copyright of the new Italian and French versions of M. IloLow** opera of " Marta," performed with the greatest toccca. at the Italian
Opera, Pari*; and to be produced thi* scasou at the Boval Italian Optra, U vested, under the International Copyright Act, in MM. Beahdbb aTO
Dcrotrk, of Pari.. Mceara. D. Daviaon and Co. have the complete opera in octavo (Italian or French word.), a* well as the ecparate vocal piecea,
in Italian, on sale.
LONDON:
DUNCAN DAVISON AND CO.,
DftPOT GENERAL DB LA MAISON BBANDU8, DB PARIS,
244, BEGENT-8TEEET, CORNER OF LITTLE ARGYLL-STREET.
Digitized by Google
288
THE MUSICAL WORLD.
[May 1, 1858.
NEW PIANOFORTE WORKS.
BRINLEY RICHARDS.
BRINLEY RICHARDS' PIANOFORTE TUTOR.
PRICK 4s.
cheapest of all instruction books, containing SO pages of full-sixed music, all rwcaaaarj
ofthorooet
tothi.
work; aleolto f .
BRINLEY RICHARDS' NEW SET OF SHORT PRELUDES.
PRICE 3*.
Intended aa introduction! to any pieces ; expressly written for amateur* ; and to the
NEW OCTAVE STUDIES.
PRICE 3a. Gd.
By the same popnlar Oompoaer.
RICHARDS' Edition of Czernv's Etndca de la Velocity, preceded by new exercises, and a new study on the. octaves, composed expressly d.
for this edition by Brinlcy Richards
Or in two Parts, each 6s.
„ Edition of Cierny's 101 preparatory Studies, with additional finger exerciaca and other studies written expressly for this
edition by Brinlcy Richard* ... ... ... ... ... ... ... ...
Or in two Parts, each U.
' Jttanita,'^popnkr song by the Hon. Mrs. Norton, arranged for the pianoforte ... ... ... ... 2 8
r's popular ballad, arranged for the pianoforte
on airs from " Lea Huguenots." (Just published)
10 6
8 0
ppuuir
"Annie," Barker's popular ballad, arranged for the pianoforte ... ... ... ... ... 2 6
G. A. OSBORNE.
OSBORNE'S " Ireland," fantasia on favourite Irish airs
„ " Scotland," fantasia on favourite Scotch airs
„ " II PSrata," fantasia solo or duet
N.B.-In
s. d.
S 6
3 0
8 0
OSBORNE'S "8ul campo delta gloria," from Bebeario
ALBERT LINDAHL.
LINDAHL. India, a lament for the
Le chant du captif,
NAUMANN'S La Danse des Sirenes
„ We're a' noddin'
„ Oomin' thro' the rye
s. d.
2 6
2 6
LINDAHL. Switzerland
T. W. NAUMANN.
s. d.
8 0
3 0
2 0
NAUMANN'S Tbe Mill
La
... 3 6
s. d.
8 0
8 0
a. d.
3 6
8 0
s.d.
... 8 «
... 3 «
Xuw Heady,
D' ALBERTS ALBUM FOR 1858, 81s.
AL.SO
D' ALBERT'S TROVATORE WALTZES (just published), 4s.
D'ALBERT'S ESPAGNOLE WALTZES, 4s.
D'ALBERT'S SIBYL WALTZES, 4s.
D'ALBERT'S MARINO FALIERO QUADRILLE, 3s.
D'ALBERT'S LE BONHEUR POLKA MAZURKA, 3s.
CHAFPELL AND CO., 50, NEW BONO STREET.
Published l.y J mix Boossr, of CsMlsUrbUI, in tbe Parish of tiling, in tbc Countr or Middlesex, at the oAe* ot Boosav A Boas, at Hollcs-streot.
Bxxd. K, John-street. Gnat Portland-street; Alls*, Warwick-lane; Vicaras, Uolywril-strott ; Kiitb, Phukss. and Ca, 48, Cbsapslde; G. S~«n >.*.--,
VK »i>(Hl*>lTOt ; Job*
fnr Ireland, H. Busaau,
Printed by Wiluim flrrsci
" ,Hajrl,l»M.
Soil Jwlj
, Hsaar Mar, II, Holboro-bars. Agent* for Scotland, FaTsasosr • Boas, Edinburgh aad Glasgow;
Pr.se," 60, St MarUnVlssva, la tb* Pariah of 8t.
ouna> r^uuuurga a»o wuhjow ,
la tbsOeoatfy of sCadaam,-
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MOST F MI M:N T I» Ml SIC, SINCS IT MQrlBIS SO UATKEIat, SO SU WSCT-MATTBB,
It u wholly roil st asd i-owbb, asd it bauss and exxobjjhi what*v«b it sxrjtiasES,"— GoeMr.
for Postage, 20s. per annum— Payable in advance, by Cash or Post
to B008EY & SONS, 28, Holies Street, Cavendish Square.
YOL. 36.— No. 19.
SATURDAY, MAY 8, 1858.
I STAMPED 6d.
M
ISS GERARD
first api-earencc lu pul
tnmiOif. M»y IHh, Mr. Land, conductur.
(pupil of Sig. Garcia) will ui
blleat the concert at St June* . Hall, on
make her
M
R LANGTON WILLIAMS begs to announce to his
friend* anJ the public thai hi* ANNUA!, CONCERT .111 lakj jitx-c at
May the 2*th, supported by iU
j IGNORA FTJMAGALLI,
and MR CII.UU.KN Bit All AM ,
, to bo
S1GNOK DI GIOROI,
Sigit'r Viand). AH api.:i,*.
rc»»«d to Mr. Cbartc. Br.t>.a...,
M
R. ALBERT SMITH'S MONT BLANC, Naples,
Pompoll. ami Vesuvius every night (except Sntunlst )itS; end Tuesday.
»f. and .S..-urd»y afternoon* at 3. Places wn bo .wurwl »t il.e Box-office,
J-'ly. between 11 end «, without any nm ch rge.
MR. AND MRS. GERMAN REED'S NEW ENTER-
TAINMENT — Tlie new Series of Illustni'ioua by Mr nnd Mrs Reed (late
Ml»* P. Horton) will be repeated every evening (excupt Saturday) at Eight
Saturday Attemnoo at Three. Admiaini.it, la.. 2», :.nd 3a. ; Stalls accuicd without
extra charge at the Royal Gallery of lllaainitlou. It, Rcgcnt-stroct, and at
Cnuwrr. Be ale, and Co. 'a, 201, IlcgtailHrtreet
TTtTILHELMINA CLAUSS.— \VlLLI^i~R~OOMS.—
V V MADAME MAVARDY (WihVtcDln* Clauea) hat the boiwttr lo iuii.oui.ee
that ahe will give her Pint Matinee M.flcalo. at the above room., on Mon!»y
Momlug next May 10. corom-ndnK at Three o'clock, a-alat.il by Moo*. Saiutou
ai.d S.gnor Piaitl. — lUfcTTed Seals, Bell a Guinea ; Unreserved, 7a, ; to be
obtained at Mr. Mitchell'* Royal Ubrmry. 3i, Old Bond ■» met.
REUNION des ARTS, 76, Harley-street.— The members
are respeotfiilly inlbrmed that the SOIREES MUSICALE3 of the
EIGHTH SEASON will commence on the JOtli May, and will embrace some
new feature", via., an orehoalra and choir, eomprehemlbiu the beat an ateur
talent, Ac. allele ore vacancies for a few (amateur) stringed nnd wind Instru-
ments. P.* further particulars, apply to Hcrr Ovffrle, fll, Margaret-street,
Cavendiah-aquar .
SACRED HARMONIC SOCIEl'Y, Exeter Hall. Con-
ductor, Mr. Cost* — Ou Pilday next. Mar Hth, will be repeated Monde a»)hn'»
" AT HA I.I R" and Rasalni a "STADAT MATER" VocaTl.U: Mad. me Clara
NweeUo. Mlsa Dolby, Miaa Rowland, Mr Suns Reerce. and Mr. Weiss. The
illn.tr.ttivc vera** of " AthalU" will be recited by Mr Henry NleUolla.
Tickets, 8a, He., mid 10*. M. ouch, at th* Soclety'e offico. no. 6, la Exeter Hall
MISS DOLBY AND MR. LINDSAY SLOPER beg
to anaouttou THREE CONCERTS OP CHAMBER MUSIC, at Willuv*
Room*, on Moaday afternoons. May 17 and 31, and Monday evening, June M.
Doling tbc is. r lea they will be aaeiatcd by Meesrs Sinus Reeves, Suattey, Sainton,
Bbtsrwve, Plattl. Fsqus, H*. .'.diet. 0 Russell, and Cusn.s Subscription to tbc
aertua. one guinea; admission to a single ooncert, li.lfairvi.Den. Tickets for
rveerved sent* may be had of M<
Miaa Dolby, 3. Hiiiile-strtet,
Cam bridge- terrace, Hyde-park
ORGANIST. — The appointment of Organist to the parish
church of Saint Andrew by the Wardrobe ami saint Ann, Blackfriarx, I*
. recall t Can.liil ite* to t-irward testimonials a* to character and ability, addrc**pij
f to the Vcatry C*otk, No. 1, Wardrobo-place, Doctor*a Commona, E.C , ou or before
t lac 2uth 'lay ol May insrant. Stlary, Tiurty Ouiueaa |wr aitnam.
HER MAJESTY'S THEATRE. — DON GIOVANNI. —
On Tuesday next. May 11, wi t be represented Mo«art • chef-d'oMTre, DON
GIOVANNI Donna Anna, Madlle. Tniena; Donna Elvira. Mad. Alboul; and
Eerllna M.idllc. Picoolonilnl, Dost Giovanni Sig. Bcnereniano (fan first oppetr •
ance t hi* aese. nl : Leporcl'o, Si«r. llclldtl . MaM tio. Sit Alillifhleri ; II Ooniimn-
dators. Sig Vi.Vletti ; and Don Ottavio. Sin. Oiugllnl. To Increaeo the tftsctofthe
maleatic finolo of the first act, Including the cboru*. "Vie* la llbsrta." all the
principal artl»tc-a of tieeatabliahine:it l.»ee conarnted to leud thr»
In vldillou to the oiu-k reatoretl laet yotur, Mad lc lillcna will
" > I ah no mle bene,'' l.ltbrrto omiltad.
r next, May 13th, an extra night, sill be repeated ILTROVATORF.
Ic Tilieu*; Auioena, Mnd. Albnol ; Manrico. Sig Giugllui. Willi
I j with the new ballet In which Madlle Pr '
May lttb. an extra night, when
r-oerlilnl will uppear.
DON GIOVANNI will be
to it made at the
19
Box Office at the Thoatrc.
MR. CHARLES DICKENS will road, at St. Martin*
Hal), on Thursday evening, May Uth. hi* "Cbriatmaa Carol." Th
Rending will commence at eight exactly, aodwlll last two hours. Siallal numbered
andrcscrvclX in. ; areas ainf callvrtot, 2a, 6d ; uureaerre.1 aoata, l«. Tlcksia to
be lui.1 nt Mc<ar*. Chapmau and Uall'a. publiabers. 1»3. Piccadilly; and 8t.
Martin * Ual>, Long-acre.
MR. AGUILAR begs to announce that ho will give
a MntJiivo Musical* at the Htuovtr square Rooms, ou Monday, May 24
Vocalists :— Mi-a Liudo (pupil of Stgu.Y Fern. ti. her first appcaraitcj In p ibllc)
and Signor Mama, lust rumen taltata : — Uctt Jan. a, M Cleuienti. 11 err Goffrie
M. Pauue. Mr. Howe l. and Mr Agnil w. Among oth'r pieces will be performed
J. a Ilaclia Pianor.Tt.i Ctnceno in D minor Roter.td Seats, I0«. i»l. ; Un-
id of Mr. Aguiiar,
rsserre.1, T*., to be bad at sll the prhtci|«d id
Me, Altsmy-eircd, Regent* pai k, N.W
M
R. CUARLES HALLE'S PIANOFORTE
RECITALS — Th* first «M take place at hi* rcaU.nc*. 22, Chesham-
Bdjravu-aquaro on Thtusdar. May 13th. to cootn.euco at Tlirce o'clock
ime:— Paitl Sound in D, Op. In. No. 3, "
Uqucaod Kngne, H. B«h ; Theme, with variation., in A. Moiart ; Sonata in ti
minor Op. H. No, 1. Clement. Pelt II Sonata in C rotaor. Op 111. Beethoeen ;
Prsliides a id D-cna lea hols.' H* l«r ; Marinas* and Bruno* V*uw h> A Sat,
Cltopiu.-Snu!* Ticket*. 10* (Kl each; an I SubacripUwi Tlckct.ro; Owiea of
Hires Mat nec.. One Guinea each, to bo tint at
201, ~
; Mr. Ollivlere, 1». Old
ROYAL ITALIAN OPERA, COVENT GARDEN.
Ma Gtx has the honour to announce that the
NEW THEATRE WILL OPEN
ox
SATURDAY, HAT 16,
On which occasion will bo performed Meyerbeer"* Grand Open,
LES HUGUENOTS
Db
MUSICAL ENTERTAINMENT,
nrtTt-rn
DR. MARK AND HIS LITTLE MEN,
numbering upirardt of thirty InKrumtnt-JW*. *m\ n mott *fi»ctiT« Otoru*. lh«
wbd* forinind * m<-«t compl* Us tuid nnikqu*
JUVENILE ORCHESTRA,
LiUl^ Eng'.Ub, IrUh, and Soldi bny*. from fivo to sixteen year* c< age. wl o play
operatic eelocr|on>. iwtoa, duct... quart, u, quadrl las, manJ.es. and pulkta; and
aing s. ngs. ctoru***. *c . In a m »t effective manner, and to whom he give* a
gratuitous general and musical eduratioit in order to Ulustiat* hi* highly appiUWH -
■ysteni of musical educaiion. and with whom he travela sb> ..t the onutttry tr<
excite an Interest for and help to istabilsli muscat Institutions cited MCaa>
aervittuircs uf Mue-.o" lor little children in every town. city, audj vtlliig< of that
great empire. ^ ^
All letter* address, please. Pre* Trad* Hall, MauchsttirvJ i^l
290
THE MUSICAL WORLD.
[May 8, 1858.
CT. JAMES'S HALL— Madame Gamer, Mis. ArmbelU
O Ooddard, Bim» lWrca, Woe day arid KednefcUy •renlofift. May 10 a><d IS I
also Mcadamce Wl dauer (prima dams of the Grand Open, Vienna), Stabiorb,
Metwtii, SedlatMa. Gemrtf, Toole. Eylca, Dolby; Mo- an WiLbye Cwpcr, Wiun,
Fntiik Bod(U t>ud brii.'.y Richard*. Tne c lubraUd B-ivd of lhu Oardo
Nat oi ale of Pi* i a, their i'tr*' ap, -erratic* h. I-ottd «■. under the direct, imi of
Mutie M^rle* and the Royal Surrey O or 1 Society- AcotMmujiyiet. Mr. Frank
M>*ri- Conductor, Mr Laud. Area, Sa. ; IioJouy, b* ; Reeerved Ar^A 7a.;
Upper Balcviy, 2b.; Gallery, la.; aod a limited UUtnber of Sofa Bulla In the
Aria, 10a 6d. — Cramer, B ale, uxid Co. 'a 201, Rsg ut-atreei; aud Cbap|iell*a,
AO, New Bon i-at»ect
KERR ADOLPH SCHLOESSER has the honour to
announce tlo.t b.» ORANO EVENING CONCERT will take place at tne
n^'crro-ioii r« Room*, ou Woneadj), l.'th May, l;.r.«. (o c»tuniS'.c» at egbl
o'clock. VocallBt*—Mad.imo Clara Novtllo, Mr. Bn tley; PiauoforU— Ucrr Adolpli
Batt <*MijT. The orchestra will bo ou ttie most complete acale, Conductor,
Mr. Benedict. Numbered Rmmd Sulla, 10a. ltd , to bo had at all tho Principal
Music-sellers, and of Heir Adolph SebloooMT, IS, Cainbiilge-stree)', Uyde-pcirfc. W,
MISS ARABELLA OODDARD"S THIRD AND
LAST PERFORMANCE! OF CLASSICAL PIANOFORTE MCflIC will
take p'.aoe an Wnlueoday Evening. May Utb, at Half-put Eight, In Willis's Rooms,
K , . 8t- Jaoaes'a
Ou Mils neesaloa. Miss Ooddard will huva the honour of performing, among
other pieoea, Weber's Grand Sonata iu R minor: Fugues *'V Handel. Scarlatti.
J. ». Bach, and Meudeleaohu ; mil BEETHO\ P.N s GRAND SONATA IN
B FLAT. On 1M.
Boserved Plaoa. 10a. f.l. : Unreserved. Ts. To be had of Mlaa Arabella Ooddard,
ST. Wolbcck-strict, CaTfl.idlih-Mpiarc ; and of the principal Music-pnbllshers.
CRYSTAL PALACE— BAND OF THE FREJStUH
c
NATIONAL GUARD — tntir arsl .ip|icaraijce iu thi«c nntry.— Tula Military
B.int convlstiug of 'hirty j»arftirmere. will Tialt the Palace <m M iid.Y in at, the
lOih IneUn:, In full uniform, and gt.e a pel f a-mance of music iu the centre
tranao.'t.
PROGRAMME.— P*»t I —1. Cod aw the Qneau ; 2. Eugllah March. Cornet
»oln M Maria Mane; J. rklevtioufroui ' 1 Purltani," » itn curnel alo, M. Ilotliu—
Be llul ; 4 Grand du-crlpttvo Marvb. " Bat< la ul tboAlcua " introduitn. tbehugle
ealla of Urn Fr*.uei urniy, • Lu Ron iL' *• I« Ttr.itlkuia," " Li llatuiil e," ' I/i
Victtwre A mm*;" tmmi»iio »n5>\ M. Il». nduff Mu> io ; S. Q.iadnl r, "U-'ao of
Cuiiiilr"— BaMi
Paar II. — 1. French murch. vrilh varUtioaa for tho "pttjt \mgW aoprauo." Iiy
M O -biu Mavis ; 2- V.movio Polcr.a-.aii, with trombone #olt> by M. Hanidoir
Mitfle, A. Ovrriora, *' Mitaanlello A.il* r ; 1, Ofajfed walta, **La Relno Mar*
gueriu"— Morio i 5. QinnrilUi on Eiiiluh. Freueli, >nrl lurkiah nira— aUno ;
6. Uulu Brltauuli.. 0-uduct..r of tho buixi. Muua. K. Mane,
T'.s PoUoe will o|in a- 9. Tlia nnuis will Uke pUco aa follows: Band of tha
Comnuiyru 1'J 10 ; Band of thu N.«Umal Uuitrd at »; Oivan pori-jrnianos at ,1:
lLunl of tho NutMHial Guard at «; Band ..1 tho Cuotiuuv m 4. A imiaaiuii as
u«i*l. O. « biillllnir. Children under I* half priK.
(By ordir) (». OROVK. 8tcwt.iry.
7^ RY ST AL P A LACE CONCERTS. -^Tho iiec wcT of
\J the acrici of cr-ncerta of Weal nnd I<i»:rumstiial Musk, in ti c hew i rvh'Kti*
iu i ha Ca< tit 'irai-icjit. will tuka place on Frday next, ths Mm lust. Vuculis's •
Mies Louito I'jtic (hu first npp.ar.iuoo at tnc Crywal i'alaoal, Mim Dolby.
Mr. Suu» R;«v i, and Mr. wVies, Mr. ilerny b slv'a Cbolr, <■< above loo roicca
wi 1 Ring aomc ui i heir favounta Patt Bnn^a iu tho atno id part ol ilio pro^r-tiutno-
Thu B..ud »lll bs l.^cly incroaio.. by a nuiulu r of tne Kaduut lustruiucuu i-u
Coui'iiclor, Mr. M ums (Mora -peu at Twelve ; Connert to e-nmence at Three.
AdimaaiMii by Kcuaou lickol. O' oti pnymcul ef 6a. Ci.ildrru undar twi.vt. hjJI-
price. Rcaerred SUIIa > tkl. eacii eaura.
By order,
Thu I>.g.»nn
CrjMalrala
111 be duly
Palaor. May 71b, HWA
GEO. GROVE, Sec.
THE ARION, Book I. — Just published, to be continued
Monthly. A collection of Pari Songs by the mm; celebrated OOM Jeers,
lran«la(«l aiui ell to- 1 by F. Freainea Rallcy. Rook I. contali-.a :— Mend. Issobn'a
Autumti Bong, The Unppy Wanderer, Tne Goldou Bridgo(i;r»t titn i |Tublmhid In
England), ltochiuMi's Bpanlsb (Jausouoe, Image of Uie lloae, and Pntruer'a Crick'
chi.icra. 8cnrwnnd l*itrn, 4a. ; or In Two separate Pnrta, ^a oarh ; he|tarato Voice
l'ana ahai(|>ciuiy |*r pipe. Lomlen. G. HeJitarmaciii ami Ca., 9*. No-vgnte-trtxt.
The Riibacqoent Bnuka m the Ariou will be prinied by G. Sclieunnan:''* New
P.itont Pr.*»ai» for Music Printing.
fr«MU C
cnt profoaaorx ' —
Tui Vale, 1C:m. « Rosd. Cuci
March 10th, IBftS.
Saa* hin,— I h\n much pleasnre In giving you toy oianion up
mlum ; it is the beat inatrunient of lbs kind I nave, ever beard
Harmoi
To Mr. W. E. Eviui
Yours vtiry truly,
ALFRED MELLON.
CIGNOR FERRARI'S NEW WORK on the CUL-
O TIVATION of the VOICE sod 9INOING is no v publlabod, ,.rlce ge.. and
may be ba I ut his raudeuce, fevou'tuie l^dge, P»rUiuid-i\«d, PorthLn/l-nluce,
-ud -t all
ut his rcudcuce, Devou'tuie Lodge, p.
tho pruicipal mualv aclle s. "Ol ait the ticallece on tl.e cAilur.it oii
of the vnice .bat luve ap; aaiel fur mauy }cai -, it i* tho moat aei.kib*i% cnucias,
and useful. "—Daily Newe. "Then! ia more acuae In this work than
mil
nine o t of ten inibllcationa of a slmiUr kind "- At;,
of grammar of too vocal art, and not a
• ■ Jlere ts a really aeuslble work. --Musical World.
find in
Forma a kind
jLJERR REICH ARDT, 83, Alfred-place West, Brompton
jLJERR LOUIS ENGEL 10, Bentiuck-etrect, Manchester-
LAURENT'S ROYAL QUADRILLE BAND. — New
Office, at Measra Booaey and Son*, H, Holkea-atroct, where full paiuculara
may be had.
jyjR. "SY DNEY 8MITH, Violoncellist (orchestral- and
Leipeio, is open to engagemetla* Addreaa, I? near-etreet? l!en> atrr-qtiare **
THE ORCHESTRAL UNION, under the direction of
Mr, Alfred Meltuo, ran be cnsngcl for morning r*r erening o-'noerta IbnMijrh-
out the season. For tcrma, apply t>> Mr. Woulgar, the Ta e, KliigVroad, Cb Laea.
MR. T. G. PATEY, Basso Profondo of tho Italian
Theatres, h g* to announce that he La in town for the •eewia, reade to
accept encagem. nta — Communioatious to be addreeeed to 93, SUBWd plsee.
M
R W. W. GRICE
Musical Frrfeaaion and
and sup-rinti
Ahbey. 8 W.
respectfully to inform the
' concert, that he undertakes) the
s.— Address, IS, .North -at roet.
A I ADA ME PERSIANI has jurt arrived in London
1»X lor tne s titoti —Address for terms for private and public concerts, lissnsii.
Peraianl, 8, Prince'a--itrMl, Hauovvr-
and pririnctal engagement*. Ac, to M
aqitare , or to Run W . Ollivier, 1». Old Bond-atreei, Piccadilly.
MR, THORPE FEED, Assistant Professor with the
late Signer Crivvlil, begs to aniiounco that he Is in town for the season.
Applicatu> a ior b**e.-na and cng tgeinc uta ate requested to be addreeeci to Messrs.
A niisou and Co., 210, rU-gsnt-strect, where teatioiotuala from the late great
■taster, nmy be a en
H~ ER~MAJ EST TS STATE BALL
had tlie unspeakable delight of receiving Her
att' -id oni conduct ula
ii itn Palace In honour
21, Boiic-antuuc
Mr. John Weipt
Mejee y's
d Ba I (
SIGNOR LUCCHESI, primo tenore from the Italian
One) a, Paris, and of IUr M-deat'.'s Th atre an t the Royal Ita'ian 0(«ra,
Luuilou, has Uiv huti' Ur to iuiuouiiix that lie is in tnwn lor the nrsernt aeaveon
lonni :uilmli.jjB^-|ieciU.g pitiilii. and private c ttc^rU^and Bu^ilii^lrSiOiis in
street.
HANOVER SQUARE ROOMS. — These elegant and
coti.t-iucm rooms Lsviug btcn re-doooraud and entirely new-lighted with
the brilliant eund gnta, am to l>. lot for Coocerta, Pub Ic and Private Balls,
ll.uaara, Mietuiga, ate. No concert rooma
cltiicr vocal or instrumental mualc, or ft* 1
tne Rooini, No. i, llauuver-mtnare, bcl«eeu I
r u<iucerta, run ic auu rrivavs outa,
can co-npetn wl.li them for sound, for
puUic atieakltg For Mrms apply at
n the hours of ten aud fuur dally.
ONE OF THE FINEST 0B0AHS IN THE WOULD
TO BE SOLD,
SSlfaSU ro» a
CHVRCH, CATHEDRAL, OR GRAND MUSIC HALL
Apply to tin
•Musical World."
THE LONDON MUSICAL SEASON.
Conrrrt Sgmi" ©tBrr,
i, BEAK STREET, REGENT STREET.
CKTsTAL PALACE. -
-J. DISTUJ'S FAREWELL CONCERT
of (
.7. The I
.^lien's Illustrate* Cataloaut
Of Portmanteaus, Dcapatch Boxca. Writing and Dreeeing Caaee, Travelling Bags
with souar. .|*umga. and 600 other articles lor t™rUlu,g"by poat fie twostamps.
ALLEN'S PATENT SOLID LEATHER PORTMANTEAU, with four Com-
pattmotila.
Al.LKN'S PATENT DESPATCH BOX.
ALLEN 8 PATENT TRAVELLING
urn ths beat ol the kind yet invented
J. W. and T. ALLEN Mennlacturers o.' Portable _
MillUry outfitters l«« separate OaUlogus). IS aud 25,
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May 8, 1858.]
THE MUSICAL WORLD.
291
M. FETIS ON THE PRESENT STATE OF
MUSICAL ART.
(Continued from page 27U.)
ALTHOfc.it a child musically organised as above described
may labour with soioo hope of* one day being a great artist, a
thoroughly satisfactory result dm* not invariably follow the
prognostics of early youth. Some natures them are in whom hope
is deceived ; they seem bom to inrent an art after their own
fancy, while they betray an incapacity for the study of the art of
writing. Through some perversity of the mind, more frequent
than might be supposed, individuals of this class indignantly
reject the idea of subjecting their inspirations to any sei rales.
Our age is repleU- With examples of these haughty "but incom-
plete geniuses, who, scorning tradition, imagine art to have its
commencement with them. They would persuade us that such
art consists entirely in individual inspiration, not perceiving how
they are thus begging the question by appealing to the very
thing which is in dispute. Where la their imagination, where their
inspiration ? How shall we recognise them 1 Never has there
been snch a talk about originality and invention as now, that
neither are to be found. M. Fit is affirms, oil the faith of his
long experience as a teacher, that the faculty of prosecuting
thorough and efficient studies is one of the rarest, and more
rarely still is it found in conjunction with the faculty of imagi-
nation. Sometimes, by way of compensation, it is met with
accompanying a weak and sluggish inspiration : from such ma-
terial may be turned out a good musician, and that is all.
There is no particular age for the development of genius,
and such ia the diversity of human organisations that the faculty
of creating may bo ripo in early youth, or not reach its plenitude
till mature ago. Generally, however, it is safer not to be over-
hasty in proclaiming any artist great till some way has been
made in their career. Flashes of talent that suddenly die out,
transient gleams of originality, are common, and many a com-
poser, at the close of a laborious existence, roast seek his titles
to fame in his earliest productions.
There is still a deficiency of earnest study in the production
of works of art. It ia a truth never to be lost sight of by the artist,
though alighted by the majority, that he never accomplishes all
that he might, that he is ever too hurried, ever too indulgent
towards himself. Many a work has M. Fotis seen exhibiting
glimpses -of imagination and originality, which, with more
serious labour, and more searching study, might have become
works of the highest value.
The venerable professor terminates the whole series of articles
with the following exhortation to young artists, which, from
its impressive character and the value it acquires from the loug
experience of M. F6tis as a teacher, and his vast knowledge of
the whole history of his subject, we translate literally and at
length
Devote yourselves then to study, young artists, without
stint ; search into the very inmost recesses of art, fathom its
resources, sift its forms and its means ; you can never know
too much. Beware how you attach any faith to those who will
cry out to you : Kee/' clear of thote peditntic studie* l/iat only dry
up the imagination. Imaginations that dry up start from out a
weakly spring. There is a fit time for everything. When you
are composing, you are to leave study aside, and deliver yourself
up to your imagination ; fear not even rapture, which, though it
may sometimes lead astray, will often yield happy strokes of
audacity. Finish your work iu this moot! of the mind, but when
it ia done let it reiwe* awhile ; let yourself settle into a calm
- creating
•and
thought
may be wrought to by successive developments and trans-
formations.
I would also say to young composers : Read a great number
of fine works of every description, in the score, that you may
assimilate to yourself all styles, and avoid the example of vulgar
musicians, who know only the art of their own day. There are
many things in the works of the past which you may resuscitate,
by transforming them through the resources of modern art.
it is done let it re[<ose awhile ; let yourself settle into a c
frame, and, if you were the man of imagination while crca
your work, become the man of taste in the task of polishing
improvement. Few are sufficiently aware what a fine thoi
himself contracted obligations of this sort to 1
rho are known under the name of the Jlomeride*.
Lastly, there is a parting piece of advice which I have to give
to young composers (and I do so with a perfect conviction of ita
value), that they may not stray into paths that have no issue.
Beware, 1 would say to them, how yon quit the province of
music, and seek of it that which it cannot yield. Do not run
after the imitation of things perceptible to the senses in the ex-
ternal world, for such is not the objeet of the art ; in suoh at-
tempts it always falls short of the reality itself. Avoid likewise
with equal care, drawing the motives of your composition from
the abstractions of metaphysics, or the ideas of cosmogony ; not
only is art impotent to ponrtray such things, but it becomes un-
intelligible in this region, as it no longer speaks the language of
sentiment which alone reaches the soul in music. Finally, do
not run alter new forms, nor alliances of heterogeneous means,
which betray a sterile imagination. When you compose a
symphony let it be purely ana simply a symphony, as fine a one
as you can make it, but not a tymphoay-cartiata nora tymphonie
poem. Do not imitate either the last compositions of Beethoven,
written with the design of avoiding ancient forms to show the
independence of his genius. In seeking to avoid the regular re-
currence of ideas, ho fell into mere wandering. Examine closely
the ancient forms of the sonata, the quatuor, the symphony, and
you will find in them a very complete conception of the develop-
ment of a subject. If anything could clearly prove tho supe-
riority of these forms, and these settled limitations of ancient
art, it would be the nothingness of all that has been attempted
by way of change.
SIEGFRIED WILHELM DEHN.
(From U Revue et Gazette AfutieaU.)
S W. Dkhx was born on the 2oth February, 1800, at Alton*,
in Holstein, where he went to school until he was thirteen years
old. He manifested a remarkable instinct for music from his
very infancy; he did not cultivate the art, however, with the
idea of becoming a professional musician, but obtained a place
as keeper, under the auspices of M. Sehenk, in the service of
the Administration of Woods aud Forests for the Duchy of
Holatein.
We shall not follow him iu the rough and often perilous exist. -
"nties obliged him to lead, and which his naturally
constitution assisted him iu supporting. Having been
while hunting, he left the service, aud resumed his
studies. In cohformitywith his father's wish, he followed the
law lectures at the University of Leipsic, iu order to pre-
pare himself for a diplomatic career. Iu 1824, he went to Berlin,
and was attached to the Swedish Embassy, but unfortunate
events again changed his destiny ; his father died, after losing
all his fortune, ana young Dehn was left without resources. It
was then that the musical art, which had hitherto been only an
amusement, became the means of saving him. An eminent
artist, Bernard Klein, whose talent is not ret sufficiently appre-
ciated, gave him some lessons — eighteen in all ; and these were
sufficient to enable the ex-diplomatht to exercise with success
the professor's calling.
From this moment, Dehn devoted himself entirely to teaching
the theory of music, and had numerous pupils. Klein died
some few years afterwards, and Dehn was, so to speak, his heir
and successor in a profound knowledge of musical literature
and theory. With a degree of obstinate perseverance, of which
we meet but few examples, he sounded the depths of tho
science, and was not loug in taking his rank among the musical
celebrities of the day ; in fact, composers and executant*, of the
greatest talent, studied under him. Among others, we may-
name the celebrated Russian composer, Glinka, who studied
counterpoint with him, and always returned, even after long
intervals, for fresh lessons.
From the 24th March, 1842, Dehn was Conservator of the
musical division of the Royal Library at Berlin. It would be
superfluous for us to enumerate the services he rendered iu this
situation ; we shall; perhaps, never find anyone to replace him.
He made several journeys to Vienna, Munich, Venice, and
other parts of Italy: while on these excursions, which were of
Digitized by Google
292
THE MUSICAL WORLD.
[May 8, 1858.
great use to the Royal Library, he was constantly searching for
rare editions, baying manuscripts, and effecting exchanges. In
the years 1851, 1852, and 1854, especially, he was charged to
visit Breslau and Silesia, and was successful in all his journeys.
Without entering into a detailed account of his labours, we
will content ourselves with saving that he pursued them to the
end with indefatigable zeal, and that age had in no degree im-
paired hi* energy. The very day a fit of apoplexy tore him so
suddenly from his wife and two children, he had gone to the
library as usual.
Among tho many persona who followed his mortal remains,
were celebrities of all kinds, especially musicians, almost all of
whom, after being his pupils, are now eminent masters.
Doctor Jonas pronounced the funeral oration. The members
of the Domchor executed a chorale and a Lied by Mendelssohn.
REVIVAL OF SPRING BUSINESS.
{From the New York Herald.)
Ths very delicious weather which we have been enjoying during the
last ten diya has had a great effect upon all branches of metropolitan
business. The hotels are filling up; Broadway is crowded with dele-
galea from all parts of the coniitry ; the travelling season has fairly
commenced ; and tho array of spring bonnets, with tho expansion of
spring crinoline, give our principal promenade the appearance of on
immense flower garden. Gw •ncrcurial and excitable public is pre-
paring to paaa from the prayer-meeting to the W matnue — from the
sackcloth and aihea of Lent to the gaiety or the Concerts Musard. The
prayer-meetings themselves are on tho wane. They did not succeed in
converting cither Burton or Forrest, and were obliged to content
themselves with awful Gardner. The last standpoint of these gather-
ings—Barton's old theatre — tiaa been abandoned by the parsons, and
it will now bo used a* an e-Ji- arv court house. Instead of supplica-
tions there will bo rcpnswn v; instead of religious cmotiom there
wdl be only dry motions before a terrestrial judge; instead of humble
confession* there will be picas of Not guilty. Rynder reigns in place
of Beeehcr ; Blackstone replaces Watts.
In the world of amusement we And tho chief topics to be the grand
file at the Crystal P.uace on Thursday, the concerts of Musard, and
the bat masque under the samo direction, after the fashion of the
Grand-Opera at Paris. Everybody is going to the Crystal Palace,
everybody must hear the Concert* Musard, erery body is discussing the
bal matque. Still another topic agitate* fashionable circles. Mr. Ulltnan
has just concluded the longest and moat successful opera season ever
given in New York. lie has succeeded in creating an immense sensa-
tion. No manager lias been so much talked about, lie has satisfied
the public, but ha* dissatisfied everybody else. The prime donae hare
quarrelled because one got more applause than the other ; tho tenors
hare quarrelled because the public didn't like them ; ths orchestra and
chorus hsxe quarrelled because war i* their normal date; the critic*
and composers bare quarrelled about the originality of opera* ; the
Italian* have quarrelled wi(l) tho Germans, the German* with the
Italian*, and the Frencn wrsu both. Fry'* opera, Leonora, made
several pretty quarrels. Some people said it was sn amiable plagiarism
from Bellini, Donizetti, and other composers, while tho friend* of Fry
inaisted that these mailer* plagiarised from the author of Leonora.
The public did not come to hear the opera, and it was tjiatco ; ao the
friendi of the composer are dissatisfied with the manager, who, a* we
■aid before, ha* disappoints-- 1 11 the clique*, but ha* mode a great
success with the public. More particularly has he diaguated the old
clique of oyster-house critics, who have been brought out from their
holca by the warm weather, and who, encouraged by the partial success
of the oyster cellar conspiracies against Major Wood, and the similar
demonstrations against the administration at Washington by the dis-
gusted democrats and black republican*, have resolved to form a grand
ition to crash the little Napoleon of the Opera. He is to be
_ J np without any mercy whatever. With the srti*t*, tho oyster
I critics, the fiddlers and the red republicans, against him, and
only the public in bis favour, his ca»e ia certainly deserving of sympathy.
Let us hope he may have a safe deliverance.
Meantime, however, tbinga go on as usual. The concerts and balls
afford topics for grave discussion in society here as well a* elsewhere.
Before the bal matqut at the Academy, the wife of a California Senator
give* a similar entertainment at Washington, to which all the world ia
invited. The question of what to wear at these balls ha* given far
more trouble to tho parties concerned than tho Kansas imbroglio or
the Central American difficulty. Of course all fsshionable New York
goes to Washington for Mrs. G win's bell, and to
pliment everybody in society at Wa.hingtoa will
Musard bal maequf a fortnight later. By that time we msy hope the
contending pnrtiea of the Academy will have arrived at
ment of tfa«~ troubles. If they do not, " it Un't," as Mr. Toota would
say, " of the slightest consequence."
IRISH CRITICISM.
As an example of criticism in mixed languages, seasoned
with epithets of the highest flavour, we have much pleasure
in offering to our readers the following notice from Saunders's
ATetcs Letter, of a concert which recently took place in
Dublin :—
"MISS FLYNN'S MATINEE MUSICALE.
"Miss Flynn's matinee musicale, given on Saturday at her
residence, 31 , Hareourt-strect, was, notwithstanding the dispirit-
ing influence of the weather, so fashionably and fully at-
tended, and so well carried out, as to thoroughly realize the fact
that ' mind will still be lord of all.' It opened with a trio in
C minor (Beethoven), in which the hasty and somewhat angry
' Allegro con brio ' — the ' andante con Variazioni,' of deep feeling
and imagination — the quaint 'Minuetto,' and the mad 'Finale
prestissimo ' of this wonderful composer were duly rendered by
Miss Flynn and Messrs. Levey mid Eisner. Mr. Gerhard Taylor
then gave a morceau de concert, performing with vigour, fer-
vour, and skill ; there was ouo want, if we might suggest to so
gifted a performer, namely a little attendrissement Nothing
will evoke the soul of the harp savo ' toudcrness,' Mr. G. Tay-
lor's composition on Traviata was brilliant and successful, the
principal airs in this much-admired opera making themselves
charmingly apparent amidst a whirlwind of difficulties. ' Leg
Bois,' by Stephen Ilaller. Miss Flynn played solo pianoforte.
This is a charming and picturesque effusion, bringing to mind with
musical light and shade, with joy and sadness, the changeful
foliage of ' Les Bois ' of sunuy France. Herr Eisner gave an
affecting air by Mozart in his usually expressive manner. The
sonata in B flat (Mendelssohn) rendered by Miss Flynn and
Herr Eisner, like the composer, savouring of the supernatural —
German forests and elves — terminated the first part The
necoud part commenced with trio in E flat (Hummel), 'Allegro
agitato, Andante, Finale presto.' The andante of this was
excellent, and the finale spirit-stirring. Mr. Levey, so often
heard and so popular, perhaps escapes at times the full mea-
sure of praise due to him ; no foreign artist could excel his
lively and speaking violin. The next piece was a duo violin
and violoncello (Hummer). This rather singular but original
composition, we must confess, seemed to suffer from want of
harmony between the instruments— they were not in tune
with each other. The Tenia ' God save tho Queen,' with won-
derful variations, were in other respects executed a merveille
by Messrs. Levey and Eisner. Miss Flynn delighted her audience
with her thorough and masterly execution of Beethoven's
sonata in E minor. With this class of music she seems alto-
gether en genre; and in the concluding piece, by Chopin, her
finished fingering and apt rendering prove her an accomplished
ODE TO II
AFTXR HXAR1NU II tV
{From 1'n
O Grand gigantic Handel !
As sunlight dims a candle,
Thy mighty music quelleth
All other, and excellcth :
So wonderou.1,
So ponderous,
Ana thunderous,
Uproarious,
Engrossed with airs of Cupid,
The soft ones deem thee stupid ;
Thou borest them,
And floorest them,
They sneer at thee,
And jeer at thee,
Call thee old Foodledum,
AND EL.
AT KXI.TKB HALL.
»cA.)
And Doodlcdum,
And Tweedledum,
Genius of Bcadlcdutn ;
Thou art too high for them,
Therefore too dry for them.
Supply for them
Frivolity.
Give us thy jollity :
Heroical sensation
Of inward jubilation,
And huge exhiliration,
Which somewhat near,
Is that interior slowing,
From generous liquor flow-
Particularly owing [iog,
To the best old W
Digitized by Google
May 8, 1858.]
THE MUSICAL WOELD
293
RECOLLECTIONS OF CALIFORNIA & AUSTRALIA.
BT A MOSICIAK.
(Continued from pane 278.)
"Bright Chanticleer proclaimed the dawn" aa — after
making our ablutiona in tho river, and getting our mules from
the labyrinths of packages, trunks, fleas, and Carajo-ing mule-
teers, who wore busily employed, as it seemed to me, in the
operation of tying upon the poor animals an amount of weight
that it was impossible they conld exist under — we duly equipped
with saddle and spur, and started westward. I uso the words
saddle and spur literally, for as some of the travellers were
sure to forget those absolute necessities (spurs), and as it wonld
have been an impossibility to make a mule move without
thumping his sides with your heels armed with a machino
called a spur, about as heavy as a decent kitchen poker, they
who had a pair, divided with those who had none ; and vou
used your gentle persuader, upon either the starboard or p'ort
heel, as seemed most conducive to rapid progression. Our party
having now finished tho boating business, we disbanded, and
the Dominie, Poor H— n, the Editor, and myself, started
together. We could not imagine what made (he mules' tails all
appear as if they had hern shaved, but they did, and looked like
old man o' war s pigtails, until we found that bring very often
coralled (i>. put into a kind of pound without food), they
literally nibble each other's tails, much as some men chew
tobacco in lieu of a dinner ; and this accounted for our animals
making a bolt at every open house where eating was going on ;
and nothing but our spurs could have got them out. As to
whipping, you might as well have flogged a brick-wall.
Although these sketches purport to be reminiscences of Cali-
fornia and Australia, I have not been able to resist the tempta-
tion of elaborating upon the journey thither, for such a peculiar
state of things (owing to the railroad) can never occur again,
and although I have read many works also purporting to be
descriptions of travel &c., 4c, yet, they were mere Jeremiads,
depicting all sorts of miseries, which were nine times out often,
caused either by the ignorance or improvidence of the voyager.
To be sure.wowerc blessed with gloriousweather,the rainy season
having closed, and the drought of summer not yet oppressive;
yet, with theso advantages, many appeared to be perfectly
miserable ; the truth is, there are some men unfitted for
battling with tho world — they have for the most part been tied
to their mothers' apron-strings, are querulous ana fretful upon
every little disappointment, and aro quite destitute of that
buoyant spirit that a true traveller should possess ; and as to
fun, a joko is a sealed book to them. Now, the true wauderer
cares for nothing ; if mishaps occur, he makes the best of
them; if he meets with an accident, he grins and bears it ; and
if his trouble should be of that description that alone should
touch the heart of a true man, ho bears within his breast that
firm reliance upon the goodness of his Creator, that bids him
cease repining, and hope for future happiness. And who could
be otherwise than happy in this lovely scene 1 a feeling of
" awful mirth " seems to fill your heart to overflowing, as you
trust to poor "Mula" to pick his way through the noble
forest, the trunks of the trees wreathed with the passion-flower of
every hue, the parasitical agaves and cacti growing like miniature
worlds in tho forked trunks, while the heavy-leaved plantain
and banana lovingly droop their fan-like branches towards you,
and woo you to their grateful clusters. For some hours we
proceed without uttering a word ; our hearts were too full of
that pleasurable sensation of partial loneliness, and the beauties
of the scene too bewildcringly charming, to break the spell by
speaking; it was a lovely symphony of nature's composition,
and you would as soon think of chattering during Beethoven's
Pastorale, as to breath a sound, or even indulge in a settled
train of thought, as you dreamingly wended through this
paradise. But, even here, " the trail of the serpent was over it
all." Fever, the pest of the country, decimates the inhabitants,
of which we had an instance in passing a poor creature, a native
who crawled forth to die in the woods. Hu was a perfect skeleton,
and although we stopped, and poured a few drops of wine upon
his black and parched tongue, his spirit fled as our good dominie
knelt by his side, and prayed for LU departing brother. We
sadly proceeded, and soon reached a clearing in the wood, in
which resided a family, like the poor wretch, all stricken with
the fiery curse ; some were lying in hammocks, perfectly
listless, and one poor boy, of about fifteen, was oxtenued upon
the floor, unable to move. They looked suspiciously at us at
first, and did not socm to understand that a feeling of sympathy
could exist towards them ; but upon my offering a cigar to the
eldest, and least ill of tho party, he — with native grac? and
politeness — accepted our poor offers of service, and with many
thanks accompanied us 'some way upon our path, and when in
parting he gravely shook hands with us, as I pressed upon him
a bundle of cigars (tho most grateful gift you can offer), he
faltered blessings upon us, and bIowIv, turned back with tears
in his eyes, so unused were these poor creatures to any expres-
sion of sympathy from the thoughtless gold-hunters.
It was near noon when we arrived at the summit of the high
range of mountains that, commencing in the coast range of the
extreme north, teem to serve ar. a strengthening bar or back-
bone to the narrow isthmus. We were upon the spot where
Nunez de Balboa first caught sight of the Great Pacific Ocean,
after penetrating through hostile tribes of Indians by the very
way wc had travelled ; from this place you can see both oceans,
the* Atlantic and Pacific, and standing on this mountain height,
look with delight over the awful masses of vegetation upon the
great highways of the world.
The hot sun soon gave us warning to quit our exposed situa-
tion, and again wc dived into the recesses of the forest, where,
among tho thousand novelties of bird, plant, flower, and insect,
wc came across a very curious proceeding, that I have never
seen remarked in any work upon insects. We at first thought
that very long nnrrow green snakes were Blowly twisting across
the bridle path ; but, upon examination, these singular appear-
ances were found to proceed from lines of ants, that meandered
along in Indian file, each with a shield-shaped piece of green
leaf poised npon his back. Theso lines of insects were, in many
instances, seven or eight yards iu length, and there was no
straggling ; if we tumbled one of the little gentlemen out of
his line, he picked himself up in great tribulation, sticking to his
leafy shield the while, until he could shove himself into the line
again. Now what they wanted with these bits of green leaf, so
exactly nibbled the same shape, except they were intended for
impromptu parasols, I can't imagine, but I really should like
some naturalist to explain. As the afternoon camo on wo were
favoured with a shower of rain, which lasted but for a short
time ; but oh ! how oppressive tho atmosphere became ; it was
a perfect vapour bath, just as if Dame Nature was having a hard
day's wash ; we were absolutely bathed iu perspiration. Soon,
however, we began to experience a gentle breeze, and after
crossing a* ruined causeway, formerly used an a road by the Spa-
niards in conveying their caravans of silver from Panama to
Cruets, and thenca to Chagres, we passed a gay Spanish cavalier,
mounted upon the most superb mule I ever beheld, its delicate
legs and open nostril denoting tho Arab cross-breed ; and its
rider, attired in sombrero, gay crimson sash, the open trowser or
calzolero, presented a most picturesque appearance. He was
extremely handsome ; and as he gracefully galloped by, giving
us the " Buenos dias, caballeros, ' wo thought him the finest
fellow we had ever seen.
The gentle breeze was an evidence that we wore approaching
the sea, and shortly we emerged from the forest and entered a
wido plain, a few houses appeared at intervals, water-carriers,
with their mules laden with fhe precious aqua, wore making
their way towards the town, and after passing a few ecclesias-
tical buildings, we came iu sight of Panama, passed the gate
where two very dirty looking blackguards of soldiers were
playing at sentinel, aud stopped at the Hotel dc Louisiana, kept
by a German Creole named Herman. This caravanserai was a
long, rambling, monastery-like building, but had the advautage
of a cool breeze always blowing through it ; we were very much
exhausted, and uncommonly tired of our uncomfortable saddles ;
indeed, I was so stiff, that I could not walk up-staira without
assistance. An hour's snooze however soon brought us too, and
in the cool of the evening we sallied forth to see the lions and
look after our baggage, about which we had our doubts, aa
Digitized by Google
THE MUSICAL WORLD.
[May 8, 1858.
several times we had passed trunks and packages lying in the
forest, and in one instance a mule had fallen into a ravine upside
down, with his load tightly fastened to him, he kicking, and his
beast of a driver thrashing him, and caraioina to his heart's
content Wo were lucky, and our plunder (as they call luggage
out west) had arrived in safety ; but the steamer was not yet
ready, and we had to await with patience a day or two. The
lions of Panama at eventide aro of the quietest nature, and
■ Roar you as gently as a sucking dove," and the day being
past when we rose from our siesta, we had no opportunity
of viewing its architectural beauties ; so we strolled onward,
and onward, through a narrow street, passing various drinking
shops, which wore all kept by speculative Yankees, who, I
believe, would go to Tophet itself if they could turn an
honest penny, and stopped to sup at a restaurant which
rejoiced in the proprietorship of the veriest Cockney I ever saw.
He was of the loquacious and gently-patronising breed, and
discovering I was a " Hinglishman," informed us that he came
from " Hoxford Street, and then he served us with " am and
heggs," and called us " gents." lie was undoubtedly doing a
thriving business, and was one of those odd beings you meet
with all over the world, who seem always (like cats) to tumble
on their feet ; for he had been left at Panama ill, after being
wrecked during a voyage to some place or other, that of course
he had no business to be going to ; and while there the gold fever
made its appearance and he started a cook shop, and though he
does denude Her Majesty's English of a few H's, he tries to
balance the account by inserting them in the wrong places upon
everv opportunity. We then strolled into a large drinking bar,
to which was appended a gambling saloon, where sundry of our
shipmates were dropping small sums across a green table with
red and black squares upon it ; but as this senseless work was
" not at all in our way," wc quietly strolled back, and turned into
bed, preparatory to enjoying the cool morning breeze. Ui>on
opening the largo door, as the beams of daylight stolo slantiugly
across our room, the Bay of Panama was lying before us in its
calm beauty ; around us were odd looking," ugly barns of houses,
each with its complement of Turkey buzzards squatting on the
ridge-pole of tho roof, and a game cock tied by the kg to the
door-post. A short time sufficed for us to don our scanty habili-
ments, and we were in the street ; all was calm and very quiet,
for carriages are unknown here, all work being done by mule
or man back. Wc passed through tho gate, and were outside
the city in the markct-placo ; here were gaily attired natives of
every hue, little mincing donnas, with mites of feet, cheapening
the nastiest bits of meat that can be conceived, for they nave a
disgusting fashion in most Spanish countries of cutting a bullock
(old or young it does not matter) up into long strips, which they
iterally sell by measurement. The vegetables and fruits
looked very tempting, and the oranges, in particular, unim-
peachable.
We soon found ourselves in a beautiful winding road, or laue,
leading to cocoa-nut and banana groves : names given to two
establishments or hotels, which, being somewhat elevated, were
considered as being more healthy than the city. Here wo
enjoyed a calabash bath, which, being interpreted, means a
large tub of water, with a scoop, or gourd, to pour it over
your head ; thence back to breakfast. There was nothing to do,
nothing to look at, for the architecture of the city is abominable,
and they have not even had public spirit enough to fill up the
holes lea in tho walls by the removal of the scaffold supports
used in building. There is a lnrg<- Pl.-.za, with a large cathedral
in it, but everything has the npiwarauce of lassitudo ; tho verv
lizards, as they crawl over the altars of the churches, look sleek
and lazy, as if they were trying to assumo tho position of church
mice. Wo were soon (no doubt like the reader) perfectly
ennvuer, and although we derived some amusement from
watching the manoeuvres of an old buffer of a padre, who, iu
long hat, sutane, and with a game-cock under his arm, was evi-
dently giving spiritual consolation across the counter, to a merry,
laughing-eyed little body, and shovelling up pounds of snuff into
his enormous nose ; even this exciting pastime became weari-
some, and wo resigned ourselves to the demon of ennui in
despair ; and na I don't wish my readers to suffer the same in-
fliction, I will simply state that we bore four day* of this life (I)
with exemplary patience, and then got on board our steamer,
" The Golden Gate," one of the finest and most comfortable
floating hotels in the world.
It woro wrong iu me, did I neglect to mention the extreme
kindness and urbanity of Mr. Perry, the British Consul, a gen-
tleman whose goodness to the afflicted of all nations is pro-
verbial, and whose great hospitality to myself I shall never
forget.
One strange place, not far from the city, I must describe, as I
have met with no account of it in any work of travels, and its
singularity much surprised me ; it was the Canipo Santo, or
burial ground, cemetery, or whatever else you please to call it —
it looked to me like a gigantic bakehouse, with orcus enough to
bake for all creation. In these ovens are deposited the bodies
of the departed, the oven door is then closed and cemented
closely, and, during a year, the friends and mourners deposit
their little pledges of affectiouate remembrance at the door,
upon which is chalked, or painted, the name, 4c, &c, of the
deceased; but, when Alt Saints' day arrives, these mortal re-
mains are exhumed, and burned to ashes in the towers that
stand at the corners of the cemetery. When this was first told
me, I could scarcely believe it; but the remains of partly cal-
cined bones, and a perfectly formed pelvis, and half-consumed
skull or two (loft, pussibly, in consequence of tho fuel running
short), gave evidence of its truth. It was not a pleasant sight,
and it gave you a disagreeable impression, upon reading an
affectionate inscription to " Dolores de , aged seventeen,"
to think that, in a few short months, the remains of her delicate
frame would be rudely burnt with dozens of others, and their
half-couaumud remains left as a banquet for the obscene buzzard.
Hurrah ! a gun, the steamer has arrived, to-morrow we shall be
freed from this dull place, and soon shall revel in the charms Of
El Dorado, and be agaiu, liko the little ones, " on Tom Tidier*,
ground picking up gold and silver."
(To he coutinvtd.)
JUM.IEN AT WORCESTER.
(From Srrroict't H'orcttttr Journal.)
Tnit concert given by M. Jullicn on Friday night, not-
withstanding the rain, was a bumper; there was hardly a
seat vacant in the room, and the " promenade," aa it was called,
was a decided misnomer, the occupants of that part of tho room
thus designated being packed so closely together as to preclude
tho possibility of motion in the most limited degree, .lullian,
in fact, is popu'ar wherever he goes, because he caters for the
taste of the many. The concert of Friday night was one to
which " Jullien tho Great" was wont to treat bis audiences in
! his early career. He has provided himself with a band of
i musicians of undoubted talent ; and when there was a piece of
really good music placed before them — such as the Leonora
overture, or the andante from the Surprise symphony, both of
which were introduced iu the course of the evening, they
showed that they were thorough masters, and conld do justice
to such classical compositions as well as they could fiddle
a polka or a galop. Two violin solos were played by
M. Remenyi, who, we notice, has been described by a con-
temporary iu a neighbouring city aa a conjuror — a professor
of sleight-of-hand — au acrobat, of* marvellous trick and quaint
contortion — an athlete of stupendous toitn do force f and for his
fiddlo, it was his accomplice, his confederate, his bogie, bis Ariel,
his yellow dwarf ;— it piped, it sang, it whistled, it screamed, it
laughed, it sighed and groaned, it chirped and crowed, and
yelped, and snarled, and howled, until the audience fairly
laughed and wondered. M. Remenyi certainly did, on Friday
evening, display some curious effects on hi* pliant instrument,
and got hearty applause and an encore for his performances.
Encores were, indeed, too much the order of tho evening; the
audience, probably, being in some degree influenced by the
sound of rain heard in the interval between the pieces, which it
required resolution to face. The vocalists of tho evening were
Miss Ixiuisa Vinning and a Miss Ranoe. The former is well
known to the Worcester musical public, and the reception «he
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May 8, 1858.]
THE MUSICAL WORLD.
met with at once showed her to be a favorite. The high opinion
of her talents, which we have expressed on former occasions,
was more than confirmed on Friday evening : her singing of the
touching old melody of "Home, sweet home," and the arch
delivery of another old acquaintance, " Com in* thro' the rye,"
i in the best taste.
Paris — (From our Corretpondent). — M. Hector Berlioz has
been engaged, by M. Bcuazet, to direct the grand musical fttt
to be given at Baden, on the 14th of next August.
Franz Liszt has just been solemnly received into the brother-
hood of the Order of St. Francois d' Assises, at Pesth. Mass
was celebrated on the occasion at twelve o'clock, in the church
of the Franciscan fathers, and then Becker's vocal mass was
executed by the members of a vocal association, and other,
admirers of Liav.t. At the conclusion of the mass, all present
Sroceeded to the refectory, where, after Liszt had entered,
ecorated with the Portuguese Order of Christ, and taken the
place of honour reserved for him, a prayer was pronounced. A
priest of the order having handed Liszt the certificate of his
reception, sent from the Father Provincial of Presburg, then
made a Latin speech, speaking of the new member's great
merits, both as an artist and as a man. After several addresses,
pronounced by various dignitaries of the church, by Baron von
Angusa, Vice-President of the Government of Buda, tic., the
ceremony was followed by a dinner.— This is all very well ; but
wo want to know what the piano has to do with the order of
the Franciscan fathers: is it the eternal story of the dog of
Alcibiades over again 1
M. Bubinstein has just received the diploma of honorary
member of the Conservatory of Prague. He was also invited,
at the same time, to be present at the /ties which will take place
there in June, to celebrate the fifteenth anniversary of the
foundation of the School of Music.
Sivori is engaged for the concerts of the SocietS des Beaux-
Arts, at Litgo, of the Concourt Agricole, at Niort, and of the
SoeiSte Pbilbarmonique, at Nantes.
Leipsic. — A correspondent, writing from Leipsic, says : — "This
winter we have beard successively, Mad. Goldschmidt (Jenny
Lind), and Mad. Viardot Garcia, at the Gewandhaus Concerts.
At present, during our celebrated annual fair, Mad. Viardot
Garcia i* at the Stadt Theatre, where she is singing with uniform
■access in 11 Barb'ire, 1a Prophite, La Sonnainbuia, A:orma,
and Don Juan. She was, at first, engaged for four nights only ;
but as, when she sings, the theatre is full, at double prices, and
nearly smpty when she does not, the management eagerly offered
her an engagement for four nights more. We read, however,
in the columns of the Leiptiger TugtUatl : —
" It is reported that Mad. Viardot Garcia intend) quitting Leipsic.
The manager. Ilcrr Wining, would certainly merit the gratitude of the
public, if he could secure, for s longer period, the »«rriees of this lady,
who indisputably occupies at the pre-ent dsy the fir»t place among all
the sixers we Imow.—Ssaerai Friend, of tit Mutual Art."
The Leipsic AUgememtint Theater- C/ironii says :—
" Mad. Viardot Garcia, whose tinging bad already delimited us at
the Gewandhaus Concerts, bat just commenced n series of performances
at the theatre with the part of Rnsina, in It BarbUre. All that we
can possibly imagine in the art of singing, united with the highest
intelligence, and the most poetic sentiment, can alone produce a BoatPS
like that of this celebrated and ererywhere popular srtist. It is so
heaTouly and divine a creation, that we feel inclined to believe in the
existence of some musical planet beside* our own, which despatches
sow and then one of its most trusty messengers to keep us always on
the alert in our aspirations towards the ideal. Wo cannot think of
dismembering, by sn anslvis, so perfect and uniform a whole ; it
would be endeavouring to divide tho light of the snn because it falls
on a thousand different objects. All present bad but one opinion, and
inocssant applause resounded through the house until the conclusion
of the performance."
About Mad. Viardot's Fidu the same journal remarks :—
i We, of course, expected that this part would occupy s brilliant
place by the side of the other ; but that it wss possible to place on
the same supreme artistic elevation two characters so opposite, wss
something we could not suppose, and vet the thine has been eceom-
piifhod. Just a« in Hoxina, »e beheld all the grace snd charm all the
vernal magnificence which eternsllj decks out youth ; so, in FiJn, w«
penetrate the recesses cf an sfflictrd mother's l*srt ; we hear the
accents of her grief, with all the different nidations of hope snd
sorrows. In the first instance, we have the day radiant with sunshine;
in the second, the night, dark and terrible: and both are creations of
the same source of sacred art. After this, doubt is st sn end : there
is no longer sny room for aught but astonishment and admiration."
Again, with reference to La Sonnambula, the ThtatrfChronik
" How far does the chsrm, or, we should rsther asy, the magic of
onr cherished guest extend ? We hare again seen this, by her incom-
parable crcatiou of Auiina. The bouse wai crowded to overflowing,
the audience testifying their delight by their looks, their silence, and
their shouts. We must remark, too, thia same theatre contains, during
tin. principal week of our grand fair, an assemblage ol all the nations
snd all tho languages of the old and new world. The East and the
West saluted, at the same time, the elevation of Ibis snn of art. How
much does this say, when we reflect on tbo poverty of the subject, drawn
out into a long and meagre series of airs and duets. It ia, therefore,
art, ye singers of both sexes, this art which develoj.es the tiniest g< rtn,
until it blossoms out into a marvellous flower. Inflamed by the rays
from the sun of our fsir guest, Hert Eron (EWuio) ssng with a ('
of witrmth which agreeably surprised us."
Thus, it will be seen, that Leipsic is not behind
in its appreciation of Mad. Malibran s sister.
Wibniawski and Rubinstein.— At their
M 11 Wieniawski aud Rubinstein produced a strong Impression.
Most of the leading papers, however, cerwure them on this occa-
sion. " M. Wicuiawski's how," says the Revuett Gazette Muticale,
" docs not always bite the string suflicicntly, and tbe sound
sometimes needs a little more force nnd roundness. In the grand
sonata by Beethoven, dedicated to Kreutzer, he skipped about
too much, aud glanced over the surface too much, without
leaning hard enough. Rubenatein la highly blameahle for exe-
cuting Weber's VonctrtttUci with such excessive rapidity as to
completely disfigure the physiognomy of this classical nnd
popular work. Moreover, we suspect him of having seduced
Henri Wieniawski into the same fault, by accompanying him In
the famous sonata which nil great pinnists and violinUta have
selected as their battle-field this year." Tbe Siidt in its turn
snys, " It strikes ns that the sole object of the violin is not to
prove that the word impotribU should be erased from the
dictionary ; it ought, in the first place, to please. But,
in such a multiplicity of feats of strength, sentiment die-
appears, and nothing is left of the artist but tbe skilful
man. Sometimes M. Wieniawski thinks fit to renounce hie
feats of agility, and bring out notes pure, full And correct
He then becomes once more a violinist of style and expression.
When he indulges in his daring playing, tbe string whistles nnd
groans, as if uttering cries of protestation and pain ; not an ear
but suffers by these brutal nnd reiterated attacks. His bow
seems to be epileptic ; the other evening, M. Wieniawski played
Beethoven's grand sonntn, dedicated to Kreutzer, much too pre-
cipitately, for the purpose of displaying, as usu.il, his dexterity.
At such a breakneck pace, all delicacy disappeared aa if carried
away by a whirlwind. We could no longer recognise tho com-
poser's thought, disfigured by this railroad movement. The
notes were drunk. M. Rubenstein, at the piano, strove to rival
the btnificiaire in speed ; and, as all this hurry belonged neither
to moderation or good taste, it was with difficulty we recognised
th* beautiful work thus treated. We have had sufficient proofs
of agility ; it is time for M. Wieniaweki to change his tactics, in
the interest of his reputation. He has qualities wherewith to
please. Let him leave off astonishing ns.' — Ouidt Mutieal.
Anecdote of Rossini. — A few days since, Rossini heard under
his window an itinerant fiddler, scraping on a miserable instru-
ment, one of thu most beautiful airs from Guillaume Till. " Who
is tho wretch who is torturing our ears thus ?" "A blind man,"
was the reply. "I should have thought he was deaf," said
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296
THE MUSICAL WORLD.
[May 8, 1858.
ROYAL PRINCESS'S THEATRE.
UNDER TUB MANAGEMENT OF MR. CHARLES KF.AN
QN Monday, Wednesday, Friday, and Saturday, MUSIC
HATH CHARMS, KING LEAR, v.. I SAMUEL IS SEARCH OF
Tuc»lay and Thar* 'ay. TUK STOCK EXCHANGE; or. TIw Own
FaUST AND MARGUERITE, and SAMUEL IN SEARCH OF
ROYAL OLYMPIC THEATRE— On Saturday evening
next, May 9, the performance will commence with the new conwIMU,
next. May S, tb» norformwoo <
A DOC BT FCL VICTORY After « blch a new tor
To oonclud. with HOOTS AT THE SWAN.
roroodWtta,
uUodTICKLIBH TK~
• at balf-pait
THEATRE ROYAL, A DELPHI. — On Saturday
• vritlDir. Mat 9. the performance will commence wlUi GUY MANNERINU
To conclude with the eerond act of the „t«ii<! .rleM.-U •fKcAaciibr ojwiatic dram*
called the CALIPH <>F HAGDAI-
GREAT NATIONAL STANDARD THEATRE
SlIOREDlTCn — ProprieU*-, Mr J oil a DncoiaM.
NOTICE.— Return of Mr. Phelpe, wbo baa rec vered from hi. lalo aevero bidi*-
poelllon, and will appear every ••enlog [during the week, eui ported by Mlat
Alkln-ou. Mr*. R Honner. Mr Robinai o. Mr Jamea Johnatona. Mr,F Norton.
Mr John Monlnuut, Mr B'gwond, Mr. H. lewia, Mia* O. Terry, and the beat
coniiiaxiy in Lou'loD On MoihUt, to commence with HAMLET. Hamlet,
Mr. PbeW On Toceday and Th..r»day. THE MAN OF THE WORLD. Sir
IV.tln**, Mr Pbclp.. Ou We lnead .y. THE STRANGER Btrunscr, Mr. Fua.'pa
On Frl.toy. to commence with THE WIFE Julian St. Pierre. Mr Fbdpe On
Eaturtny. a Phiy. In which Mr. Fhelpa wdl perform. To conclude each evening
with a ppular Burfatte, lutrnlucSuj the Female EthiopUu Serenadm. No
ajTance In the prtoea.
TO CORRESPONDENTS.
H. A.— (Kingsland). — The tong ha* been consigned to the proper
quarter, and will receive early attention.
E. S. — We never heard of the lady. Our corretpondent had
better refer to the Musical Directory of Rudall ana Carte.
E. H. F. — 7 he criticism ought to be printed in capital*. TTe hare
inserted it gratis. The writer thould be furnithed with a
golden bearcl and a box of " italics" :—
Birmingham. — On Tuesday evening last the new orntorioi
Judith, composed by Mr. Henry Leslie for the coming Festival
was put in rehearsal fay the Amateur Harmonic Association
In spite of the drawback of a reading at sight, the most
prominent beauties of the music were brought out in a clear
manner by the ladies and gentlemen of the Association, and we
venture to argue for the work a reception that will induce Mr.
Leslie to go ou in this, the highest branch of composition.
Judith is short, but contains examples of powerfully dramatic
and pathetic writing. In the interval an opportunity was
taken to present to the conductor, Mr. A. J. Sutton, a purse of
25 sovereigns, contributed by the members of the Association, as
a testimony of their regard, and on the occasion of his marriage,
J. O. Mason, Esq, president, made the presentation, and Mr.
Sutton expressed his obligations to the ladies and gentlemen
under his charge for their
Birmingham Daily Pre**.
THE MUSICAL WORLD.
LOSDON, 8ATCRHAY, Mar 8tii, 1868.
Toe French insist that England is not a musical nation,
and ground tbeir argument upon the fact that we have
no national opera. True, with such means as wo have at
hand, our national music is unaccountably neglected*. There
is, however, some reason for the neglect. The opera with
ns is not of paramount consideration. The oratorios of
Handel and Mendelssohn, the symphonies of tho great
masters, and other such works, hold a higher place
in our esteem. Because wo prefer an epic poem
to a melodrama, or an ode to a farce, it does
not follow that we are indifferent to poetry. The reproach,
that England is not a musical nation, loses all force when
we remember that it proceeds from a people who are com-
paratively ignorant both of Handel and Mendelssohn. No
foreigner, dwelling in London for a short period, would
subscribe to it. The truth is, not that we are not a musical
nation, but that music with us has gained so powerful an
ascendancy over tho other arts, as to have become the only
real amusement of the people. Music may be likened to
rain. Gentle Bhowers are grateful and refreshing ; heavy
falls promote vegetation, and bring forth good fruits ; even
inundations are salutary ; but a deluge destroys. The spread
of music within a few years, in London, has been astonish-
ing. In every district large saloons have been constructed,
which vie with the finest metropolitan music rooms or pro-
vincial hulls. Canterbury Hall, Weston's Hall, Winchester
Hall, Raglim Hall, Jcc, are a few among the many that
dazzle the eye, and provide good music for the million.
Music, however, is not restricted to such localities,
but has crept into every place of amusement. The
Polytechnic, that temple of indoctrination, in which
learning aud science for so long a time found their
and scowled at tho softer amenities of social
tion, hits been forced to summon music to its assistance, and
concerts and lectures on music are now among its staple
attractions. The Colosseum, too, has been compelled to
resort to tho aid of music and musical readings. The
Panopticon, after modulating through nearly all the keys of
entertainment (that of preaching not excepted), at one time
settled into a concert-room, and, though now for a while the
arena for horses and tumblers, will, in all probability, resume
its musical performances. Tho Crystal Palace is little more
than a huge music hall, the statues, pictures, flowers, foun-
tains, and the various departments of arts and sciences,
being only collateral shows. There is scarcely an entertain-
ment in London where music is not a chief element oi
attraction. Mr. Albert Smith and Professor Wiljalba Frikell
would find their jokes and tricks hang fire, were they not
enlivened and helped out by a cornet or a piano. Nay,
wo have heard it whispered that Dr. Kohn and Dr. W. B.
Marston — having at length discovered that skeletons and
desiccated humau monsters were not such very enticing
objects — have come to tho determination of providing one
or two fiddlers to lighten the gravity of their lectures ; and
by-and-by wo may reckon upon hearing discourses on
anatomy and pathology accompanied by airs from La
Traviala or The Bohemian GirL
England not a musical nation I Why music is the atmo-
sphere of tho couutry. It is a fifth element, as indispensable
as the rest. It takes part in every business and relation of
life. Her Majesty cannot dispense with her band at dinner.
The civic dignitaries swallow their turtle aud champagne to
the "mellifluous breathings" of instruments and voices.
Grace is pronounced and toasts are drunk to appropriate
strains. A band of minstrels in every steam-boat waits on
the passengers who journey to Gravcsend or Richmond,
Margate or Rnmsgate. We cannot walk the Btreets with-
out having our ears assailed by selections from the last
new opera. Organ boys, German musicians, perambulating
flautists, itinerant performers on the hurdy-gurdy, eleemo-
synary sirens, and long-winded whistlers, meet us at every
turn, and by the success of their avocations incontestebly
prove the universal influence of sweet sounds. Whoever
sups without music has only himself to blame. Let him
repair to Paddy Green's, and be regaled simultaneously with
a chop and a madrigal. If ho prefers a pipe with music,
let him go to Canterbury Hall, or Weston's, or the Raglan,
where he may have his senses ravished, and his appetite
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May 8, 185a]
THE MUSICAL WORLD.
stimulated, by extracts from real bond fide Italian operas.
In fact, where can we go to amid music !
Music, iu short, is the chief amusement of the people.
It is closely intertwined with our way of life. We come
into the world with a " Hallelujah" chorus, and are laid in
our graves with a " Requiem." Laughing and crying are
the alpha and omega of our existence ; and what is laughter
but the music of our joy, and weeping but tho music of our
sorrow 1
When one wishes to stigmatize au enemy, or perchance a
friend, as a soulless wretch who has no feeling for tlie arts,
ono likens him to Lucius Mummius, surnamed Achaicus,
who, somewhat about the year B.C. 146, took and destroyed
Corinth. That illustrious connoisseur having possessed him-
self of the treasures of art, hi which the city of the isthmus
abounded, sold the choicest specimens to tho refined King of
Pergamus, and as for the rest, which he took with him to Italy,
he exacted securities from the masters of the vessels t< i whom
they were intrusted, that in ease any picture or statue was
lost or injured in the passage, it should be replaced by an
equivalent. One image was just as good as another in tho
eyes of honest Mummius, and if he had let all the Elgin
marbles slip through his lingers, he would have thought him-
self amply compensated by the presentation of one of those
fine collections of sculpture, that adorn so many front yards
in the New Road.
And yet this same Mummius, whoso name is irrevocably
bound up with the reminiscences of old Roman !>arbarism,
was not devoid of the organ of veneration. If he was no
judge of the intrinsic value of statues, he abstained from
all those that had been consecrated to religious uses.
Contrary to the practico common among the other generals
of the Republic, he honoured the creed of the Greeks, and
even dedicated a brazen statue of Jupiter at Olympia, sur-
rounding the shrine with gilded bucklers of brass. The fact
is, although Lucius Mummius was a remarkably ignorant
person, he meant well , and moreover, he was good-natured
even ' to a fault Associated with Cornelius Scipio in the
censorship, ho proved so exceedingly easy in the discharge of
his duties, that Scipio, on laying down office, declared that
he should have performed his functions well had ho been paired
with a different colleague, or with none at all.
Now, if through some sort of palingenesis, this stupid,
easy, good-natured Mummius had been strolling through
Paris the* other day, he would possibly have seen a sale that
would ha"vo reminded him of his freaks at Corinth. A choice
collection of linen, gloves, head-dresses, theatrical costumes,
article* of verlu, would have been displayed before his dull
eyes, and if he had not understood the real nature of the pro-
ceedings he would have thought the purchasers at high prices
as great fools as his old customer the King of Pergamus.
But if he had been informed that the several articles had
belonged to a divine being called Rachel, and tliat many of
them were votive offerings presented to her by illustrious
devotees, what, in that case, would Lucius Mummius have
done ' How would ho have acted if he had been acquainted
with the wretched facts thus recorded by a contemporary.
" Relics of Racbbx.— At the sale of the offsets of tho late Mdlle.
Rachel, which fetched very low pricei, almost all the linen, handker-
chiefs, glove*, head-dresses, 4c. of the great tragedian were purchased
by dealers in eecon<l-band articles. Among the porcelain, a breakfast
cup and saucer, which had belonged to Mdlle. Clairon, were sold for
ISOf. t a malachite box of good lis* fetched 2,500f. , a watch in metal,
curiously chased, made in 1574, and which belonged to the Empress
Elizabeth of Russia, was purchased by a member of the Russian Lega-
tion for 505f. ; two silver cupa presented to the deceased by the young
ladies of Moscow sold for l,200f.; a workbox presented to Mdlle.
Rachel while at Moscow by Prince OorUcliakoff, whose palace aba bad
accepted as a temporary residence, aold for 2,776f. Some of the
iiriiclra of jewellery were purchased by Baron de Rothschild, Baron
Sellirrs, Lord Hertford, the Princess Potocka, &c. An American
bought for about JSO.OOuf. A ring iu emerald and brilliants, presented
to Mdlle. Rachel by the Emperor Nicholas, was sold for l,620f. ; a
bracelet, wi:h the portrait of Mdlle. Mar*, by Mdme. de Mirbel, fetched
BOOT. | a bracelet given by the Qneen of England, 7,800f. [ two
brooches given by the Emperor Nicholas, 6,100f. and a,770f. ; two
diamond brooches, 43,700f. ; a diamond necklace, 21,800f. ; and a
brooch given by the Emperor Najioleon III., 2,870f. The theatrical
coetumei fctohed prices varying from 60f. to 4O0f. each."
How would he have acted ? Why he would have felt it
his bouudeu duty to come forward, and put a stop to the
filthy secularisation of holy things. He would at once
have bought up the entire stock, and at his own proper
cost he would have erected a statuo to the divine Rachel,
and have hung about the shrine the rescued articles, after
making them undergo sundry ablutions to purify them
from the taint they had received from unworthy hands. For
Lucius Mummius, bad judge of art as he was, could dis-
tinguish the divine from the simply human.
And having achieved this pious work, he would have
added to his name a new cognomen, and would have called
himself Lucius Mummius Felix, having a better chum to
that high appellation than sundry individuals who own it by
right of birth.
It is rumoured that the proprietors of St. James's Hall
arc at lost contemplating such change in the new building
as may meet the deficiencies of which all the world has been
complaining. We sincerely hope this may be true, both for
the sake of music and that of the Company. At preterit
St. James's Hall is anything but a music-room, which, rfbee
it was intended for nothing else, is somewhat of an anomaly.
Madams Searvadt, better known to our readers as Wilhel-
mina Clause, will give her first Matinte Musical* at Willis's
Rooms, on Monday morning next.
Mi Ha Arabella Goddard's Soirkks.— At the last of Miss
Arabelln Goddard's concert* for chamber music, which excite
so general an interest, the following classical works were per-
formed :— 1. Sonata in E, for pianoforte and violin, by Mozart
(with Sainton) ; 2. Sonata in D major, by Hummel, for the
pianoforte alone ; 3. 1'rdudio e fuga, by J. 8. Bach, for piano-
forte alone ; 4. Sonata in A major, by Beethoven, for pianoforte
alone ; 5. Quartet in F minor, for pianoforte, with stringed in-
struments, by Mendelssohn (Sainton, Goffrie, Piatti). In truth,
a magnificent selection, such as has always been the case at
these interesting concerts ! We might take them as models !
When do we ever hear anything similar in Vienna ! The only
concerts for chamber music nre those given by Hellmeeberger.
Of these, the last two series included eleven evenings, with
thirty-nine different pieces. There was only one by Mozart
among them ! — .Wife n'itMr Musik-Zeitung.
Mr. Charles Salaman repeated his concert lecture on "Beet-
hoven and his Compositions," on Tuesday evening last, at h is
residence in Baker-street, Portmiui-square. It wss listened to,
with evident satisfaction, by a numerous and select audience of
musical connoisseurs. Mr. Sals man was assisted in his illustra-
tions by Messrs. Deichman and Lidel (violin and violoncello), and
by Miss Eliza Hughes, vocalist, pupil of Sir George Smart, At
the termination of the lecture, Mr. Salaman performed Beet-
hoven's trio for the pianoforte, violin and violoncello, in B flat,
Op. U7, supported by Messrs. Deichmann and Lidel. Mr.
Salaman has announced his intention of repeating his new con-
cert lecture on "Carl Maria Von Weber and his Works," at an
early date.
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THE MUSICAL WORLD.
[May 8, 1868.
HER MAJESTY'S THEATRE.
On Saturday, La Traviata waa given for the first time this
season, and with the usual success Mdlle. Piccolomini found
her admirer* as numerous as ever, though hardly so enthusiastic
as during the "extra season" — or seasons. Signor Giuglini
sang very finely, and was encored in the romanza, " Di niicl bol-
lentt spiriti." Signor Aldighieri was 110 improvement on Signer
Beneventano in the elder Germont, although ]»rbaj)a freer from
exaggeration.
After the opera a new ballet, or, more properly, ballel-diver-
tittement was produced, under the title of fletir-det-C/tampe, for
Mdlle. Pocchini. A Grand Ballet is now a myth, so we must
be content with its substitute. Fhur-det-Chumps is the title of
a village belle, who loves and is beloved, but who indulge* in
coquetry until she drives her lover to the brink of despair, and
is reformed by a vision. The story is not very clear, but the
changes are effective. The daucing of Mdlle. Pocchini was con-
summate. Some of the stops she introduced were as original as
they were extraordinary, and one or two equalled the most
surprising we remember. Mdlle. rocchini achieved a far greater
■access than the ballet itself— which must be reckoned among
On Tuesday // Trovatore, with Mdlle. Titien* as _
her second impersonation in London— Alboni a* Azuceno— her
first appearance this year— Signor Giuglini as Manrico, attracted
the most crowded audience of the season. Her Majesty and a
large party occupied the royal box, Mdlle. Titiena achieved an
immense success, acting the part with unsurpassable energy and
feeling, and singing with astonishing brilliancy. Her employ-
ment of the high uotes — C, E flat and D flat— however, was
occasionally "de trop;" nor was her execution, notwithstand-
ing her superb voice, at all Mines marked by that fluency which
we are accustomed to look for in $e Italian school of vocalisa-
tion. Mdlle. Titicns, however, is German— not Italian ; and
those who accept her for what she is will not have to complain
of their bargain. ,
Signor Giuglini sang better than ever. His voice has gained
pc wwi since last year ; and ecrtaiuly the " Ah, che la roorte" was
given with greater force than on any former occasion. He was
encored in the romauza "Ah! si ben mio," one of his most
finished and admirable efforts.
Alboni was welcomed with enthusiastic cheers from all parts
of the house, which she received with a beam on her face, dispel-
ling the gloom of the terrible gipsy mother's aspect, as the sun the
night. Verdi's music is hardly congenial to Alboni ; she singB
it exquisitely, nevertheless, and endows it with a beauty it does
ot virtually possess. She acts, too, with intense and natural
A new barytone, Signor Mattioli, was announced for the
Count dl Luna, but conld not appear in consequence of a
"hoarseness," and Signor Aldighieri undertook the part.
Although encored in the popular "Tl Balen," this gentleman's
singing does not call for high prnise. Signor Vialetti waa
t errando.
The new ballet followed.
On Thursday, the Trovatore and Fteur-dei-Cftampi. The suc-
cess of Madlle Titicns was even greater than on the first night.
This evening, the ffuguenoti, ^hy desire " — does Her Majesty
prefer Valentine to Leouora I— with Fleur-det-Champt,
On Tuesday, Don Giovanni, with the following cast : Donna
Anna, Mdlle. Titiens; Zerlina, Mdlle. Piccolomini ; Elvira,
Mdlle. Ortolani ; Ottavio, Signor Giuglini ; Masetto, Signor
Aldighieri ; Coinmendatore, Signor Vialetti ; Leporello, 8k'nor
Belletti ; and Don Giovanni, Signor Beneventano.
London- Ixbtitutiox.— On Thursday evening Professor Ben-
nett gave the last of a aeries of four highly instructive and enter-
taining lecture* at tbia institution. The lectures were devoted
to the following subject* :— No. 1. "On the State of Music in
English Private Society." No. 2. » On the Visit* of Illustrious
i oreign Muaiaans to England." No. 3. " The Vocal Music of
England No. 4. " On the Future Prospects of England as
a Mujueal Nation." On each orcaaion nearly 1,000 persons
NEW PHILHARMONIC SOCIETY.
The second concert took place on Monday evening, in St.
James's Hall. The programme was a good one, and not the leas
interesting from the fact of the first part being entirely devoted
to Mozart, after the example set by M. Jullien.
MBI t
Overture — " ZauberflStu " ... ... ... ... Mozart.
Aria— "Pat-to mio ben" — Mi-» Louis* Pyne ... Mozart.
Concerto, in D major (So. 20) — pianoforte, Signor
... Mozurt.
Aria— '• Ycrfrai carino"— Mis» Louiaa Pjr.e ... Mozart.;
Symphony in E flat Mozart. '
rm it.
OrefiOffr— "Curiolam;*" Dccthoten.
Air, witii tariationa— " Sal niargiue d'uu rio"— Madame
Lewmena Sherrington Mozart.
Solo, pianoforte— Si^uor Andreula.
Scena— " Premli per me " — Mud. Lemniem Sherrington D* Beriot.
Overturo-(Ruler of the Spirit*) Wcb.-r.
Conductor — Dr. Wylde.
The overture and the symphony were both played with great
spirit and precision. Dr. Wylde took the times with classical
correctness, neither too quick nor too slow, thus avoiding both
rocks on winch conductors' batons so often split. It was a good
idea to make tho Moznrt selection begin and end in the same
key. Everyone knows that tho overture to Die ZauberflSU la
in E flat ; nor is it necessary to remind anybody that the E flat
symphony, is equally in E flat.
The concerto of Mozart is not suited to Signor Andrcoli's
stylo of playing, which is as frigid and monotonous as it is neat.
Such music should never bo attempted by any performer whose
heart is not with it. The slow movement was delivered, from
beginning to end, without one atom of expression. Neverthe-
less, the audience were pleased, and the pianist was applauded.
The concerto in D, though not one of Mozart's finest, is
still so fine, that Signor Andreoli most be thanked for intro-
ducing it to the public. We can but regret that he did not pre-
sent his protegi with greater etithusaism.
Miss Louisa Pyne sung both her songs with the highest
aitistio finish ; and in "Parto " enjoyed the advantage of the
admirable clarionet-playing of Mr. Lazarus. We wiah.liowever,
that our accomplished English singer would have set a better
example, by declining to accept the very partial encore bestowed
upon " Vedrai carino."
In the second part, the overture to Corialamu was first
played. It is, assuredly, Beethoven's grtattit. The clever man-
ner in which Madame Lemmena Sherrington executed some
variations ou "Sul margine d'un rio," would have been entitled
to still greater praise, had she not dignified them with the name
of " Mozart." That Mozart could have had no hand in snch a
concoction, Dr. Wylde must have known very well. We can there-
fore only conclude, that he had not secu the programme in
manuscript.
Signor Andreoli'* second performance was the Dans* a*«>
SylpAe*, by the late Signor Fumagalli, a niece of unmitigated
nonsense. How Dr. Wylde was persuaded to sanction such a
display, is rather difficult to explain. Perhaps he wished, like
Satan, to tempt his audience. If so, ho succeeded better than
the arch-fiend— for his audicneo applauded nud recalled 8ignor
Andreoli so heartily, that we could scarcely believe our cars.
Surely— wo thought— this is not the " New Philharmonic !"
One or two more such exhibitions, and the concerts of Dr.
Wylde— so far n* the "classics" are concerned— will be con-
demned to tho JnJex El purgalorium.
Signor Bos rrri.— The talented cltef-d'vrcJiettrto! Her Majesty'*
Theatre haa arrived in London, and will preside for the first
tinio this season, on Tuesday next, at the performance of Don
('Wranni.
M. Hamotb is not coming.
Heiir Jean Joseph Bott, the favourite pupil of Spohr, has
arrived in London for the season. He will perform at the third
Philharmonic concert, on Monday evening, one of the violin coo-
eortos of his illustrious r
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May 8, 1858.]
THE MUSICAL WORLD.
299
AMATEUR MUSICAL SOCIETY.
Tde sixth concert took place ou Monday evening, and judging
from the crowded and fashionable aaaeiubly, the amateurs may
be supposed to be in flourishing circumstances. The selection,
though excellent, was much too long, and consequently more
than naif the audience left the room before the commencement
of Auber's overture. This was injudicious. It is far belter to
send people away wishing for more, than to tire them with
superfluous abundance. The programme was as follows :—
Par? I. — Symphony, No. 2, in I) — Mozart i Aria, " DslUi sua pace,"
Mr. Tennant — Mozart; Overture (Senrirsmide) — Mffjofj Csrstina,
" Nobil donna," Miss Corel I i Gibb — Meyerbeer ; Septet — pianoforte,
violin, viols, violoncello, double ban, oboo, end horn — Mr. S. W.
Waley, Mr. D'Egrille, Mr. Davis Cooper, Mr. Dobre:-. Rev. Dr.
Bowifen, Mr. Pape, end Mr. Msnn— Fetes.
Part 11.— Movements from " Weeper Awakened"— G. A. Mocfsrren ;
Irish ballad. "Norsh, darling," Mr. Tennant-Balfe , Jacobite song,
n.'j-Miss Corelli Gibb; Overture (Masaniello)-
The symphony went capitally, and more than usual attcution
was given to the piano* and forte*. We must congratulate the
band upon this performance, which showed decided improve-
ment. Indeed, all the pieces played on Monday were unusually
successful.
The septet of Fesca, a dreary specimen of chamber-music,
though occasional I y relieved by scraps of genuine melody, was
a creditable performance, and created considerable interest.
For some unexplained reason, Mr. Pollock was absent from his
post, and Mr. Papo (clarionet) supplied his place.
The vocal music was good. Mr. Tennant honorably distin-
guished himself in Mozart's aria. Miss Corrclli Oibb might do
better, with so fine a voice.
VOCAL ASSOCIATION.
Tat third concert was given on Friday evening, last week.
On this occasion Mr. Benedict dispensed with an orchestra, but
commenced, nevertheless, with Mendelssohn's Otutto, very finely
executed by eight accomplished players, with Mr. H. Blagrove
leading, but not heard as distinctly as might have been desired
bv the admirers of Mendelssohn. The choir was assisted by the
Vocal Union, and sang several glees and part-songs, among
which the most favorably received was Mr. Benedict s Wreath,
a roost graceful and effective composition. Madame Castellan,
Mdlle. Finoli, Miss Messeut, and Mr. Tennant were the
vocalists.
The novelty of the evening was the violin performance of
Mdlle. Oabriele Wendbeim, a young lady who, whatever may
be her capabilities, is ill-advised to exhibit them in public at
present, since, in the mechanical part of her art, she has almost
everything to learn.
HERR ERNST PAUER'S SOIREES.
Thx first of these took place on Wednesday night, at the
Hanover-square Rooms, before a numerous and intelligent au-
Herr Fauer is an admirable pianist, and his taste lies
exclusively in the domain of classical art. The first piece in his
programme was Beethoven's violin sonata in C minor, which
was very finely executed by himself nnd Hen- Joseph Joachim,
the exotic " lion " of the season. After a very clever song by
M. Gounod (cantiqui), very cleverly sung by Mr Santley, the
audience were treated to a quasi-novelty — Haydn's charming
trio in O. This was capitally performed by Herr Pauer, Hen-
Joachim, and Sig. Piatti, and the audience were so much delighted
that they encored the last movement — a rondo formed on a subject
in the Hungarian style of melody. Ono of Bach's pedal-fugues,
and solos by Liszt and himself, were also contributed by Herr
Pauer, who also took pait with Herr Joachim and Sig. Piatti
in Schumann's D minor trio, a work more dry and laborious
than musically beautiful, nerr Joachim plaved Tartini's TriUo
4d Diavolo with wonderful taste and dextenty, and was unani-
mously re called. Among the vocal pieces were two songs by
Schubert, and a u Miserere" by Martini, all of which were
sung with artistic expression by Mad.Pauer, wife of the concert-
Siver. There was also a duet from Semiramidt. which was
ardly suited to the occasion, and in which Mad. Pauer and
Mr. Santley were less at home than in the other pieces. The
' was first-rate of its class.
SACRED HARMONIC SOCIETY.
Till performance of Mendelssohn's music to Athalie, and
Rossini's Stabat Mater, in conjunction, attracted one of the largest
audiences we have seen at Exeter Hall. These two works
together, so different in style nnd yet both so masterly, now con-
stitute one of the most attractive entertainments of the Sacred
Harmonic 8ociety. The performance of Athalie on Wednesday
eveuiug was not perfect, though occasionally very grand — the
overture and march of the Levites, for instance, being
magnificently played. The solo singers were, Madame Clara
Novello. Miss F. Rowland, and Miss Dolby. In the Stabat
Mater the principal singers were, Madame Clara Novello, Miss
Dolby, Mr. Sims Reeves, and Mr. Weiss. Mr. Reeves, in
obedience to the vociferous demand of the audience, was com-
pelled to repeat the air, "Cnjus Animam," which he sang superbly.
Generally speaking, the execution of Rossini's work left as much
to be desired as that of Mendelssohn's. As, however, both
works are to be repeated next Friday, we shall consider the
first performance as a " full rehearsal," and postpone further
remarks until the uext.
_ — - —
Mr. Arthur O'Lxart's Concxht, — A very interesting per-
formance of classical pianoforte music was given at the Beet-
hoven Rooms, Harley-atreet, on Thursday morning, the 28th
ult., by Mr. Arthur O'Leary, the pianist. This young virtuoto
was a student in the Royal Acadetuv, under Professor Bennett
for the pianoforte, and Mr. Cipriani Potter for composition. He
reflects credit on hi* masters, exhibiting decided talent both in
composition and in playing. The programme included a variety
of classical nwroeaus, which it is not lu-eussary to specify in detail
Beethoven's sonata in F,Op. 24, for pianoforte and violin.in which
Mr. O'Leary enjoyed the invaluable co-operation of Herr Molique,
pleases universally. Professor Bennett's exquisite Hondo a la
Polonaise, the first time it was performed in public, was exceed-
ingly well played, and much applauded. Mr. O'Leary also took
part in Hummel'* trio in E flat, with Herr Molique and
Mr. Aylward, besides performing some selections from Schu-
mann, with Mr. Cipriani Potter, an Andante eon moto (Op. 2)
o( his own, and Bach's Chromatin Fantatia and Fugue. Herr
Molique executed two of his own " melodies," (pianoforte
accompaniment} with admirable effect. Miss White sang the
air, '' Und ob die Wolke," from Der FreitcKiitt, accompanied on
the violoncello by Mr. Aylward, and the Irish song, "'t he harp
that once through Tara's halls," and was encored in the last.
The concert was under distinguished patronage.
Mb. Altrxd Carder's Cokckrt took place on Monday
evening, at the Beaumont Institution. The vocalists were
Madame Sherrington Lemmens, Miss Banks, Mr. Thomas, and
Herr Reichardt ; the instrumentalists, Mr. W. Pettit (violon-
cello), and Mr. Carder (pianoforte). The London Polyhymnian
Choir also assisted, and sang several part-songs exceedingly
weH, including a clever six-itart song, by Mr. Carder, entitled
"Woman's eyes." Mr. Carder, among other pieces, played an
andante, with variations, for piano and violoncello, with
Mr. Pettit, in a musiciauly manner, and was deservedly ap-
plauded. Madame J^minen* sang the aria from the Messiah,
"Rejoice greatly," and with Herr Reichardt, "Hannah, why
weepest," from Mr. Costa's Eli. Miss Banks was encored in
Bishop's "Tell me, my heart," and Mr. Thomas, in " The exile's
farewell," * composition of Mr. Carder's. Herr Reichardt, who
was received with great favour, sang " If with all your hearts,"
(Elijah), and, in German, a lied of his own composition, " Thou
art so near, and yet so far " (Du bist mir nah' und doch so fern),
inwl ichhe was enthusiastically encored, when be repeated It
with equal effect in English. Mr. Alfred Carder (the btnifkiairt)
was the conductor, and acquitted himself most satisfactorily.
The room was well fillod.
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THE MUSICAL WORLD.
[May 8, 1858.
M. Charles Halle. — This (treat artist is to play Beethoven's
concerto in E flat, at the next Philharmonic concert.
A Third Italian Opera. — Drury Lone Theatre opens on
Monday evening, with the first of a series of Italian operas, at
play-house prices. The opera is to be // Trovatore. The fol-
lowing is tne list of the company : — Mcsdatnes Salviui, Dona-
telli, Fuinagalli, Belloni, Bernard i, Rudersdorff ; Signors Badinli,
De Qiorgi, and Kiuui ; and Messrs. Perreu and Charles
Brahatn.
Mr. H. J. Trust's Matin^kh. — The second of Mr. Trust's
harp performances, took place at his private rcaidonco. The
rooms were full, and the company select. The instrumental
pieces were — Overture for piano, violin, horn, and harp, by
Mademan, played by Miss Marie Salzraann, Messrs. Day, Manii.
and Trust ; Grand Trio, u L' Allinnce," for piauoforto, fluto, and
harp, by Bochsa — executants. Miss Maria Salzraann, Messrs.
Sidney Pratten and Trust ; Oberthur'a Trio, for two horns and
harp, by Messrs. H. and F. Jarrett and Trust ; Grand Duo, for
two harps, by the same composer, performed by himself and
Mr. Trust ; Duo for fluto and harp. L'ludie et Irlaiule, by
Tulon and Bochsa, admirably played by Messrs. Pratten and
Trust, and loudly applauded, besides solos by Miss Mario Salz-
niano and Mr. Trust All these performances gave the utmost
satisfaction, and Miss Marie Salzmann, niece and pupil of
Mr. Trust, exhibited decided talent for the pianoforte, and was
much applauded, especially in Mendelssohn's Fantasia. Mr.
Trust's performance of Parish Alvars' " Barcarole," was greatly
admired. The vocalists were, Miss Marian Prescott and
Mr. Lyall. These mutinies are first-rate of their kind.
Ba knsbi'Kt. — Miss Banks, Miss Palmer, Mr. Wilbye Cooper,
and Mr. Lawler, sung in n vocal performance of Handel's Mes-
siah, on Monday evening last, at Barnsbury Hall, Islington.
Mr. J. F. Cooper was the conductor, and accompanied the voices
in a clever manner. An efficient chorus, about fifty in number,
did themselves and their conductor much credit by thoir ener-
getic and careful |ierformance. The principal singers full v sus-
tained their high reputation.
\MV.m — {Fnm our Correspondent).— On Monday last, Mr.
Burton gave a concert in the Music Hall, when Spohr's List
Judgment and Beethoven's Mount of Olives were performed.
The band and chorus numbered about eighty ; and the principal
singers were Miss Whitham, Miss Freeman, Mr. Westmoreland,
and Mr. Hincbcliffe. Considering the shortcomings naturally
expected from the local soloists who undertook such difficult
music, both works were performed in a very creditable manner.
The attendance was thin. — The Brousil Family have given
several concerts during the week, in the Music Hall.— Oh dit,
that the Festival will take place on the 7th, 6th, 9th, and 10th
September, a fortnight before the meetings of the British Asso-
ciation. The morning performances will, in all probability, con-
sist of The Messiah, Mount of Olivet, Elijah, and Haydn's Seasons.
The guarantee fund now amounts to about X2,.r.i m i.
Bells and Sinoers. — Four o'clock in the morning. The deep
baas voice of Paul's, the Staudigl of bells, has growlingty pro-
claimed the fact. Bow Church confirms the information in a
respectable baritone. SU Clement's Danes has sung forth acqui-
escence with the well-known chest-note of his tenor voice. St.
Margaret's, Westminster, murmurs a confession of the soft
impeachment in a contralto rich as Alboni's in " Stride la
vampa;" and all around and about the pert bells of the new
churches, from evangelical Hackney to Fuseyite Pimlico, echo
the announcement in their shrill treble and soprano.- Welcome
Quest.
St. Martin's Hall.— Mr. Charles Dickens read his Christmas
story, " The Chimes," on Thursday evening, to an audienoe that
filled every part of St Martin's Hall. So great was tho crowd,
indeed, that scores were turned away from tho unreserved seats
and the galleries. In several instances, Mr. DickenR could not
proceed for the applause, and his greatest effects were certainly
created in tho serious parts of nis story. In order to bring
the "reading" within the compass of two hours a good
deal of the text has to be omitted, but nothing materially to
affect the story. On Thursday next Mr. Dickens will read his
"Christmas CaroL"
THE AMBROSIA N CHANT.
Tits Ambroaian chant derive! its name from its hating been employed
in the service of tho church by Ambrose, chosen Bishop of Milan in
374, on<l canonised after his death. This prelate sppears, however,
neither to have originated the form of chanting, nor even to have first
appropriated it to ecclesiastical purposes.
Some writers suppose that sn sntiphonul fur in of chanting prevailed
among the Jews from the earliest times ; this being inferred from the
description of Miriam and her maidens answering Moses and the child-
ren of Israel in the song of thanksgiving after the passago of the Bed
Sea, from the construction of several of the Psalms of David, and from
the description of the leeiting or chanting (very possibly of some other
of these, most likely of the 136th) St the laving of tho foundation-stone
of tho Temple of Solomon, ami again at the performance of the same
ceremony for tho second Temple ; and they srguo that such a manner
of reltearsing the Psalms being in use among the Jews, it wss con-
tinued, and the melodies they chanted were preserved by the early
Christians. Other* suppose that the music in use among the Greeks
was at once adopted in the church service by the first pagan converts
to Christianity, and they speculate that the narrative of the divine
passion, bcing'of a tragic character and of most deeply tragic interest,
may, at its habitual public recital, have been iutoned, or chanted, or
sunp, after tho same manner and to the same melodic cadences as the
tragedies of the Greek theatre. Others, again, pretend that the musi-
cal system was invented, if not by Ambrose himself, certainly by and
for the express use of the members of the Christian church ; and they
advance in support of this view of the subject, that Ambrose distin-
guished the four modes which only he employed, simply by the nume-
rical appellations of first, second, third, and fourth, and was followed in
this principle by Gregory, who extended his system, with respect to
tho four modes ho added to those of Ambrose, whereas the Greek titles
were first spplied to the ecclesiastical modes by Olareanus, who, so late
as tho sixteenth century, further extended their number to twelve, sn4
thus, so it is pretended, gate rise to the confused idea of their origin
that now prevails. One fact and one conjecture will, however, I think,
entirely refute this pretension : namely, the four modes of Ambrose are
identical with the Dorian, the Phrygian, the Lydian, and the Mixoly-
dian modes of the Greek system, as are the added four of Gregory with
those that are now known by the same names j and, since the succession
of intervals that constitute these modes are all of them arbitrary, arti-
ficial arrangements, wholly unfounded upon any harmonic, any natural
system, it is not for s moment to bo believed thst they could have 1
for a second time invented, especially at a period when they re
still in uso for the purpose of reciting Greek poetry, for which they
were originally designed. Such is the fact ; and my conjecture is, that
Ambrose dropped the Greek uame<, snd preferred his numerical dis-
tinctions (and Gregory followed his example), if not merely fur the
sake of greater facility of reference, perhaps in order to dissociate them,
so far as might be, from all ideas of heathenism ; whereas, in the time
of Glarcanua, the idea of the hesthenism of the Greeks listing in some
sort given place to that of their classic* lit v, this last-named reformer
of church music chose »o restore their original Greek names to the
ecclesiastical! mode», and, we may naturally believe, thought he would
give them dignity and respectability thereby. Ia further justification
of this consideration of the origin of the ecclesiastical modes may well
be urged, that the Latin hymn* of Prudentius, written for the catholic
church, are in Greek metres, the Alcmanic, the Alcaic, the Sapphic,
I'll ., and are thus shown to hare been produced with the intention that
they should be sung to the Greek music appropriate to such metres.
Whatever the origin of this system of music, Ambrose appears to
made himself master of it during his residence at Antioeh, where,
r the administration of Flavian, the bishop of thst Grook city, it
been long in use in the church, and wss in great esteem. Before
rose mode use of it in Milan. Basil hod tranxplanted it to his sec
ol CVsares, and Chrysostom to hi* of Constantinople, in which latter
place it was employod as a counter-attraction of the orthodox church
to the hymns of the Arians, which these heretics habitually chanted as
they passed in procession [through the public streets. Very shortly
after, if not coincident!/ with the introduction of this system of
chanting by Ambrose at Milan, it was also introduced by Pope Uamosus
at Rome, so that it is almost questionable whether Ambrose entirely
deserve* the credit of transplanting it from the eastern to the t
church.
The object of Ambrose for institoting at M
that bears hi* name, was the same as that of
Chrysostom at
of Anauism. It is stated
some writer*, that when his orthodox flock took; refuge in tho
arches against tho persecution of Justins, the empress-mother, their
tinople, to counteract the seduotire
by some I
churches i
Digitized by Google
May 8, 1858.]
THE MUSICAL WORLD.
301
bishop taught them to intone the psalms antiphonically to certain
melodic cadenoea (melodies, in our modern acceptation of the word,
they can scarcely be called) constructed upon tbc<e modea. Others
only state, but,* I behove, all agree, tbat this system of responsive
chanting to those special tones (or, as we should now say, tunes) being
established, it had the great effect which fa the aim of all music in
titnde together in one common omotion by one all-uniting chi
sympathy. Augustinus Aurclius, who had been converted to (
tianity by the preaching of Ambrose, thus, in his Confessions,
divine ier»ice, n»y, of every accessory to the act of devotion
the form of language employed in prayer— the effect of elevating the
feelings of tbe supplicant*, and kindling in their hearts such glowing
emotion* as we, in the present liny, experience when we hear and,
still more, when we participate in the competent performance of the
masterpieces of the lyric art. They who have proved the exalting
power of music, will instantly recognise the full extent of my mean-
ing ; they who have not, could never understand, from second-hand
description, tho more than human influence it possesses to bind a mul-
chain of
■ Chris-
. ad-
dresses his master as to the effect of thin music upen him.
" How many tenrs I have shed during the performance of thy hymns
and chants, keenly affected by the notes of thy melodious church !
My ear* drank up thee sounds, and they distilled into my heart a
sacred truth, and overflowed thence in pious emotion, and gushed forth
into tears, and I waa happy in them."
Tho samo pious writer proves that it was especially the musical
character of tho performance which produced this powerful impression
on his heart, by a comparison between the choral chanting instituted
by Ambro-e at Milan, and the monotonia rccitatiou practised under
the administration of Alhanasius:—
" Sometimes, from over jcalousy,I would entirelj put from me and from
the church the melodic* of the sweet chants which wc use in the psalter,
lest our ears seduce us; and (ho nay of Athanasius, Bishop of Alexandria,
seem* the safer ; who, as I bare often heard, made tho reader chant
with so slight a chango of note, that it was more liko speaking than
singing. And yet, when I cull to mind the tears I ehed when I heard
the cbanta of thy church in the infancy of my recovered faith, and
reflect tbat at this time I am affected, not by tho mere music, but by
the subject brought out as it is, by clear voices and appropriate t lines,
then, in turn, T confess how nieful i* the practice."
Exciting thus the participants in the performance, it may well be
believed that this, the highest style of music then known, with the
utmoit perfection of execution then posaiblc,re«ulting from t lie simplicity
of the melodies, and tho multitude and the genuine enthusiasm of the
singers, had also a powerful effect upon tho indifferent passers-by, and
even tho heretics, who casually heard it: an effect so powerful a* to
attract them to its dsily repetition, and thus to induce tbem to listcu
to the sacred teaching, while itself prepared their minds and hearts for
the reception of the lessons then promulgated.
We must now consider of what the music of the Ambrosiun chant
consisted. The diatonic genus, the simplest of the thrrc comprised in
the ancient Greek aystem, wa» the only one employed j and the reason
of this is obvious in organising a system of music for tho performance,
xrnt of a studied few, a* in thoOreek theatre, and in the solemnitie* of
the pagan priesthood, but of tho entire people. To define this in
modern terminology, it must be said to have consisted of the natural
note i belonging to our scale of C, wholly without inflection by sharps
or flats, save that, under certain circumstances, B flat waa used instead
of B natural (but never chromatically, that is, next before or after it),
according to the greater perfect system of the Greeks, instead ofoccord-
ing to their lf»*cr perfect system. The mode* of the Greek* were dis-
tingui*hed from each other by their various dominant and final mites,
tbe former of which was, not aa in present acceptance, the fifth of the
key, but the predominant note throughout tbe melody ; and the latter
being, of course, tbat upon which the melody closed. As any note in
the octachord might be employed aa a final, or, as we should now call
it, tonic or key-note, it will bo seen that tho scale of each mode had a
different distribution from the other*, of tho tones and semitone*.
These are tho four modes chosen by Ambrose, which were identical
with the first four of the Greek*:—
The Dorian of the Greek* (wliicb w*» tbe proto* or fir»t of Ambrose)
commenced upon our D, and 10 had it* temitone* between K and F.
and between B and C.
The Phrygian of the Greeks (the deutero* or second of Ambrose),
commencing upon our K, bad its semitones still between K and K, and
between B and C.
The Lydian of the Greek* (tho tritos or third of Ambrose), com-
mencing upon our F, had it* *cmitoue» between B and C, and between
And the Jlixolydian of th« Greeks (the tetartos or fourth ofAmbrote),
commencing upon our G. and having it* semitone* between B and C,
and between K and F.*
Writer* differ as to the name* of tho Phrygian and tho Lydian mode*,
tome reversing tho name* of those which are here given, others calling
the third the Eolisn instead of tho Lydian, but those here stated are,
according to tho majority of authorities, classical and ecclesiastical.
Another uncertainty prevail* as to the term moife, some writers using
that of tone to signify tho *am« thing, while other* employ this latter
word rather in our acceptation of tune — a melody, namely, written in
either one of (he mode*. The description here given applies rather to
the notation, and to tho relative distnnce of one to another, than to tho
positire pitch of the notes, for there is every reason to believe that tho
tones or chants constructed upon either one of tho four modes might
be, and continually was, sung higher or lower, according to the com-
pas* of the voices that intoned them at one time or another j or, in
modern terminology, were transposed into higher or lower keys.
* Under what circumstances the B flat of the greater perfect system
was employed, I can trace no rule to define; but the fact that this note,
and not B natural, is the original note of the German scale, and that
of the utmost universal prevalence of our keys of F and D minor in tho
first compositions that departed from the rigid severity of the eccle-
siastical canon, considered with referrnce to the greater perfect system
of the Greeks, which consisted of two octaves, cammencing upon our
A in tho first space of the bass clef, and had B flat for its second and
ninth notes, suggests that there may be some inaccuracy in this gene-
rally accepted description of the scales which I havo given, and that B
flat was tho received note, and thus B natural, if used at all, was entirely
exceptional in it* employment. If this conjecture be true, tbe situation
of the semitones in all the modes will differ accordingly.
(To be continued.)
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Digitized by Google
318
THE MUSICAL WORLD.
[May 15, 1858.
AURENTB MAU^^SR— The most popular vslse
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For ball an 1 iwir: droaiwa, ladic* shoul.l pun-haa* tbolr lupona at William
CarUr'a, 23, LuxLjate^tra-.t, where every new styl* an be obtained.
LADIES' VIGORNIA CRINOLINE, WATCH-
SPRING JUPON, MUSLIN AND STEEL PETTICOAT WAREHOUSE.
ad. ad.
Parbnaa Eugenia hoop *kclcton •kirta 4 « to .' j 0
Full alio Vlgombt ertn< line pstticosita 7 • ,. SI 0
Franco watch -*prlog muslin rupona • 9 ,, 1< 8
Addrcaa, WILLIAM CARTER, Si. Lutbrato-atrewt, two doors from St. Paul's, E C.
Kugraring* of the abov* fix*.
K EATING'S COUGH IX)ZENGES.— A good speech
or an oSeetlrc song cannot be gircn If th* rocal organs are In an imaound
condition, or a 'acted with h<«r*en*** or irritation. To remedy tho latter, and to
pr<luce umltviloua enunaiation, every public characler, whether oi the Bar. th*
Senate, or the Pulpit, ahootd hare at hand KuT1<oi Coroit Loxaaora, which ore
patrontaed by Ui* majotity i f th* Imperial Parliament, the Hooch, and the
trading member* of the Operatic Corp*. For affections of the Throat or Cheat,
and for WinUrOour.il, thoy are un&lllng. Prepared and Sold in boxen. 1* 1 jd .
and tin*, Sa M. e*<h, by THOMAS KEATING. Cliemist. Ac, 79, St. Pauls
Church yard. London. Retail by .11 Dmggist*.
GREY HAIR RESTORED TO ITS ORIGINAL
Ci ■LOUR.— Neuralgia, .Vorroua ne*daeli<-. Rbanmatlam, and Stifl Joint*
cnrcl l.r F. M. nBIl RING'S PATENT MAGNETIC COMBS, HAIR AND FLESH
BRUSHES. Thoy require no preparation, are alwaya ready for uao, and oannot
get out of order. Braaliee, 10a. and Isa. ; Comb* from 2* Cd. to SO*. Grey hair
and bra.Uu - prcre-utea 1 y F. M. Ii a I'atrnt Provcntiae llruih, price t*. and .'■».
Ofltoea, 33, ileal D^haJlatrawt, London. IUuatratol painphleta "Why Hair
becomes Grer, aud It* Remedy," gratia, or by post for four aUmro. Sold by all
cbemiat* and perfumers of repute. a
THE TWENTY-FOURTH ANNUAL REPORT of
the Directors of tlio MUTL'AL LIFE ASSURANCE SOCIETT, together
with th* Ca » AccxH-ar and Balakcs Saarr mr the year 1867. showing tbcatato
In Oi\nt Brlualn.
CHARLES INGALI*, I
Mctvai. Lift Awn-RxKci Omocn,
Dir. Kin,; Street, Cheapaiila, London. E. C.
rpilE IMPROVED HARMONIUM. — Mr. W. E.
X BVANS, Inventor of the Rngll*h Harmonium (oxhlbitol In London In 1M4X
calls sttcntlon t» th* improvameiit* he h*a lately mail* In thi* instmment. Tho
•mjxne-t lattlmouial from Mr. Alfred Mellon is ooo of the many be ha* received
friii eminent professor* :—
Tm Vat* Kisu's Roan,
March l»th, Itlt
In cirlng you my opinion i
of the kind I have ercr hoard.
To
D«*» Stjt,-! have much
Muiuu; It » th. beat iiurtm
To Mr. W. E. Evans,
Digitized by Google
May 8, 1868.] THE MUSICAL WORLD. 303
MESSRS. DUNCAN DAVISON & CO.'S PUBLICATIONS.
PIANOFORTE.
•. d.
■ BACHIANA," Select Piece* (Prelude* and Fupruen) from th« misceUaiicooj Pianoforte Works of Johv
In the " Clavier Inen temperc," or " 48 Pi eludes and Fugues "
No. 1.— FUOA SCHER7.ANDO in A minor, ax performed in public by Mia* Arabella Goddard
ELI9E, Komanoe, by K. A. UouiOX
BELLA FIGLIA ('Kigoletto) by JCLBA Ukisiac
" Amottrr the ro.iny pianoforte arrangemonte of rHigrvor Verdi* vi
i't : .. i I. than thi* Tl"n- ; '"'i [" I <. . it * arc l.i:n rcted, wlil!« t lit
dUBctuly, sttiactivo In ujotv k-us.* than one * — a/ssice/ Worii
QUANDO LE SERE (Luisu Millor\ bv Jvua Riuksac
A SUMMER'S DAT,
l«llnt-.f^"kh".o has Terr cleverly h.fiuwl Into thl* cJmncs«lceV'^"r*ooI Jfoii
THREE LIEDEtl OHNE WORTE, by C. J. Hargitt 3 0
PAULINE, Nocturne, by G. A. Omorxe 3 0
LA JOYEUSE, Souvenir dc. Champa Ely^a, 0. McKobkua
In the Prtu.
PIANO SOLO.
CAPRICE ItOHEME, by R. LlTOlEV * 0
SUNSET GLOW, by EwaSTiL Agpilah ... ... ... ... ... ... ... ... ... ... 8 0
PIANO DUET.
DON PASQUALE. introducing the favourite Serenade, "Com' o gent'd," by Kicabix) Lij«t*h ... ... ... ... ... 6 0
MEYERBEER'S NEW VOCAL COMPOSITIONS.
THE LORD'S PItAYER, for four voice* (soprano, alto, tenor, and baa.) v.ith English and Latin text, organ ad lib., in score ... ... 3 0
Separate vocal parts to I lie above ... ... ... ... ... ... ... ,. ... ... each 0 G
"Wo have met with few devotional founts of late yum* rro rtdi.-nlatrd to become widely |»opulax. Tho mclndy U quite Handc'lic, and the l.nrmonios an'
arranged with tlic moat mas tarty skill ; while the subject, being one which Invokes no question of doculuul or sectarian difference, con.rr.cnd* itwif to nil
'who prof tea and call UMnuMtvtaChrlitl'iu*.'" — irtSreJ iff retry.
NEAR TO THEE (Nelicn Dir). for voicr, piano, and violimccllo.^Snno; hjr ETerr ReicUardt) ... 4 0
HERE, HERE ON THE MOUNTAIN KECLJNISU (Dc» Schaftr1* Lied), for voice, piano, and clarionet, or harmonium ... a 0
•„* Tie alote two to»fft are eminenUg ealculatttl fin- public concert t.
THIS MOUSE TO LOVE IS HOLT, Sircnadc for ci-rht voices (2 sopranos, 2 contraltos, 2 tenor*, and 2 basses), without accompaniment,
in vocal score. (Sung by Mr. Iti-m-dict's Vocal Association of 300 voice*) ... ... ... ... ... ... 3 B
8*parnte vocal parti to t;ie nb-ivc ... ... ... ... ... ... ... ... ... ... each 0 G
•■fclimcmilt.il.iii Engll-li version, by Jol.ii Ov.nlurd. Em., of M?y«rbocrs hymeneal serenade, "Tbis Home to Love Is boly.' It Is composed f.ir eight
to' cm, or. rather, lu eiijbt loxts. since eueh p»rl may bo strengthened by any number of voices.
"In orler to uttitin clearness, ho constitutes his two choirs of different materials one choir consists of ftmaU voices, first and aecood sojiranl, first and
accent aM ; i be other choir consist* of maU votes*, first sad second Urn n. fir-t and second basal The first v*r*c Is commenced by the male ctioir. and is
afbrward* taken up by tli* feroal* The «>n» musical subject Is Ihen divided Into phrases of two or three bars, and given to the choir* alu ivutely. Thirdly,
Utb chew* cotnbioe.
• -Wiille he epiaj the Old Master* lu tbo earrltm of tho voice*, In the purity of writini). and progression of the parts, he has imparted a charm of uiclndy
to which th«lr cadovi* and nuroes nevtr attained and has s.ldnt a richness of modulation which wsj, unknown to Iboro. We would | articulai ly instance
anabnirl uiMuUtieo. fro... U fist to A natural (enharmonic for double D fiat), and bark again to D flat. Th. EugUeh word* slso are fitungly weided to
the ramie."— I.reryoef Mail.
NEW VOCAL MUSIC.
a. d. I i. d.
" Tlic verv angels tveep, dear" (Trennung tmd Wiedcrvereinigrmp;), ; " Quick arias, Maiden mine," Air Styrien, by J. DlMaUIR ... 2 0
Song, by Mozast ■. 3 0 i "Lord hear os" (Dicn qoe ma voii), prayer, in F, from "La
*' Sweet little Jenny," Hutlad, by M. E5T)ltlUtK>m( 2 0 Juive," by HiLkVA' 2 0
* My Mary" ditto ' ditto 2 0 i " He will be here" (II va vonir), romance, in C, from "La Juive,"
"Tie old Willow Tree," Hallad, l»y S. J. St. Leo Kg 2 0 by Halkvt 2 0
" The Troobndonr's Lament," by Loi'lS* Yaixold 2 6 '* To-momm ," Balhnl, by C. J. H ABOUT 2 0
Paquita, " I love when the snn U act," by G. A. Macmbmkv, composed for and tunu by Ln Signora Fumaga!li ... ... ... 2 6
" PERSEVERE," or, the Career of ilaveloek, composed and sung by Mr. Charles Uraham ... ... ... ... ... 3 0
'• Then art ao far, and yet to near," composed and sang by Herr Reichardt ... ... ... ... ... ... ... 8 0
"MART A."
The copyright of the new Italian and French versioua of M. Flotow** opera of '
The eupyrieht of the new Italian and French veiainu* of M. Flotow's opera of " Marta," perfonucd with the greatest meet**
Ojrcra, Pari*, and to be prodneed thi. season ul the Royal Dalian Opera, i. verted, under tin International Copyright Act, in MM.
DrFOtra, of Paris. Messrs. D. Davison and Co. have the complete opera in octavo (Italian or French word*), aa well a* the acpar
in Italian, on i
LONDON:
DUNCAN DAVISON AND CO.,
DfiPOT GENERAL DE LA MAISON BRAND US, DE PARIS,
244, REGENT-STEEET, CORNER OF LITTLE ARGYLL-STREET.
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320
THE MUSICAL WORLD.
PVIay 15, 1858.
SIMS BEEVES' NEW SONG.
"PHtEBE, DEAREST, TELL, OH TELL ME!"
JOHN L. HATTON.
Priet 2*. 6o*.
l'hoAc, dearest, Ull. oh t toll mo.
May I hope (hat you'll bo mine 1
Ob ! let no cold frown rope) ma.
I <m vc in« not with grief to l '
Though 'til tnM In homely Cm!
Fhieuo, tru»t the Ule I UI! ;
Nc'etr wan truer, purer pajiakm,
Tuau within Uds heart doth dwell.
Look I've watciiM ouch rare jKrrfcctiou.
Stealing o'er that gentle brow.
Till reepect beoicao affection,
Kiich as that I offer now.
If y .f i> «e in '. m t line me,
True I'll bo in wool and woo ;
If in proud diadam you leave roe.
For a soldier I will gn.
Little care the broken heartol
What their fate, by land > >r sea,
Phoebe, if wo on eo are parted,
Onoo for ever it will be.
Sar then "Yea," or blindly, madly,
I will rush upon the foe ;
And will welcome, oh, how gladly,
Shot or shell that layi me Lw.
Booeey and Sou., 28, UoUcrMrtreet, Oxfard-strect,
"fJOO L-A-TBr— M^LouLia jV™njngJi New Bong.
gOENES OF HOME— New Ballad by Balfo. IWy
0 -la mia mha
Price Sa. each.
24 and 28,
MENDELSSOHN'S
SONGS WITHOUT WORDS.
somen »t
J. W. DAVISON,
In Six Bolts. price Oue Shilling each : or, complete in One Volume, with Preface
by the Editor, and portrait, price lit ; or. In superior binding, Ti. 64.
BOOSXT AND SONS' MUSICAL LIBRA KT, 51 t !S, HOLUSS-oTREET.
NEW PIAN0F0ETE MUSIC
IT
RUDOLF NORDMANN.
TOWER SCENE, MISERERE, and AH! CHE LA MORTE, from
"IlTroTatore- .. '. SO
BRINDISI, LlWaroo. from "U TrartaU" SO
I. A HICIUENNE, des " Vepres"de Verdi 8 0
Omm%£l^a?S»te It
ti r.N r.> K, Morgan do Salon . . . * o
IA MIA LETIZH, r™m *• I Lombard!" J «
81 LA RTANCIIEZZA, "Troratore" SO
LA CAR1TA, Tno de Rossini SO
MANDOLINE. Nocturne SO
TUB NUN'S PRATER SO
THE I1ARCAROLI.E In '1111101000" SO
LA DANSE DES FEES 8 0
OUKRK PIRATES CHORDS 10
IL DALES', "Troratore- 3 0
DI qt'ELLA PIKA, ••Triratore" SO
SELECTION OP MENDELSSOHN* TWO-PART BONOS SO
<
T. 3* * 28,
BOOSEY AND SONS' ANNOUNCEMENTS.
In ft few day* will be publiahud tbo Artt Tolnra* of ft new. cheap,
maa complete editlou of thu
PIANOFOBTE SONATAS OF BEETHOVEN,
J. W. DAVISON.
T.. U rompbfol in/our roinawr, 7i. mtK *">%»d in dor*.
A Portrait of]
rxx will bo given with the
a Preface by the alitor.
CONTENTS OP VOLUME I.
and in each will bo
No. 1, Op. J.
No. S, Op 2.
Sonata, No. L Op. 14.
*, No. i. Op. 2.
Sonata, Op. 7.
Sonata. No. 2. Op. 10.
Uk Ou atxiM vill he PuWu*erf a ■» uwrl for (At
iii &y\c f^o*iifrrwf, cCoiA ^IGO JP^e^*X ^^~§
XSTT1TLXD
THE HARMONIUM MUSEUM,
A cou.oonox or
ONE HUNDRED FAVOURITE MOVEMENTS, SACRED AND
CELEBRATED COMPOSERS,
RUDOLF NORDMANN.
Preceded by a
ISotioo of tb.6 ]
ONE
AUg, to fcfvHUM utrt v4tk,
HUNDRED OPERATIC AIRS FOR
THE FLUTE,
r. s.
PRATTEN.
Prior U ftf.
ONE HUNDRED SACRED MELODIES FOR
THE CONCERTINA,
Jt&RAXQCD »T
GEORGE CASE
Print It, td.
IIOOSET A2JD SON
X OUSOK !
HOLLES-SI
)XFORD-STKEET.
Published by John BoositY, of rmlllllf Ml In Uvo parish of Baling, In the
County of Middlesex, at the office of Iiooacv A Sons, 28. Holies-street. Mold
also by Ram, l.V John-street, Great Portland -street ; A lux, Wsrwiek-
lane; Vicaxan, Holywsll-slreet ; KxrtH, l'nowsx, A Co, 4*. Cheapsd<1e> ;
O. Si lirriiWJSS, "
DSMIT
Bdloburgh i
■alien.
Printed by Willum Srrjrcxa Jobhsow, " Nassan Steam Proas." 60. St. Martin**
laae. In the Pariah of St. Morttn-ui the- Fields, la the County of Middles^. —
'.May 14, 1
cfMUNY, SB, Newgate-street ; JoBir BiisriiKan. Newgute-stnv.t ;
Mat, II. Holboro bars. Agents for Scotland. P»«»»ok ,*««>«■.
■gh and Glasgow ; for Ireland. H. Bt w.ru, lrublln ; and all Musrtc-
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' tat woma or Abt ai-fkabb moat swmm ih Music, sinci it ksqvues ko mats-rial, so (cbjeci-mattm, whose effect
BI BKBDCTKII. It U WHOLLY FOKM ASD I - WEB, ASD IT BAIsKS AND BV80B1.ES WHATEVER IT EXPgKMIg." — Uotthe.
8TTB8CaiPTI0H:-8tainped for Postage, 20». per annum-Payable in advance, by Cash or Post Office Order,
to B008EY & SOHS, 28, Holies Street. Cavendish Square.
VOL. 36.— No. 21.
SATURDAY, MAY 22, 1858.
( PRICE 4d.
1 STAMPED 6d.
MADLLE. D'HERBIL, the Juvenile I'ianiste, begs to
Announce that aba la at liberty to accept eii^ragetnent* for Concerts. Soirees,
xford<tre*t; or Ma, lasoc, «J Co., 12, Buy-
B
IRMINQHAM TRIENNIAL MUSICAL FES-
TIVAL, in aid of the Fund. of the GKNKRAL HOSPITAL, on the Slat of
1st, 2nd, and :ird of "
M
ISS ARABELLA GODDARD begs to annouuee that
she will give a performance of CLASSICAL PIANOFORTE MUSIC ou
of Saturday. Juno K, Ih Willis's Room*. To commence at Three
parUeoJara will be shortly announced.
SIGNORA FUMAOALLI, SIGNOR 1)1 GIORGI,
awl MB. CHARLES BRAilAM (Conductor. HUritor Vlaoeal). AH appilcn-
Uoua for^tb^ roTin^. or the metropolis, lo bt a-Idres-cd to Mr. Charles BniU,
MR. ALBERT SMITH'S MONT BLANC, Naples,
Pompeii, and Vesti- in* every niehl (except SAtunlav) *t 8: aud Tuendiiy.
apeti. aud Vestii in* every ni?ht (except Saturday) at 8; aud
. . an -I Saturday »(Unw.ei at 1. Placet can be secured at tlie Box-office,
Egyptian-hall, doily, between 11 and *, without Jury extra durge.
M~r7 ANrTMRSrGERMAN REED'S NEW ENTER-
TAINMKKT.— The new Serial of illustrations by Mr. and Mr. Reed (Into
MWs P. Hortou) wll be repeated erety evening (except Saturday) at Eight
Baturd-ir Afternoon at Three. Admiaaiou, 1a, 2a, and 3a ; Stalls secured without
extra rhaiiro at ttw RojaS Oailory of I liu:r»tlon, U, Regeut-stnrct, and at
Cramer. Rcsle, and Co. 'a. 201, Regent-street.
\fR. CHARLES HALLF8 PIANOFORTE RECI-
1WJ- TALB.— Tbo Sec.od Recitid will take plswo at hie real lenoe. 52. Chisham-
piaff. Belgraveinuarc, mi Thursday, May STUi. to commence at Ihrwi o'clock.
The hat of cubferibera being full, no further
MR. CHARLES HALLE begs respectfully to announce
that at the termination of bia aeries of Recitals he will give a series of
three Ctaaakal Chambct Music Concert a, at WtlUVa Rooms. King-street. St
James's, on Thursdays, June 17th, 24th, and July 8th. commencing at three
o'clock, when he will be assisted by Hcrr Joachim, ftagnor Piatt-, and other
euiibsnt artists. Siibecripilotis for the ►enwi, One Guinea. Subscriber's names
' j Mr. OHIviere. J». Old
and at Mr ILtlKT. reaidence, 22.
H
ER MAJESTY'S THEATRE— Titieus, Alboni,
OrtoUni. Flccolomlni, Bellettl, Bei.e\eot»no. VtAktll. Aldhjbleri, Belart.
On Tliuiad..> next. May. ITth an Extra Nfeht, »i I be repeited ILTROYATORX
and the new Ballot
Friday. May ssth. OHAJfD MORNING CONCERT Io which nil tbo artistes
or the establishment "III aprear
Monday. June Ttb. GRAND MORNING PERFORMANCE. In answer to
numeroua communications it i» announced that for the convenience of the gentry
residing in the enrlion*. a Grand Morning Performance will be given ou Monday,
June 7. in wbld. all the arUMee of the raubtlehmeut will perform, Including
ail the artistes of the B-UIet
Applications to be made at the Box-offlM of the Theatre.
lt~AGUILAR,S MATINEE MU8ICALE. — On
Mojuiuy, May 24th, at tbo HanoTcr nquarc Koorx)« To commence at Thire
o'ct K-k. Vocalla-a:— Mlxa Lindo (pupil of SI (pi or PwTart. her firat ajixnrniw^ in
p " L j i X >trd SU»or Mamta lti»ti iuti<nt)ill*ta — H«rr Jans*, Mr. C cmuuu, Herr
Gv&na. M. Pa<|iu* Mr liww^il, and Mr. Atruilar
5*i\oaiLA Mur — Tno li. E for iiiaoc, vioUit, arid tiuluuwUo — Mocart ; Recitallrt*
and Air, " Uch \ icni" (Xnucdi Flguro>-Maurt; SaimU id E flat. Op. 39, JtV S —
B««iljOvcit ; Rom*i>»a, ' I* Dt*cilaxtoDo*'—I^i|lo; Coaccrto in D mib^t fur |> aao-
Ivrttf, with atx^m)aantn>ciiU of t^o tU'Uiia. tIoU, vtotoocvllo, aud cc4itn»ltaav>-—
J H. Bacb; Saug, "Hvrt, soeto lUtt *t** <!*>• ffobooT" — Bvetl/orcn; Me)odut,
"8jof'*Mt un augvlo d* t Partidiao'" — Marrua ; Sclnrro, *,Mlc1iel«mma"~Marnu ;
Caprice iu E K'p 33. No 2>— Mtiwlcla-whu ; Duetto. " Mira la.bianat lima"—
' i.— Im acftU, half^-gulM,
M
ami ; Polonaue lu A flat (Op. W>— Choriln. -ILaen
r!o UckeU. aereo ahiliinga ; to bo had At the r,rmclr«d
Aa ull.r, 1.11. Albany-aunt. KeeentVioHt. H.W.
21
MAPLESON AND CO.'S
mnm & nmma mmmL mmw.
Hare reoactly ri'-frMlalod,
IS, HAYKARKET, LOKTjOH,
Ainomrat nuiueroua others, the following cngage-
M.vllic. Victoiro Baife. Si?. Dro^oaie, Herr Puurr, tor Duhllu and BelfAat.
M-itime Gnaaier, Beaumont Ir stltutloi. S»«. Do Glorjjl. alt it Mid. Purongiilll.
Manchester. Mad Gassier. Mr Temi uit, Mr. Winn. tMtr Dur..l>aai. Hljr Ka-1111,
Literpool. Mr. Wrls>. MmI. Ipswich Ma>] Minn Donatelli. Mad.
Uxsier, Mad B'ltosi-i, Mad SoiiLauk, M«i. Fumualli. Mr Chares Brnhaoi,
Mr. Ctaorge Perren. Sis. M ittioli. Big. Vaitu, big. Badsili, Mad Uc Bemutdi
Ma/1. Borchardt, Full Uu.d, and 03 ci.oriaU-rs. far Tli-»tro a -vol. Drury Lane
Miss Louisa Pyue, M at f) Pyne, M si Chatterton, Madlie. b'Mnrhl', Hi" P >-ti,
IIcit Gnu a Sig. Drsgona, for Oxford Ml>a Dolby. Mi-s AnU I a Ood-latd, Ac-,
for HaixiTor-ai)UAi u Roms Mad Rude>e<t«rrr. Mr Uoirge l'iriwi. Mr. Thomas.
Mlaa Palmer. Slgnor Rni degirer. Uerr Molique, forGlas.o v, Lancaster. *c. Ac
Misses Bn-ugbiun. G -ii^ni
Theatre Royni, Drury I Ann.
Registers kept for the eratuitoui inspection of provincial niAu.igers. sect
and coutAlnlag e ittiss of the nunies of vocal aud tnai ruMcfiUlnrtist* i
nigageineuU. witli all neceaaary partieuisrs, or forwarded post free.
Office llonm, from 1 1 to 1.
HERR BERN HA RD MOLIQUE'S GRAND
(iRCIIKMTRAL CONCERT will Uko pssce At the Uaaoeer-soinre Rooms
on Wednesday Everting ni xt, M*y 30th, to aiaiurtim at Half-past
Reserved Svnte, 15« | Tickets. 10s. «d,. to bo had if U-.rr SMi| i- . 3
quare, and at the principal muaic-eciUjrs.
ST. JAMES'S HALL. — MISS LEFFLER, daughter of
the late Mr. AdAin Lefflrr, begs to anuoujioe that bur first Grmud Erening
Concert will uke thtcii .-.t the Above tl-vll. Ragi tit-strtyt, on Mondsy, Jut o 7, to
commence at Eight o'elock, wheu nhu will be asust'-<l bv ti c following eminent
Miss Arvbella Go idard.
Other dlatliuiiiisheil artists Are already engaged, lickets u> be \uA at the Hail.
artists: Mr. Sdroa Keevts, Mr. Weiss. Miss Dolby, and Miss
Other distliiAtiilsheil Artists are already engag'-d. lickcl
priocipsl music sellers, aud af, Miss I«ffler, 71. Oxf..rd-attcot.
jyjISS LOUISA V INNING will return to town from
respecUn
witl. M. Jnllirn on the 24th May Co
, N>.
I to be Ad
lti.
csnxx tux rantosAnx or
406T GRACIOUe MAJESTY THE Q
n an tiie i ri.nck conuort.
ROYAL FAMILY
D«
MUSICAL ENTERTAINMENT,
CSTIl LVti
DR. MARK AND HIS LITTLE MEN,
numbering upwards of thirty Instrumouiaiists
whole forming a most cotnnl.-
BecUvc Churur. the
JUVENILE ORCHESTRA,
i tj mix is cd or
Little EuttiKb, Irlah, and Botch Uiya. from flr« in aLat^ru vmr-i of nee, w» o play
operatic aelcct *OwOa» dutta. quark l*, tiuadriDua. niarvhc*. mid |>- 'kna ; oiut
•frig a>>Qga, chenaatav Ac , in a tu st CtToctirr nuuiucr. un i to wli*jcu he give*
gratuituuB ^vceral and mtiactU cdua-ttoti in order to ilhmt..te h a h *ftl> r4iHrOTo<i
ajaum of musical edurtrtou, and with whom 1 « tiuvcla aU<nt tii<u country t<«
taot« an intrrcat for and h«lp to r*Ub<iNh mua.tn: iuAUt itiMUa <rili€:Tr&m>'
aorTwU'irta af Muasc" for )ltt.« cbi dm. tn c\«r> to»ti, city, aud XiQyjfa u( UUa
Fixe Tn.de IUU. fim^M
May 2S. at Louth
Mx; I ..
6'2'i
THE MUSICAL WORLD.
[May 2% 1868.
piOCO.— For
42, Church-road, KingsUnd.
M
R SYDNEY SMITH, Violoncellist (orchestral and
solo) from the Oonserraiorlum of Mu-lc, wad Qewandhaus Concerts,
U Ipelc, >* »i*i> <"
l». Bear-elrool, Leie.eVT-r.iua re
MR. W. W. GRICE begs respectfully to inform the
Musical Prufeseion aid paries giving concerts that b" undertakes the
management and mp-riDtoBticDM of urines' rns.— Address, IS, North-street,
WclttnlusttT Abbey, ftW.
MR THORPE PEED, Assistant Professor with the
lato Signer Cn»flli. begs to announce that lie la 111 town for the sosenn
Appliuatioi s for lessens and engagement* aru requested to be sddrceeod to Vmih.
Addison and Co , 810. Regent-street, where teetlrocmUU from the lute great
meeter. may be eten
HER MAJESTY'S STATE BALL.— Mr. John Weippert
had the unspeakablo delight of receiving tier Majesty's commands to
attend aiwt conduct bis unriralle i orchestra at tbo Grand Ball given at Burklng-
hnm Pel.vce in honour of the ItIucom Frederick William's inarr.age. Address,
21, ooho-eqiLare,
SIONOR LUCCHESI, priruo tenons from the Italian
Opera, Puis, and of Her M .Josti's Theatre and the Royal Italian Oi«re.
lVm<lo*i. baa the honour to announce that lit la In t wn tur th* present seaauu.
v ©m ■> umeatj< na respecting pu Ik en 'I private c noerts and finishing lesaous in
al lifting, may be addressed to him :it Messrs Cramer, OetUe, and Co 'a, 201, Regent-
street
-TO BE DISPOSED OF, the Principal Munic Business
•a. in a II urishiug city <n the weat of England, established upwards of My. ars,
wftli abotal Printing oouu.ction, and Stationery and Bookselling business, for
pariioiu.tr* apply to Mr. Giay, Valuer to tbo tr.ide. Croydon, Surrey.
LAURENT'S ROYAL QUADRILLE BAND. — New
<lft.ee, at Hoaara. Booaey and Sous, it. tteUwaUnt, "here full particulars
m .y bo hai.
SIGNOR and MADAME FERRARI beg to announce
tbat their ANNUM. CONCERT will take plac- at the Queen's Concert
Homs, Hanover-square, .11 Wclno-day rooming next, May M. Vocal Uu — Miai
IMby, Madame F. rrart, Mm Uiiio, Mr. Teunanl, and fcagnor Ferrari Instru-
mentalists;—Madame feirvady (Wilbelinlua CiauesX llorr LideL Sgior Car.
an I r%uor <jlo.Ho Ragwdl. Accompinyiets ;— Slguor UilletU and Mr
Thomas.
CavullL
Ilar.lJ
WILHILMINA CLAUSS (Madnine Szarvady) will
bare the honour of giving a SECOND MATINEE MC8ICALE, on
Monday. May Si, at Wi. lie's lluoins, K.iug-strcct, assisted by Herr Moliquo,
rlolin ; Mr. Ueury UlagTure, vioU ; and Siguor Piatti. violonor] a 'i'o ii.nimu.ee
atTl-ree o'.lnclt precisely. — Reserved and numl
scats, 7a To tie obtained al Mr. Hitched'* R-i
and tbe pttuciiMl Libraries and Muatc-seikre.
mbercd ae .ta, Im, (11 ;
..yal ULt al v. 33, Old I
R HENRY C. BANISTER lias the honour to
announce that hie Concert of CLASSICAL PIANOFORTE MUSIC will
take p'-aee at tbe HovOioveu Hoc ma, 7r>. IlarlcT-Btrret. on Friday Evening, May Sfl,
eomruetK iua; al 8 o'clock pred-ely. Vocahat, Mlaa Dolby ; I lartooec, Mr ljuama ;
Violin, Mr. J. ILuiiaUr ; Violoncello. Mr Ay>ard ; Pianoforte, Mr. Walt, r
Macf.rrcn nud Mr. Heurv C lhuiieter. caugle Tkktt*. Five bLiiiiura: Triple
Hair-a-Oiilnra. Tirkela may bo oblai. «-
M
Ttekrta, Ilnlf-rt-Oialitr* ticketa may bo obtained of Mr. Henry C Rangier,
MR. CHARLES DICKENS will read, at Bfc Martin's
Hall, on Wcdneaday afternoon, May Mth, ata exacUy, hit ■•CnRISfMAS
CAROL." On Thnreday «'«' ltii{, May J7rh, at 8 o'clock, hla "Oil MB*."
Eticli Reading trill but two lioitra. ri'ail* (nauibered an 1 rveurvedX 5a. . ana and
gnlieriea. 2a. Id- ; uiircaervo.1 aeata 1 ■. Tickela to bo had tit aloatra. Ciiaptnaii
and Haifa, ■■ublialiera, l»X Piccadilly: and at St. Martina Hall, Ltuif-ucre.
pHRISTY'S MINSTRELS.
\J\ Regnd
next,V
l.R.lfi
day, M
perticul
reai rredK ie ;
had at Mr M
ST. JAMES'S HALL,
ir«t mud PiecJi'liMjr. Fur thii ocuiuiion culy. Thundj)' ut' iiiirig
By d«Mre. the CbrUty * Hinvtrvk will havw th« hau«uri>f giving a
NIXG 1'KHFUKMANCE at the above ui-tgitlfloeat Hal], ca Ti-ur*-
to comniLucc at tbrve ti'cio<k |.ro^l**ly Pr^»gr-«mm^ iuui full
luly :i;r\i itiMorvi BaAouuy ftti<i budni (utirubrfexl itiul strictly
nrcd Heuls, ; UnrcBcrftJ^Seata, 2a. ; UnlltrieH, la. To he
l a llo>nl Ubrary. 33. Oki Houd-aLnet ; at oil the RIMmI
MINI I «i at lU 8t Jamo. * Hall.
M
R CHARLES CIIAPLK has the honour to announce
that ble ORAND F.VF.rflNO COKCBRT will take pure at the Hewreer.
aqiiare Ror.oia on Tueeday, May !5tb Meelamce Clara Novello. Kolby, Baaaano,
AuguaU Manning, llenrietta Bele; Mee-rs buna Km-.—. Kntnk ll.Hl'ia, Cbaple,
Uaxriaon, and LsnJ. Bulla, 10e. 61 j
Notungham terrace, York^nte, T
.1 j»,Uir, ChAttertou, Poque, B WeUa,
Reerrred tSeala. T> ; Uurcecrvei, Si. % >
park.
MR. LANGTON WILLIAMS begs to announce to hia
Irlrnda and the public that hia ANNUAL CONVERT *IU take place at
tbo Moalc liall, ritorc-atrtct, on Monday. May Mth, eupportcd by tbe following
eminent art ate : — Miaaee Loulea Viunkny (her ft rat appratranoe alnce her i rariiiaal
McAlpine, C Moore, and
tetirX LtMcellea, Pc-jle, Liny Stuart, Julia Uleodcii, J
WorUey. Meaam. Oco. Perren. M on tern Smith, Wllbye
Bcida. Viottl Colllna, J Ctealurc, Wilhelnt (jane.
0«o Ca te.
Avant.
IS. Great Marlborough Street.
MEMOIRS OF MADLLE. RACHEL, in two volumes,
with Portrait. TliU work wilt lie putjialted In a few daya by Me eta
Hurst and BUcxett, and those who desire early coploa are requested to give their
orders Immediately to their booeuellers
ONE OF THE FINEST ORGANS IN THE WORLD
TO BE SOLD,
■ Hi ami; roe. A
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL
WHITSUNTIDE— New Chonw for Sunday Scholars,
"Let Praise to the IToly and Bountiful Lord."
NOTICE— A copy of this new el oral, words ami music, li.ermonlaed, as. Ill be
presented to cf.ry Sunday acliool in Mauchratcr and SalfonL and within a clreait
or seven miles upm apuilcabon. it prepaid !• tier addreaaed to Mr. hV Andrews,
Stu-rcl Music and P.-iHsuiii and Lou.t.... PUn.tfort.: Haloon, Si, Oxfnrd-sireet,
Manche-ter —Orders scut, post fr>e. Tor U aiatmn Words and tune edition Id.
each, 111*7 ha bad of Partridge anil Co., Patemusrter-row. London
pONSERVrATIVE LAND SOCIETY
interest per annum ia paid b.tlf-y early onall In
111 tbn anuuid prxtlta, meinbeis have never re
tbelr enbetTipUona, and In one year it was 7 per otnL Tbe privtl
Five per cent.
o( £i and upwarda.
but with tb" anuu'l pr.ifita, meinbeis have never received leas than 6 percent en
tbelr eiibeteipOijSM, and In one year it was 7 percent. Tbe privilege of withdraw-
ing at V n daje' indlce the non-ll ibillty of the inveetnrm, and the taking of pleto of
frocbol l land ou Oie t?.* ety'e eautre being quite optwnal. are advantages which
luve retiderod t ■ is Society one of tbe be»t n««Ka of luestlug caplul and emv.ngs.
lVtsraeetua -s sent free to any port of tlie world.
CHAR I.EM LEWIS 0RUNE1BEN, Bee.
OfScts, 33. Xorfolk-strcc!. Strand. W.C.
1853.- Music
ESTABLISHED
the beet style '
Botuers-town. If w.
X.a All v.or« comxUy and promptly attended to
lusic engraved and printed in
iwiii*, I'y A: Wllaofi, It, liwajv-! *j -ttroct.
c
CRYSTAL PALACE— The Directors of the Crystal
r.i!*ni li'ive ti ■ '. '- peas re .;i anB«llls»lsV fid thtv bate gssal Del ' I I
_eauenl with Mr. Oye. of the ROYAL ITALIAN OPERA, Coventirudeo.
to give SIX GRAND CONCERTS at the Crystal Palacv diirSrig the preavnt acajaon.
The Conoerta wUl be sapporte.1 by tbe following uurlvsllotl ;u-tUf«i — Madune
arran^iuFiit with
c p„, Mtbiamc Tagliafioo, Madantc Doaio, i
Maiio. Hign.T Roasl. Sltnnr Soldi, Wlgnor Ntrt Bamldl. Hlgnor Oardoni, and f .
Tamberlik. Sign r Ruucoui. Mumiitir Zelgrr. Hi.'ujr TuglUftco, Signer IViloninl.
nu I Shfi or Gnuianl
Tneso Concerts will take place on PUIDAYM, Mayimh, Juivellth, 2ith, July 9th,
•J.tid, and August 6th ; ni ce a furtubjlit through the leuon.
The admtasion to the Crvstal P.tlace on tbe nay of thca.' t^incerw will be 7a M.
eaxli person Heucrvcd Stalls m»y be liad Ss. Cd. encb. Sett of Stalls for U» Six
Coucertt will have priority of cbn^re. Titcae are n -w on salt1.
lu order, l.owevir, to m& t tlm wtahca of that large clean of nobility and gentry
who ao I
last two
wbtuh will
trsniftrable.
Tickets mar bo obtained at tlu> Cryatal Pa'aot , at the Central Ticket Office, No.
U, Exeter '.liall ; *t at the Box office of tbo Royal I aliiui Opera.
N B The six cUys aliovc cnutiiorated are thteo name I na exceiite-i days In the
Dl rot turn' prospectus of the jmiecut soanou. but scejou t'cketuir.lders will ob
on rvfvirtng to an adji'ining aJttTtiscmciit that the Direct era hare made a
advantageous arrangement for ttteni witb r.gnrii to t;ie alwve ComiTSe.
By otdcr, (IEO UKOVK. Secret'
instantly honoured the Opera Concerts with their patrcnage ilunng tie
aeneous, the Dirootore 1- ire dt tenuiuod to l-aue a Out Ouhxa lirkrt,
II admit to lbs whulo of the Six Cauccrta. ThU Uckot is of course not
p R Y S I A L F A L A C E— TO SEASON TICKET-
\J HOLDERS — The Directors. In their anenirrmtntswiih Mr Ore for* aeries
of Six Op.ua I'uiicerts, ou tbu six days exc ptod on the Season Tickrt*. have
iee«rv.d!"r S*i-..n T tket holders tbe prlrtle^e of taking a NON-1 RAK8FKRABLE
SCUSCIIIPTION TICKET lor the scrim, nu paymeut of half-a-gutnen only. ThU
Subacripllon Ticket nan Iw i buincd only at the Crystal Pabice. or at No % "
Hall, on pit sen tat Ion or liio origiiul Season Ticket ef the party
ap|i)lcania may obtain the two tickets at '
ou pnymcnt ol one guium and a half
Gk^M Palace, May IV, 1S58.
By i rdor, 0K0 I
Digitized by Google
THE MUSICAL WORLD. 828
May 22, 1858.]
HER MAJESTY'8 THEATRE.
The second performance of Don Giovanni confirmed all that
bad beeu previously said in favour of Madlle. Titiena' Donna
Anna. // Trovatore was repeated on Saturday, and tho HwjuenoU
on Tuesday ; Madlle. Poechini appearing as usual in the new
ballet, Fleur de* Champt.
The first performance of II JIarbiere, with Alboni as Rosina,
took place on Wednesday, the Derby Day, and, in consequence,
the house was by no means full. Nevertheless, those who did
attend were repaid by some of the moat exquisite singing ever
heard. How Alboni executed Rossini's music we need not
insist Enough that she enchanted her hearers from the first
note of her performance to the last. " Una voce " and " Dunque
io son " were both fuultless, and Rodc's air, introduced in the
lesson scene, created the same sensation as of old, and the last
variation was tumultously encored.
If only good singing were required, Signor Belletti would be
one of the very best of Figures ; and as much may be said of
Signor Belart iu Count Almaviva. Both have wonderful fluency.
We never heard the duet " All" idea di quel metallo" more per-
fectly delivered. Equally good was the trio, "Ah! qunl col|>o,"
by Alboni, Sigttors Belart and Belletti, the last movement of
which — " Zitti, Zitti" — was followed by the loudest applause.
We cannot praise the Dr. Bartolo of Signor Rossi, although
he sang the reproach to Rosina well ; nor the Basilio of Signor
Vialctti, whose voice is autlpnthctic to Rossini's music. Mad.
Ohioni deserves a word of commendation for her reading of the
quaint air, '"Cerca Moglte," which, nevertheless, she spoiled by
an ill-judged cadence at the end.
The Barbiere will, no doubt, be pepssUsd. Notwithstanding
the many deficiencies in the performance, the delight it afforded
to the lovers of good music and good singing was unqualified.
Nothing in the way of vocal achievement can surpass, or has
ever surpassed, Alboni's execution of the music of Itosiua.
The second act of La Figiia followed, with Madlle. Ficcolouiini,
Signor Bolart and Signor Vialctti ; and the entertainments con-
cluded with the divertissement, CaliXo.
On Thursday Don Uiomnni was given for the third time, with
Fleur-dtt-Champt.
Last evening B Trovatore with Fltur-dc+Champ*.
ROYAL ITALIAN OPERA.
Ox Saturday the new theatre opened its doors to the public,
notwithstanding thu many prognostications to the contrary.
Thousand* and thousands of pounds sterling are said to have
changed hands on this event, which interested a certain class of
betting-men just as much as the Derby or the Leger. Be that
as it may, Mr. Gye redeemed his pledge.
The daily papers have described the new theatre so minutely,
and at such great length, that we must refer our readers to their
columns for an account of its architectural design and merit*.
All we have to do is with its acoustic properties, and thu lyrical
performance* that take place within its walls. Nor shall we
devote a whole page to a record of the excitement that prefaced
and accompanied the inauguration. This bare allusion must
suffice. One thing tended to neutralise in some degree the
hilarious enthusiasm of the Covent-Gardenitcs — viz., the absence
of Mr. Gye on an occasion to which he had contributed so much
by his sealous perseverance. The public had been informed by
a paragraph iu The Timt* that Mr. Gye was ill, and would uot
be able to witueas the first results of his indomitablo energy.
Hie great nerve aud spirita had supported him up to within a
few days of the crowning incident ; but on the eleventh hour his
nerve abandoucd him. Over-labour and continued anxiaty had
douo their work ; nature could do no more; and the immea-
surably active manager (as Herr Wagner might o«U him)
succumbed. Mr. Gye, however, would hear of his success, aud
that, uo doubt, would help to quicken his convalescence far
more efficiently than the prescriptions of Dr. Billing, unless that
worthy gentleman, more skilled than the physician who tended
Lady Macbeth, could " minister to the mind diseased. '
The doors opened precisely at tho hour iudicated. The crowd
soon thronged to the pit and galleries ; but the holders of
stalls and boxes, more aristocratic and more cautions, were io
leas hurry to occupy their places — no doubt resolved that if the
building tumbled down, the canailU and not themselves should
bo tho victims. This recalls a Hue of Horace, which we have
not space to quote — owing, as the morning papers say, when filled
with parliamentary orations that nobody reads, " to tho crowded
state of our columns." The first view of the amphitheatre was dis-
appointing; butthefact is, so very much was anticipated, thatdis-
appointmcnt was sure to be the first feeling. As the eye became
accustomed to tho interior, however, a sense of ita magnificence
was awakened, and the noble simplicity of its design, no less than
the vastness of ita proportions, was gradually acknowledged.
Then the imposing proscenium, the chaste and appropriate
drop-scene of Sir. Telbin, and the enormous width ol the stage,
were severally impeded and admired. Not, however, to be
prolix about details which one by ouc will so often henceforth
come tinder our notice, we may add that there was ample time
allowed before Mr. Costa made his appearance in the orchestra,
to examine every object worth ins|ieeting, and to regulate its
claims to approval. When that glad event arrived, the houso
broke out in loud aud long-continued cheering. Shortly after
the band struck up tho orchestral prelude to the Bugtttnoti;
and that it* supremacy was undisturbed, was at once
the unanimous conviction. We saw the same well-known
faces, and recognised the power of that unrivalled instru-
mental force. Our opinion on one very essential point is
still undecided; and we must await further experience to
judge whether tho new Covent Garden is as favourable to
sound as the theatre which, after tho orgies of a demoralising
bai mtuquf, was reduced to ashes.
Of the performance It is unnecessary to say very much.
Enough that from end to end the greatest excitement prevailed.
Each favourite artist was hailed with acclamation, the highest
honours being of course reserved for Grisi and Mario. The Valen-
tine and Raon) of the evening were absolutely overwhelmed by
the enthusiastic reception they encountered ; and this only made
them the more anxious to do well. Never was Mario grander,
never was Grisi more entirely absorbed by her part. The septet
in tho sceue of the iV*1 uitr CUrct was ono of the culminating
points of the i>erformanco ; and in this Mario exerted himself as
of old, bringing down a storm of applause in the last movement
of tho piecu (which he sang in the right key), and an encore,
with which Mr. Costa very judiciously declined to comply. In
the duet with Marcel, Grisi obtained her triumph ; and the two
together in the splendid climax to the third (fourth) act surpass-
ing all their former efforts, raised the audience to a pitch of en-
thusiasm rarely created. The " ovation" after the curtain had
descended was 'indescribable.
Madlle. Miurai was the Queen, Madllo. Nautier Didi6e tho
Page, Sig. Tngliafieo Nevers, Sig. Polonini St. Bris. The last
three did their beat, but Marat was uncommonly nervous.
M. Zelger, iu consequence of the protracted absence of Herr
Formes, undertook the character of Marcel, which he was the
first to pluy in Euglaud, in Ibiti — when the company from
Brussels gave performances at Drury Lane Theatre, under the
management of Mr. Delafield, to whom the English public are
indebted for the /lui/ueiwu both in French aud Italian. Mad.
Taglialico, Sig. Pierini, Sig. Rossi, aud Sig. Soldi were the
subordinates. It is not our intention to criticise, or we might
point to several deficiencies, and especially dwell upon the un-
satisfactory manner in which tho quarrel between tho Huguenots
and Citholics, tho " Rataplan" («■>!»* by Nig. Soldi), aud the
" Benediction of the Foiguards" were performed. But of this
more hereafter. One thing wc must say, however. Never on
any previous occasion have we heard tho Chief of tho Night
Watch deliver the melody of the " Co.-'w/eu" so horribly out of
Uiue. The baud was splendid throughout, and set au example
which il is lobe hoped the chorus will endeavour to emulato on
a future occasion.
Messrs. Beverley, Green, and Telbin are, we believe, the prin-
cipal scenic artists ; but by whom the separate tablcxvx were
painted we are unable to sav. The scene of the Pre aux Clcrct
is worthy of Mr. Staulicld. Tho final tableau, which was
omitted on the first night, for renaoiiR to be i-tated. is one of the
Digitized by Google
324
[May 22, 1858.
1 and interesting picture* that has over been Been on the
sta^c. A carrtfour, or meeting of streets, is represented, the
antique houses of old Paris with their quaint gables being reared
in actual solid architectural masses. In front of the scene an
elegant and admirably executed railing, with elaborately wrought
gate, runs across the stage in a slanting direction, giving perspec-
tive space. This marks off the cemetery, in which Marcel, Raoul,
and Valontina take refuge as a Banctuary during the massacre.
The intense reality of the whole cannot be imagined till it has
been seen. The execution of the trio was faultless, and the catas-
trophe which leads to the murder of tho three Huguenots was
admirably managed, the action and grouping of the principal
characters, while tho stage is filled up in tho rear with a motley
and animated crowd, bristling with, arms and glaring with
torches, producing a stirring impression.
Mr. A. Harris nas shown his accustomed skill in the mauage-
ment ■ of 406 general stage business. The end of the scene in
which Nevers lakes away his bride amidst the accompanying
festivities, was as vivid and imposing as any of the variegated
pictures of busy animated life to which the Royal Italian Opera
baa accustomed the public Some more ballet, too, has been
squeezed into the opera, and with it some more of Meyerbeer's
ballet mutic, which is always welcome. But of these and other
matters we cannot stop to speak just now. Suffice it, on Saturday
night, the opera finished with the third (fourth) act in the
midst of a discreditable riot. It was half an hour after
midnight before the curtain fell on this act, of which Mr.
Harris, earning forward, reminded the audience, suggesting
that in consequence of the encroachment upon the Sabbath, tho
jt'«Da' Aut"em 8h°uld at once be proceeded with. The " Ayes"
and " Noes" were equally boisterous ; but as most probably the
uat scene was not even set, after another speech from Mr.
P*r*us> ™k\c\i met witn «unilar opposition, the curtain was
lifted, and tho Anthem sung— solos by GrisL Regardless of the
fact that the anniversary of the Queen's birth had been ©cle-
at day, the un loyal malcontents accompanied the per-
i by yells and hisses. And thus terminated the first
ice at the now theatre, which, we agree with a contem-
porary, was, under the circumstances, one of the most extraordi-
nary feats over accomplished.
The HugumoU was repeated on Tuesday and Thursday, a
marked improvement in alt respects being noted, and the praises
of Mario echoed from mouth to mouth. Never did this incom-
parablesinger and admirable actor exhibit his great powers to
more advantage The same opera will be given to-night ; and
on Tuesday Mad. Bosio is to make her rcnlrte in the Trariata.
ITALIAN OPERA AT DRURY LANE.
La Traviata, produced on Monday, exhibited Madame
Donatem in Violetta, the part expressly written for hor by
Verdi. She sings the music with great bnllancy, and, no doubt,
as the composer intended. Her idea of the character of the
heroine, however, is too literal, and her Violetta would be the
lust person in the world to make a devoted lover of Alfredo.
Such fluent and admirable vocalisation, nevertheless, would atone
for much greater histrionic deficiency, and Madame Donatelli's
success was triumphant Signor Badiali, with the remains of a
fine voice, and very considerable talent as an actor, made a
capital Germont — in many respects, in fact, the best we have
seen. Mr. Charles Braham sings the music of Alfredo with
great feeling, and displays a very marked improvement in his
acting. He nightly shares the "encores'' and "recalls" with
his clever Italian associates. The part of Flora is vefry nicely
sustained by Mdlle. Bellosio. Signor Vianeai is a good con-
but his v_
luctor ; but his band is not a very good band.
Rigoletto is in rehearsal, and will be produced in the course of
next week.
Truhtt Church. — In a paragraph recording that a collection
was made in aid of the funds of this church last week, it was
stated that "A Psalm, composed by Mr. Edmund Cbipp, organist
of Trinity Church, was performed." We should have said, was
to be performed on Trinity Sunday. Mendelssohn's Anthem,
Hear my prayer," was given on the occasion alluded to.
NEW PHILHARMONIC CONCERTS.
Thb programme at the third concert, which took
Monday evening, in St. James's Hall, was as follows : —
mt L
Mendelssohn.
Mendelssohn.
Overture, (Pingal's Cstc)
Aria. " lofelice"
Concerto in 0 minor ... ... ... ... Mendelssohn.
Duet, " My song shall alaray be" ... ... Mendelssohn.
Air, " If with all your heart" Mendelssohn.
Symphony in A
Overture (King Stephen)
Air, with Variations ... Bode.
Solo, Pianoforte
Recit and Romania (Don Sebastian) ... Donizetti.
Overture (Precioaa) Weber.
Conductor— Dr. Wylde.
We certainly looked for something newer than the first part
of this selection, devoted to Mendelssohn. The pianoforte con-
certo and the symphony have been too much beard of late —
much too much. Dr. Wylde should have induced Mdlle.
Clauss to play the concerto in D minor, and have given his
subscribers the C minor symphony for a change. Then again
the air from Elijah, however well sung by Herr Rcichardt; could
not be found otherwise than out of place. In the oratono this
air is quite as edifying as it is beautiful : but it cannot with
impunity be separated from the context The same objection
applies with equal force to the duct from tho Lobguang, which
was entrusted to Madame Castellan and Herr Reichardt.
Nevertheless the fine execution of the symphony— every
movement of which was taken in a tempo that Mendelssohn liim-
self would have sanctioned — made the audience forget what a
stock piece it had been for the last five or six years Equally good
was the magnificent FingaFt Cues, which, although perhaps the
finest of Mendelsohn's concert-overtures, is less frequently
brought forward than any of them. The grand scena, " Infelico,"
is not congenial to Madame Castellan, nor indeed to the Italian
stylo of singing.
Madame Wilhel mina Szarvady Clauss played the cononrto
from memory, as she did at Exeter Hall in 1852 (when she first
appeared at the concerts of the New Philharmonic Society) ; and
was recalled by the audience at the conclusion of her perform-
ance, just as she was on the occasion alluded to.
The second part of the concert was interesting on account of
the two overtures. King Stephen* though one of Beethoven's
latest works, is also one of his least ambitious. It is fresh,
vigorous and brilliant without anpr evidence of the Beethovenian
depth. Every one knows the quaint and charming Preciota, one
of the prettiest wild flowers that ever sprang from the fertile
soil of Weber's genius. This was as welcome as the overture of
Beethoven, and both were capitally rendered. The "solo" of
Madame Wilhelraina Szarvady Clauss consisted of two pieces by
Chopin, quite as well known as the first concerto of Mendelssohn.
She played them charmingly, and was again recalled by her ad-
mirers.
Mad. Castellan was far better suited in Rode's familiar air than
in Mendelssohn's loss familiar tcena ; and Herr Reichardt ob-
tained well-deserved applause for the chaste expression with
which he gave the romance from Don Scbastie*—* work which
the Royal Italian Ojiera managers have so often announced, and
never produced.
At the end of some comments on the overture to AV.-,-
Ste/Jien, Dr. Wylde inserts the following note : —
" We wrote these remarks last season, on the occasion of the per-
formsDos of this overture ; ws now reprint them, ainee they explsin
our viewa and sentiments on the varioua atvlca of music. The intro-
duction of a piece entitled * Dante dea Sylphes,' in the programme of
tho last concert, has exposed ua to an attack from the leading journal
of the day. 1 Shades of tho great masters rise and defend us !' Hare
we not introduced to the public the Requiem and Masses of Cherubim '
• The orchestral prelude to Kotaebue'a Prologue, King Sttplem a/
««SWy, first produced at the opening of the Opera House at f esth.
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THE MUSICAL WORLD.
325
The Litany and Symphony Coneertante of Motartj besides making
familiar the works of Heethoven and Mendelssohn ? Ought not these
things lo be remembered, and a ' Danse dra Sylphea' forgiven ?"
Assuredly not. The "shades of the great masters," were
they to rise, would not rise to forgive, but to protest against
their music being contaminated by association with such rubbiBh.
At the next concert we are promised Mozart's ottet (in C
minor) for wind instruments ; a new dramatic cantata, entitled
Cotnata (subject from Oasian), by Mr. Howard Glover ; Miss
Louisa Pyne, and Herr Rubinstein.
MISS DOLBY AND MR. LINDSAY SLOPER'S
MATINEES.
Willis's Rooms wore crowded by a brilliant and fashionable
company on Monday afternoon, the attraction being the first of
a series of concert* given by Miss Dolby and Mr. Lindsay Sloper.
Mr. Lindsay Sloper displayed more than usual ambition in se-
lecting, among other things, the grand sonata of Beethoven, in
A flat, op. 110 ; but his performance showed that he had by no
means over-estimated his powers. He is one of oar most finished
and admirable play era, and what he undertakes he is suro to ac-
complish well. That the sonata, therefore, was skilfully and effec-
tually interpreted, may be taken for granted. In Mendelssohn's
trio in 0 minor, op. 66, for piano, violin, and violoncello, Mr.
• was aided by M. Sainton and Signor Piatti. This
as a treat of the highest order. Two " Oharac-
" by Moachclos, and two compositions of his own
-entitled "Sur lee F16U," a barcarolle, and " Jours Heureux,"
a morceau de talon— were also introduced by Mr. Sloper, and
played to perfection.
The vocal
MR BLAGR0VE8 QUARTET CONCERT.
The novelty at the third concert, which took place on Tuesday
evening, was the quartet of Ferdinand David, in A minor,
Op. 32, heard for the first time in this country. -It was
finely executed by Messrs. Blagrove, Isaac, JL Blagrove,
and Aylward, and its merits displayed in the fairest
light The other quartet was Mendelssohn's in E flat,
J to Miss Dolby and Mr. Santley.
The lady essayed two new compositions— a setting of Tennyson's
Own," by Mr. Duggan, and a song entitled " Broken Vows,"
S Herr Francesco Berger. She sang both admirably. Never-
sless, the first was somewhat lengthy. A poem of fifty lines
set to music, must possess rare merit to prevent its becoming I
tedious. Best of all was the air by Mozart, " Dolce corde amato,
which Miss Dolby gave with true and unaffected sentiment.
A Christmas song !< Nazarette," the composition of Gounod,
was exceedingly well sang by Mr. Santley. In addition to the
above, Signor Piatti played a Thhne Varii of his own, and
delighted the audience with the elegance and brilliancy of his
REUNION DES ARTS.
Tux first toiree mutioalt of the eighth season took place
eveniug, George W. K. Potter, Esq, President.
rcre under the direction of Herr Goffrie,
a small band of some twenty performers,
in the overtures to Don Juan and La Ctemema di Tito,
and in the Jupiter symphony. The singers were Madame
Haym<a, Mr. Seymour, and Herr Bichard Deck, who, in songs
by Donizetti, Mozart, and Boieldieu, varied the attractions
of the evening. Herr Nnbich threatened to blow the walls
down with a trombone solo, by F. Stern; aud the gentler
clarionet of Herr Pupe (from the Crystal Palace band), in a
fantasia by Kalliwoda, was quite soothing, after such a tre-
aieudous display. Miss Arabella (ioddard, u the bright par-
ticular star " of the evening, played (with Herr Goffrie), Men-
delssohn's only sonata (at least the only one published), for
piano and violin, in the most finished manner, and with the
greatest applause. The concert ended (and everybody remained
until the end) with " Home, sweet 11. ..,„-• " (V. Wallace's ?) per-
formed in such a manner, by the same accomplished lady, as to
thoroughly enchant the audience. Herr Goffrie deserves
credit for providing such a musical treat for the Riunion; but
we cannot help thiiiking that his band is de trop.
Herren Joseph Joachim and Rubinstein art! announced to
appear in the course of the season.
Tambbrlic has signed an engagement with the Grand-Opera
in Paris for three months, to commence in March or April noxt
rear. He is at present at Brussels, and will shortly leave for
No. 6, op. 44, a work of a far higher order, which did not
require the attraction of novelty to recommend it. Thai berg
and De Beriot's Duo Concertante, pianoforte and violin, was per-
formed by Miss Cecilia Summerhayes and Mr. Blagrove ; and Mr.
Blagrove played a selection from studies of his own composition.
The vocal music was entrusted to Miss Lascelles and Mr.
Santley.
— : — ■- •
HERR PAUER^ SOIREES.
Tax programme of the second of these entertainments, which
attracted a numerous and fashionable audience to the Hanover
Square Rooms, on Wednesday night, contained some features of
very great interest. Herr Joseph Joachim was the prominent
attraction ; and this great master, associated with Herr Ries,
Herr Pollitzer, and the accomplished Sig. Piatti, afforded au
unusual treat by his magnificent performance of Beethoven's
llth violin quartet (in F minor) — that gorgeous ambassador
of the " Posthumous," so called, although they were published
in the lifetime of the composer. Herr Joachim also astonished
the audience by his superb execution of one of the caprices of
Paganini (variations), at the end of which he was recalled with
enthusiasm. He also joined Herr Pauer aud Signor Piatti in
Schubert's pianoforte trio, Op. U9 (in B flat), and played the
violin obbligato in the contralto air, " Krbarme Dich," from Bach's
Pauion of St. Jfatihew, which Mad. Pauer sang with artistic
feeling. Besides alt this, the sonata of Beethoven, Op. .1 (in F) for
piano and violoncello, was admirably executed by Herr Paoer and
Big. Piatti i Her Pauer performed a twite de pieces of hi* own
composition, for piano solus (consisting of preludio, tarabande,
altemande, courantt, menuetto and giyue), which had the form (if
not the spirit)of Handel and Bach ; while other vocal solos and
duets (from Handel, Mendelssohn, and Herr Pauer) were con-
tributed by Miss Kemble and Madame Pauer. The concert was
to end with Liszt's Carnaval de Pesth, to be performed by Herr
Pauer ; but for this, after so much good music, we did not feol
iclined I
the
aud Mr. Harold
JULLIEN IN EDINBURGH.
(From the Caledonian itercury, May IS.)
The far-famed Jullien gave his concert last night in the Music
Hall, which was crowded in every part, as it could hardly fail
to be, considering that the programme was one of the most
attractive description for a popular concert. The orchestra con-
sisted of upwards of thirty executants. The solo performers
were great as over; snd the concert was a very delightful one,
embracing a mixture of classical and popular compositions,
rarely if ever combined, except by Jullien. The classical portion
of the concert consisted of — first, the overture to Leonora,
by Beethoven, the third of four written by that great com-
poser for his opera of Fidelio — the beat of the set, and his own
favourite. Who can wonder? It ib a composition which no
musician can fail to appreciate aud admire, aud as performed
last night was most effective. Second, the Andante from Men-
delssohn's Italian Symphony in A — as fine a slow movement as
is to be found in the works of any composer, and worthy to rank
with the most celebrated of Beethoven. Third, the Andanet
from Haydn's Surprise Symphony, forming a good contrast with
Mendelssohn's slow movement already noticed. The vocal
performers were Miss Louisa Tinning and Miss Rauoe. It
would be hardly fair to pass any opinion upon the latter, who
perceptibly, and as M. Jullien announced, was suffering from a
very severe cold. This, however, did not prevent her singing
(with Miss Vinning) Mendelssohn's " I would that my love"— a
• lovely and melodious duet. Miss I/Oui*a Vinning, once
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THE MUSICAL WORLD.
[May 22, 1858.
known m the Infant Sappho, is ono of tho few prodigies who
hare eome " to something." She bos a moat winning ( Vinning ?)
manner, and a beautiful voice. She sang 'Tacea la notte," from
"Verdi's Troeatore, exquisitely ; and being encored, gave " Where
the bee sacks." At a later part of the evening, with " Home,
sweet home," she entirely captivated the audience ; and in obe-
dience to a rapturous encore, saug "Comin' through the
rye," with no less spirit and sweetness. Again called forward,
•he gracefully acknowledged the compliment, and retired amidst
uproarious applanse. This young lady is one of the most
charming singers we have ever had the pleasure of listening to.
Her voice is clear and powerful, ana hor smile enchanting.
We hope soon to have again the pleasure of hearing her.
M. Kemenyi's violin solos displayed effects which we had never
heard before. It is quite impossible to describe them. Tho
flute solo of Herr Reichcrt was the performance of a real artist ;
and as regards the quadrilles, waltzes, and polkas, we need
hardly say they were excellent— since they were Jullicn's own.
THEATRES IN PARIS.
TftSRK is in expectation at the Grand-Opt-ra a ballet — a
scintillation from the coucutient brains of Th6ophile Gautier
and Emile Royer — but at what precise date and hour it is to peer
above the horizon of the Rue Lepclleticr, theatrical magi are
nnable to discern. Meanwhile, what is certain — that is as certain
as history can be, compared with prophecy — is the engagement
of Tamberlik, which ia to date from the 1st of April, 1850, and
to run to the expiration of threo mouths from that day — with
us sacred to fools, with our neighbours to fishes. The terms
are a trifle— ,£1,000— to which the day should be sacred to fools or
fishes — ninnies or finnies— verily it would seem to either, or
more properly to both. Friday last the Dutch Queen visited
the Opera, and in her honour tho Corsair was revived : if we
can see the a propos wo are Dutchmen, for the Corsair was
none, though he way have sailed in company with the flying
one, unknown to his noble biographer.
Madame Ristori, to whom the grim one hath accorded brevet
rank, as the first tragedienne of Europe, ventures — (the same
friend having made all things smooth — well rolled the turf over
alas, how mournful a grave .' adventures in — hush ! is she quite
dead 1 — quite — quite — alas!) on Phidrr. The ambitious
Italian had not even, like Prince Hal, tried this, the crown,
to feel its weight, ere it rightfully lapsed to her. Will it not
crush her t Apparently not. The forgetful Parisians have made
it light for her. Could poor Rachel's sublime effects in this
part and others have been sold with her othor and worldly
effects, how would Madame Ristori have run up tho bidding,
and what a supplement of wealth would have flowed therefrom
to kindle the greedy eyes of the grovelling tribe to whom nature
in mockery gave such a sister. What matters. Pari* thought
Fedra very fine, and overwhelmed the Italian favourite with
bouquets, crowns, and " La reiue est morte. Vive la reine !"
It is premised that Meyerbeer's new opera will be put into
rehearsal ere very long.
Lotos Musical Fbwtval.— ( From our Correspondent.) — A
general festival committee meeting was held last Momlav, when
it was decided that the festival shall take place on the 7th, 8th,
9th, and 10th of September, the first day being on a Tuesday.
The works to be performed on the mornings of these days are
— Tuesday, Elijah ; Wednesday, Ilaydon's treasons ; Thursday,
Rossini's Stabat Mater, Beethoven's Mount of (Hives, and selec-
tions from Bach's Passions Musit ; Friday, Messiah I am
informed on good authority that amongst the secular novelties
for the evening concerts will be Professor Bennett's new
Cantata, The May Queen, the composition of which, as you are
aware, was commenced prior to tlie announcement of Mr.
Maofarrcu's Cautata on the same subject, cntirled May-day.
Her Majesty has allowed her name to head the list of patroiie*ses
to the festival, and this has caused many of the nobility also to
■end in theirs. The guarantee fund already amounts to the
respectable sum of £3,300.
MOZART'S FIGARO IN PARIS.
(From La Been* et Gazette Musical*.)
The names of the anthers were not announced after ths first
performance. That of the composer was, doubtless, very well
known, and, also, that of the poet, if it was Beauraarcbais. But
the latter had various coUaborateurs. First, there was the Abbe
Caati, the author of the libretto. He was a very skilful versifier,
and an elegant, clever, and smart |K»t. He did not possess,
however, the spirit, the fire, aud the fineness of touch which
distinguishes his original. He has paraphrased admirably cer-
tain passages of the French piece, sneh, for instance, as the
passage in which Cherubino relates the new sensations beginning
to spring up in his soul ; and that again in which Figaro recapi-
tulates to the page, when he has been appointed an officer, the
advantages and disadvantages of the military profession. I
could mention several others. The air, •• Vol cbe sapete,"
belongs entirely to the Italian poet, and ia, even leaving the
music out of consideration, a little master-piece. After the
works of Metastasio, the Noae di Figaro ia certainly the most
elegantly written libretto we have had, and contains the most
good lilies. It strikes me, however, that the comic portion of
the French piece is leas comic in the Italian one, and that the
peculiar vie comica, which ia one of the most striking features
of Beaumarchais's literary physiognomy is considerably deadened.
It was necessary that this translation should be re-tranalated
from Italian into French, in order that the patrona of the
TheAtre-Lyrique might be enabled U> enjoy Mozart'a music.
This was a task attended with quite a new kind of difficulty.
Our poetry ia far from possessing the conciseness, rapidity, or
freedom, distinguishing that of our southern neighbours. To
change Italian into French verses, especially operatic verses, is
like dancing with gyves upon one's wrists, and leaden soles to
one's shoes. We must not, therefore, be too hard upon oar
lyrical translators. If they render the meaning, and respect
tbe musical text, we ought to declare ourselves satisfied, 1
shall, therefore, not think of addressing any reproaches to the
author, whoever he may be, of the new translation of Let .Voces
de Figaro, and there are many things for which I might praise
him. As the recitatives have been suppressed, I regret, in com-
mon with many others, that Beaumarchais's dialogue has not
heen substituted, purely and simply, in all those port ions of the
piece which were not sung, as was formerly done in Le Barbier
de Siville, and, quite recently, in Le Medecin malgri Lni. But
this was precisely the cause of all the evil. Those worthy indi-
viduals, le* comidiens ordinairtt of his Majesty, the Em|>eror,
complained, it is said, bitterly, of the incursions made into their
territory by the ThoAtre-Lyriquo, and cried out that they were
being robbed. The dispute was settled by an ingenious com-
promise : let Beaumarchais's prose be translated into verse, and
the TheAtre-Francaia will not recognise it.
It appears to me that the TheAtre-Fraucaia was afraid of an
imaginary danger. It is Mozart's niuaic that people go to hear
at the other establishment. As for tho comedy— lively, sparkling,
delicate, bold, and dashingly play.nl — everyone knows that it is
to be found only in the Rue Richelieu. After all, theso mutual
jealousies of various theatres, jealousies founded on old customs
and old prejudices, are now-a-days nothing more than
anachronisms. We should remember that the railroads bring,
every day, to Paris, eight or ten thousand travellers, who, when
their business is transacted, have no other means of employing
their evenings than by going to the theatre. It is to these persons
that we owe the prodigious augmentation in theatrical receipts,
regularly announced in. the papers at the end of every month.
They fill all our places of amusement, from which they some-
times drive tho Parisians themselves. There are now spectators
enough for all our theatres, and if we had fifty instead oi twenty-
five, the fifty would do a good business.
Le* Xoces de Figaro had not been performed in Paris for some
twenty years. In 1 838 the management of the Italian Opera,
then banished to the Oduon by the burning of tho Salle Favart,
put this charming opera on the stage in the most brilliant man-
ner. The part of Almaviva was played by Tamburini, aud that of
Figaro by Lablache. Mad. Persian! sang the part of Rosina
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May 22, 1858.]
THE MUSICAL WORLD.
327
and Giulia Griai that of Susanne. I do not know who was the
Cherubino, but I nay safely say, without fear of compromising
myself, that he was not equal to the present representative of
the part Mad. Carvalho sings the air of the first act, and that
of the second, long known as u Mon cceur soupire," with a deli-
cacy and charming grace that no one could surpass, only she
ends the first with a B flat, which we do not find in the score,
and which, introduced as it is, and not supported by the
orchestra, appears somewhat harsh. Perhaps, too, she executes
" Mon coeur soupire" too precipitately. 1 can, at least, assert
that all the artists who sang this air in Paris before her, if we
go back as far as Mad. Mainvicllc, and even Mad. Barilli, gave it
more slowly.
The dnet commonly entitled " the duet of the letter" was not
1b her part, bnt in that of Susanne. Mad. Oarvalho considered
it lawful spoil, and allotted it as her own share, just as the lion
claims the best part of the deer.
Ello
doit Aire ft moi, dit-il, et la
t que je m'sppcllo lion.
a Mis ron n'e nen a dire."
To effect this transfer from one part to the other, it was
necessary to change the character of the morceau. and make of
a piece of banter, full of grace and lightness, a plaintive elegy.
I do not venture to assert that Mozart has gained by this, but
Mad. Oarvalho has not lost; clapping of hands, stamping of
feet, shouts — nothing was wanting to her triumph, immediately
corroborated and confirmed by a cry of " Encore "unanimously
echoed by a thousand voices. As I am bound to render nuto
Ctcsar that which is Omar's, I lose no time in adding that
Mad. Van-den-Heuvel, who sang the part of the Countess, has a
right to claim a share of this success, for there U no duet which
may more legitimately be entitled, a duet for tvo equal voices.
Mad. Van-den-Heuvel executes the admirable largkctto in E flat,
which serves as introduction to the second act, and the grand
air of the third, with that irreproachable correctness, that ele-
gance and nobleness of style, so well known to us. Mad. Ugalde
infuses iuto the part of Susanne her usual spirit, bolduess, and
brilliancy. Though tho "duet of the letter* has been taken
> her, that of the " rendezvous," at least, has been left her,
she produces in it the most pungent effect. It is impossible
to display more delicacy in the alternation of the " Tea," and
" No, or to make more of this delicious caprice of the com-
poser. She is no less charming in all the points of the first act,
and in the little duet with Marcelino in the first.
The union of these three artists, di primo earteUo, as they say
1b Italy, will, no doubt, prove an irresistible attraction for the
public, and double that which the great name of Mozart, and
the incontestable merit of his work cannot (hit to exorcise.
M. Mrillet plays the part of Figaro with great talent. He ex-
hibits dash and brilliancy in the air which terminates the first
act — that model rondo that every one knows by heart. The
preceding air in F, in three-time, used to be sung much more
quickly, and produced a far greater effect.
The voice of M. Balanque waa dull in the part of Almaviva,
which he played rather coldly. He will acquit himself better,
probably, as lie becomes better acquainted with it. I may, also,
he allowed to hope that the orchestra will acquire more accent,
colour, brilliancy, and energy^ when its conductor, to whose
intelligence I have often done justice, is better acquainted with
Mozart's intentions. Is it not to be regretted that no one was
to be found in the theatre to give the real tempo of so many
mnrrwr, the effect of which is sometimes lessened by being
taken too slowly, but oftener by a too petulant vivacity ?
Despite these trifling errors, tho opportunity thus afforded
them of studying one of the masterpieces of musical art is a
piece of good fortune for real amateurs. Mozart entitled his
work JJramma O'ioccno. it was nut, therefore, an opera buffo
he wished to produce, and he was right, for it would seem that
Heaven has reserved for the Italians alone the privilege of that
■pecies of music. The Notts is a comic opera, as temperate in
its style as many French comic operas. It even contains pieces
of a very serious kind, especially in the second and third acts.
It may be accused of a certain too uniform and rather mono-
tonous tinge. Bnt how are these trifling defects compensated by
qualities of the first order ! 'What an inexhaustible abundance
of motives ! what a wealth of ideas ! what cleverness delicacy,
grace ! what perfect taste ! what moderation in everything !
what profound science ! what admirable art in the construction
of the various pieces, in the management of the details, and in
the proportions of the whole ! What magnificence in the deve-
lopment of the finale to the second act, which is one of the
masterpieces of its kind ! Perhaps, others have since been
posed, which are grander in their effect, but, to appreciate justly
the genius of an artist, we must compare him with what has pre-
ceded and not with what has followed him. If we look at the
matter from this point of view, we shall hardly ever find any
model for Mozart's important works, and we are terrified at the
power of that genius which created simultaneously ihe idea, the
style, the form of the various pieces, the harmonic arrangement,
and the instrumental combinations, always introducing innova-
tions, and never making a mistake. "Ho possessed," said Ros-
sini, when contemplating tho manuscript of Don Juan, " as much
genius as science, and as much science as genius. His was the
most complete musical organisation that ever existed." After
such praise from such a mouth, there is nothing more to be said.
Lsoir Durooher.
NE PLUS ULTRA AND PLUS ULTRA.
(Prom the Illustrated Times.)
At the second of Miss Goddard's concerts, that admirable
pianist, who is at once the youngest and the most accomplished
performer of the present dav, plaved the jV« Pint Ultra of Woelfl
in the first part, and the Plus L lira of Dussek in the second.
There is a story connected with these sonatas which may be new
to some of our readers. Woelfl** composition was, when it ap-
peared, the most difficult piece that had ever been written for
the pianoforte. Iu his time (the early time of Beethoven), as in
ours, there were numbers of composers who wrote pianoforte
music solely with a view to display. Woelfl was a genuine
musician; but indignant at the success achieved bv iguorant
composers of " airs with variations," he determined, once for
all, to write a piece which the charlatanic professors of the day
should not only be unable to rival, but which they should posi-
tively be incapable of executing. Considering that in this
morfeau he had attained the limit which separates the difficult
from the impossible, Woelfl entitled it JVe Plus Ultra; and as
he had foreseen, numerous professors of high repute, when re-
quested by their pupils to play it, were obliged to excuse them-
selves from any such attempt. Woelfl had beaten the charlatans
on their own ground, bnt, true to his instincts, he had taken
care to preface the variations with an adagio and allegro worthy
of himself and of the musical art. But soon came Dussek with
his admirable sonata, called the " Be tour k Paris," which
the London publisher, conceiving to be fuller of difficulties
even than the celebrated comj>oaition of Woelfl, christened
" Plus" Ultra. We are unable to judge which of the two
Kesents the greater mechanical difficulties, but the prize of
auty must certainly be awarded to Dussck's piece. It has
been heard at concerts before now, but never to such advantage
as on Wednesday last, when executed by Miss Arabella Goddard.
All the emotion which this charming pianist does nor exhibit in
her countenance and gestures, appears to be reserved for her
playing, than which nothing more tender and more impassioned
cm be heard. The contrast is as complete as between the out-
ward frenzy and the inward coldness or some of our continental
friends — players who would have us believe that they are suiting
the action to the sound, and who. imitating in their own way
their his'rionic prototypes in Hamlet, do their best to " tear a
piano to tatters." This calmness of manner, which is so remark-
able in Miss Goddard, is in fact one of the last results of art.
It is seen iu fioethe, as its total absence may be observed in the
poets of the Freuch romantic school — ostentatiously passionate
themselves, bat for the most part unable to move the passions of
their readers.
Vivibr, at the invitation of the King of Portugal, has left
Paris for Lisbon, to be present at the fetes in honour of the Royal
Marriage.
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THE MUSICAL WORLD.
[May 22, 1858.
ROYAL PRINCESS'S THEATRE.
UNDER THE MANAGEMENT OF Ma CHAMJ
r Monday, Wednesday, Friday, and Saturday, MUSIC
HATH CUAKMS. KINO I. EAR, -and SAMUEL IN SEARCH OP
HIMSELF.
Tuesday and Thureliiy. THE 8TOCK EXCHANGE; or. Tim
FAUST AND MARGUERITE, and SAMUEL IN SEARCH OF
0'
ROYAL PRINCESS'S THEATRE— MR AND MRS.
CHARLES KEAN respectfully Inf.iroa the Public that their ANNUAL
BENEFIT will take place oo SATURDAY, JUNE Itth, upon which occaaiou
8h»k«p«re'« Play of THE MERCHANT OP VBNICB will he produced with the
hum accuracy at detail and hist. Tien] correctness that have marked the previous
revlvns at this theatre. In conaequeDce of thia arrangement KINO LEAR wilt
be reunited ELEVEN' NIGHTH more, and then withdrawn, to make room for
i MERCHANT OF VENICE. KINO LEAR, Mo.vday, Wednesday, Friday,
ROYAL OLYMPIC THEATRE.— On Saturday evening
next. May M. the iwrformanee will commence with the new comedietta,
A DOUBTFUL VICTORY After
Tc
_ which a now far«. cnutlod TICKLISH TIMES
BOOTS AT THE SWAN. Commence at balf-oaai T.
rpHEATRE ROYAL, ADELPHI On Saturday
X Creole,*. May the performance will commence with OUR FRENCH
LADV8 MAID. To be followed by TnE GOVERN
MOM AL SPECULATION To conclude with YOUR
WIFE ; OR MATRI
GREAT NATIONAL STANDARD THEATRE,
SnOREDITCH — Proprietor, Mr. Joiih Doocuaa.
Production or a o rand Dramatic Play, with new aoonory, dresses. Me, ami a
iic-t r..miou uf THE KKUI M KNTS DAUGHTER. Mkw R..becra lrun and
Mr O. K. Dickcna.-ii every eveuiiiB On Whit Monday, and during the week, to
eminence with POMPElf . OR, THE DOOMED CITY. Supported by Mr. O. K.
Dlekmo.ii. Mr Jam™ Johnston. Mr Frederick Morton. Mr. 0 B. Bi(wood.
Mra R. Honner. Ml* Stewart, »ut Mia* IWiwr. And 10 conclude with a new
vcrnioti of THE REGIMENT'S DAUGHTER. Supported by
the whole etretiRtli of toe company. No advanec In price*.
THE MUSICAL WORLD.
LONDON, SATURDAY, Mav 22ji», 1868.
The English are not open to the charge of being slow in
recognising the merits of foreigners, and of foreign artists
especially. On the contrary, we rather overdo the thing,
and are now and then laughed at for our want of judgment.
In most circles, the mere fact of not being native-born en-
title* musical professors to a consideration wholly apart from
their intrinsic deserts. This has been so for a century past.
No doubt our partiality for foreigners was engendered at a
period when their superiority was manifest. But times have
greatly changed, and musicians with them. We have pro
titrd by the ex
for the fortun*
imple of
I they
ur i
iavc <
!>ntiuental visitors, who, in return
trued in this country, have initi-
ated the aborigines in the art of turning a penny for them-
selves.
It is now no longer indispensable to learn any branch of
music from a foreign mastor. We have professors of har-
mony and composition, professors of the violin, pianoforte,
organ, and every other instrument, professors of singing,
and professors of harmony, counterpoint and the art of com-
position— not " shams," as, with few exceptions, was formerly
the case, but just as well-instructed and just as competent
as the majority of those " illustrious strangers' who honour
our foggy atmosphere by inhaling it.
How then are wo to understand the predilection for Sig-
nori, Mfiurieurt, and Ilerren that still prevails to so alarming
an extent with the nobility and wealth of this country 1 How
explain the fact that Signors Plotti and Rummi, who know
nothing about singing, Herren Bauer and Bragger who
know less of the piano, should be courted and patronised at
the expense of theii- lietters ? — unless by the existence of a
strong anti-national feeling among the upper classes, which
might suggest a new chapter for the next edition of Mr.
Thackeray's transcendent Book of Snobt. This hankering
after bearded and mustachioed foreigners is, in short, snobbish
to the last degree. It has also a bad tendency, inasmuch as
it helps in a great measure to prevent those who should be the
real patrons of art from acquiring a healthy taste for it All
the good that may be effected by quartets and sonatas, at the
1 n, is neutralised by the Italian professor of
roulades, tho French dealer in inock-sentimcnt, and the
German clavier-splitter. Tho " English Moos" (as M. de
Florae calls her, in The tfewcome$) having just heard one of
Beethoven's grandest works at St. James's Hall, which the
"analytical synopsis" insinuates she is able to comprehend
and enjoy, returns home to " sol fu" with Sig. Plotti, who has
a sovereign contempt for the " Musica tedtsca tenza mdodia,'
and to " thrum" with Herr Block, who tells his " schulerinn"
that they don't know how to play German music in England.
What follows 1 Beethoven is forgotten — for " Ernani
involami," and the Onziinie Aubade of Herr Block.
This brings us to another phase in the relations between
exotic professors and their pupils. Generous, lavish — stupidly
lavish — as we have been and are still in their praise, the
foreigners by no means return our toncvolenco in grain. We
have rcason to know that, in the majority of instances, the
meritorious English artist, who devotes himself nobly to the
pursuit of art for art's sake, and is satisfied with tho appro-
bation of the public and the press, as a reward for all
the toil, the wear and teair of physical and mental faculties,
inseparable from an earnest desire to attain the highest ex-
cellence, has no more busy enemies. Of course there
are many admirable exceptions ; but these are our Benedicts,
our Gareias, Moliqucs, Costs,*, Ac , whom we regard more as
compatriots than as strangers — or such distinguished occa-
sional visitors as Mendelssohn, Spohr, Ernst, Joachim and
the like. Examples to the contrary — were we disposed to
personality (which may happen some fine Saturday) — -could be
signalised by the dozen. At present we refrain from men-
tioning names. Tho system, adopted by the designing in-
triguers to whom wo allude, is generally to damn by faint
praise, wherever they cannot outrage public opinion by whole-
sale condemnation.
As for example
Sc«!»B.-rAe Drawing-room at the Ducheu of FitziaUUaxSi.
Thi Dl'CUMS 0» FlTXBATTLIlXI (who epeakt French, Italia*,
German, Spanish — anything but English). — " Bon jour, Mom. Durillon
d'Engclure. Jc me suit bien amueee, hior, au concert de Mdlle. Dolby.
J'ai rntendu M. Lindane Sloper. II a jouc la sonata cn la Umol de
BeelhoTen— Mm 110— stco una finesse — un touoher— enflo one
nettettl, qui ni'ont plue, inliniment. N'eet ce pas qu'il joue bicn?"
Moss. Dtranxoir d'Ekqilcrs. — " Out, Madame Is Dochetse, il •
du merite, tans doute; mais, d'un autre cote, il eat d'nne froideur
glaciate."
Tux DtTX I op FrrzBATTLXAXK (as old toldier, who hatet foreigners,
and especially Frenchmen).—" Alt, Mon*. d'Engelure vous Han serer*.
Que dites tous Mors de notro grand piauiste, Sterndojc Bennett f Son
talent doit plaire mi'mo aux Erancaia, dont l'etigeance et vraiment
proToqaante."
M. DcaiLLOX d'EnOs%urs.— "Milord,— la gamme — mime i» gamine
pcrlce, eelon-
rwherche le si
tee — eroyrs le bien, Milord — n'ost pat tout. Je
Toyrz rout— le ttyle. C'ctt le style, ainti dtt, qui lni
r la qu'il pt-rlie. Da restc, Milord, 1' Anglais n'ett
II appreml, e'ett »r»i, mais a rebrouste-poU. Le John
me plutAt juger— que d>r»i-jc?~ payer les artittet.
bien comuva celt. Milord, j'ai rbonnetir de root
et le jeuue Arthur Na
manque. C'ett
pas n<S mutioteu
bull m
Les c hoses s'i
aaluer. Mdlle. Mane et le jeuue Arthur Napoleon Fitsbi
m'attendent. J'entcnda deja .'andante de met Murmures, dont
Marie turtout r»frolc." (Kxit M. Durillon d'""
Dukk (to Zhehess).—" That fellow'a a donkey."
Dccuxss (to Dnlre).—" Yi done ! Milord
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May 22, 1858.]
THE MUSICAL WORLD.
329
Duke (to Duchess).—" Do, for heaven's take, apeak English.
" French jargon."
Enter Sig. Tmo ClPOLLAVI.
DcCHBse.— " lion jour. Monsieur. Ditea douc— M. Dnrlllou
d'Engclure n'aime pas trop le jeu de noire piauisto Sterodalo Bennett.
Mon mari trouro M. d'Kngelurc seVerc ."
DCKE (for once bursting out into a French monosyllable)— " Bete."
SlO. TeSEO CiroLLAXI. — {Aiirfe) "Brari»«im>, 11 Dilca!" (AhnJ.)
" Zere Madam — » la Duchessa — il y n toner et zouer — sapete voi. he
ijiHitnim --re' indispensable. Qu'U en passed — e, je ne lo nie pas. Anche
a t il un aseez zoli tou>»er. Ma (Per Bacco !) tire Madam— e, to dcmande
eurtoutlesentiment— i'am— »— sansquoi to ro»t— • freddo. Quclque
tot—emanro. EnBn— la mueiea z'ost I'Am-e'et, vice vend, l'atn— e
s'eet la mmiea."
Ducrbss. — "Monsieur, je touj tail grand connoisseur, et root devez
•arolr. A pros tout, le jeu de M, Dennett manque do distinction.
SlO. Tb«EO (interrupting her with enthusiasm).—" AgghiaociAto f"
Pitches*. Voua area trouve le mot. Voua etc* bicn epirituel—
AuMi eat-il qnclque foil plat et tant toit peu"
•ting her with enthusiasm). — '
I
bien fin,— Sig. CipoUat
Sio. Tisbo.— " Cipoltani, a'il voua plait, Madam-* la
Enter Hebe Block.
DUCHESS (forgetting herself).—" Ah, here's Hcrr Block. (Recol-
lecting herself) Bon jour, Munnrur. Nous jasons pianistcs. Monsieur nc
rent pas que nous eu ayuns. Voua derex aaroir uiieui que lui, puiaque
Toua enaeigncz le piano ; et tous etcs grand artiste pardesau* le uiarei-.r.
Tons arez entendu arant-hicr — au moms d'apres ce que Ton mo dit — tous
•tpz entendu jouer la petite Qoddard — Arabella — n'eat ce pas Trai ?"
Hbbb Blocb.-" Oui. Madame, je l'ai enteudue."
DtrcuESS. — " Qu'cn pcnaez-Ti>n<, Herr Block ?
Hebb Block.—" Flock, Matame, a'il foua blait. Je touj en prie,
Matame, je fais foua rebliquer. (After tome reflection, and with a took
of great profundity) Asirement, Matame, cedde bedido Tille, elle fait
Taire sea ksmmw — si l'art de jier air le biano se porne a raire tea
knnrr.es. Abrr, bir raire ein crant ardiade il raut do brovondve gon-
naisaauce* enziglobJtiques — ed le cheuie — airdoud le chrnie. Aber,
cedde bedide. temoiscllo so drombo en bronant la kamrne bir le choose."
(Onke of Fitzhatt lease rushes out. What el— pastes between the
Duchess and Herr Block must be left to the imagination of the reader.)
Whatever some of our readers may think, there in very
little exaggeration in the above. We know several persons
to whom foreign music-masters have spoken of English
artists like Mr. Sloper, Professor Bennett, and Miss Arabella
Goddard, in terms quit** as disparaging as any uf those em-
ployed by M. Durillon d'Bngelure, Sig. Cipollani, and Herr
Block ; and how this metropolis is infested with Engelurea,
Cipollanis and Blocks, it is hardly nocessary to insist. Never-
theless, we may warn these gentlemen, in the language of
Policeman X, that " there is a JU upon 'em," a
viz., John Bull's.
Foreign musicians have little to complain of here ; and
" Live and let live" should bo their maxim no less than our
In the preface to his admirable work on " Shakspere" —
which, by the way, ought to be translated into English —
Professor Gervinua remarks that in the history of European
civilisation two men make their appearance with the special
mission of preserving the old family link that exists between
the great nations of the Teutonic taw — that is to say, the
Knglish and the Germans. These two men are Shakspere
and Handel, and the union consists in each branch of the
family acknowledging as a sort of compatriot the genius
who, by birth, belongs to the other. The Germans look up
to Shakspere as the patriarch of their national poets :
Handel is worshipped by English lovers of music as tho
national composer.
"We sincerely hope that the very correct views of Pro-
fessor Gervinua may not be disturbed by the perusal of a
mournful document, that wo arc about to lay before our
readers. That Professor Gerviuus studies the Musical
World every week we have not the slightest doubt, and
therefore we accomi*any the document with certain remarks
that will serve as a preventive to the baneful effects it might
otherwise occasion. The document is not tit to be sent
abroad, like a protectant bible, without note or comment.
Unexplained, it will brand tho whole nation with infamy;
explained, it will show that the sins of certain societies, not
of the people in general, have caused a state of things so
discreditable to the British character.
Hero is the document, and attention is particularly in-
vited to the paragraph which tee have printed in italics : —
Ireas yon in reference to the project for tho
f a Bronze Statue of Handel at Halle, his birth-place. Con-
siderable progress has been made in the work, which it is intended shall
be completed in tho coming Tear, 1859 — that being tho centenary of
Handel's death.
" Hie Boyal Highness Prince Frederick William, and other members
of the Rival House of Prussia, with many royal and distinguished per-
sonages throughout Germany, hare rolunteered their patronage and
support to the undertaking ; and liberal subscriptions bare already
" Her Majesty the Queen has been pleased to subscribo £50, and
His Royal Highness the Prince Consort £25, to the fund raising in
London ; and I am happy in being able to state that tlte Members of
the Snored Harmonic society, at their Annual Meeting on the 9th
instant, voted £50 towards the same object. Tho Committee of tho
Society have likowiso forwarded to Berlin, for the use of the sculptor
commissioned to execute the work, a east from the face of the statue of
Handel by Roubiliae, now in tho Society's Office at Kzeter Hall.
" notwithstanding, howeccr, the important assistance afforded bg the
subscriptions alluded to, the entire contributions from England do not
much exceed £200, received from lets than one hundred subscribers.
"Relieving tho object to be one which must commend itself to the
feelings of many thousands in this country who hare received delight
from the performance of Handel's works, and being satisfied that the
small amount of interest hitherto taken in the project is attributable
mainly to its not being sufficiently known, I am induced to attempt lo
give additional publicity toit, and to press the subject upon the atten-
tion of some of those who, there can be no doubt, would desire to
cooperate in such an undertaking.
"Subscriptions of 1*., or larger sums, in accordance
Circular, may be remitted to Mr. J. F. Puttick, 191,
London, W., who will forward a receipt to each contributor.
"The object more especially in riew being to elicit an expression of
feeling from such a vast number of persona as would bear some fair
proportion to the estimation in which Handel's genius ia regarded in
England, it will afford tho Committee much pleasure (whilst not abso-
lutely limiting the amount cf subscription from societies or individuals)
lo receive from you and vour friends the small subscription of osb
Mm 1 1 m i bach, in aid of the project for erecting, in Handel's birth-
place, some enduring record of his genius.
" Although the sums raised in England are not to be forwarded until
the statue is in course of erection at Halle, it is most important that
the amount available should be at once ascertained. 1 hare therefore to
acquaint joa that this office will be open daily, from twelve until fire
o'clock s and on Friday evening', from eight until ten o'clock, for a
limited period, tor the personal payment ot subscriptions, which may
also be forwarded by poat-offio* order, payable to me, at Charing Cross
office, or in postage-stamps. Permit me to add, that promptitudo in
forwarding any amount will materially enhance the satisfaction with
which your contributions will be receired.
" I should not hare presumed, in my individual capacity as a mem-
ber of the English Committee, thus to address you in reference to this
project, had I not previously received full authority for so doing from
Sir George Smart, the president ; Mr. Henry F. Broad wood, tho
treasurer ; and Mr. Klingemann, the honorary neeretary of thai com-
mittee. Having also taken an active part in the Great Handel Festival
at the Crystal Pal see, last year, and anticipating, concurrently with
tho erection of the Halle statue, the opportunity of aiding in a tar
granderdisplayof Handel's genim at the Great Commemoration of 1859,
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330
THE MUSICAL WORLD.
[May 22, 1858.
I trust that 1 m»y be permitted to appeal to you in all earnestness for
jour prompt and united assistance— subscribing mysolf,
"Ladies and Gentlemen, your rery obedient servant,
" Rosibt Bowusy,
'* Treasurer of the Sacred Harmonic Society.
" Halle Handel Statue Office,
«' So. 2, Exeter Hall, London, ff'.O, \"th March, 1S5S."
This is the worship of Handel, is it i Deduct from the
iram of £200 the subscription of tho Queen and the Prince
Consort, amounting togothcr to £75, and £125 remains as
the noble exponent of British enthusiasm on the subject of
Handel. No doubt of the sincerity of the worship j but the
directors have resolved, it would appear, that tho co.it of
incense shall not be ruinous. Wo once heard an enthusiastic
Scot glorify John Knox because he had fnuuded a cheap
church , but he who founded Handel worship in England
lias beaten John Knox hollow. The centenary of Handel's
death is tn be celebrated by the erection of a statue in the
place of Handel's birth, and to assist in the pious work, John
Bull, the most enthusiastic of all his admirers, rushes forward
with tho sum of £125 jingling in his breeches-pocket. Has
the aforesaid John been studying the parablo of the Widow's
Mite, and deduced from it a wrong moral 1 The Widow's
mite was acceptable, John, because the Widow was poor;
had she been rich like you, John, her mite would have been
deemed insulting.
These images rise before tho mind on the perusal of Mr.
Bowley's address, without note or comment. But they are
images that by no moans represent tho truth. John Bull
has not been so backward with his money, but iu the hurry
occasioned by his zeal, ho has dropped it into the wrong box.
The fiict is, the Crystal Palace and Sacred Harmonic
Companies, taking advantage of the excitement caused by
the project of the statue at Halle, got up a scheme for a
Handel celebration of their owu. One grand festival took
place, under their joint auspices last year ; another is to
come in 1859, and the profits arising from the solemnities
havo been, and are to be, devoted to the especial benefit of
the two companies. Thus the very noblo scheme of the
statue is thrown completely into the shade, and deluded
John Bull, forgetting all about Halle, fancies he is
paying tho highest possible honour to Handel by
paying for a few concerts that will be forgotten in
two years, instead of inscribing his generosity ou good solid
bronze. Tho sum cleared by tho festival amounted to
£10,000, and the Sacred Harmonic Society having made
therefrom (the princely donation of £50, now draws up a
begging letter, and laments tho parsimony of the English
public. We ore reminded of an incident in the vulgar old
play, called Tom and Jerry. When Bob Logic is arrested
in the midst of a splendid party that he is giviug at his
own house, Jemmy Green, who is among the guests, takes
occasion to read him a lecture on his extravagance, having
lus mouth crammed all tho time with the dainties which
poor Bob's excessive generosity has provided. Much in the
same fashion the Sacred Harmonic Society gets up a concert
that diverts the funds of the Haudel worshippers front the
only fitting channel, and, while enjoying the proceeds, sings a
Jeremiad on the stinginess of Britons in the matter of tho
A French moral philosopher was of opinion that if men
lived in housus made of glass, their actions would be uni-
formly virtuous. Had he foreseen the doings that can take
place in Crystal Palaces, he would have kept his theory to
himself.
The co-existence at the present time of no loss than three
Italian Operatic Companies appealing to the patronage of the
London public is surely not a fact to pass unnoticed. The
occurrence is unparalleled in the history of the stage in this
or any other country. What does it portend I In one
.shape or another consequences must ensue in some degree
proportionate to the magnitude of the fact. Let the reader
measure what is implied in tho statement that three entire
Italian troupes arc at this instant within the bills of mortality ,
let him imagine tho entire host required for the due ;
formance of the ordinary rep«rtoir» of a first-class oper
theatre. Multiply this formidable array by three, and coDceive
all these human pipes, at " some time of the night," quavering,
thrilling, roaring, and screaming forth tho contents of three
Italian libretti in the ear of a complacent British public, and
to Verdi's music. Trombones and ophicleides ! — could Pande-
monium equal the din ! The wear and tear to the tympanum
alone is something to reckon, but how will tho sensorium fore ?
What impression is likely to be left on the minds and taste-?
of those who have taught themselves to endure this form of
amusement, and to consider its encouragement as the mark of
a rather distinguished tone I After submitting their ears to
the most bewildering conglomeration of sounds more or
less musical, uttered by a promiscuous herd of every degree
of capacity, from the highest to one requiring a negative
exponent — after habituating their intellects to the confused
impressions produced by foreign words and foreign gestures,
conveying, when by a rare chanco understood, foreign ideas
and foreign feelings pitched to foreign apprehensions and
foreign sympathies— will English audiences be in the most
acceptable position to be addressed by a true artist, whether
foreign or English 1
Art is of all nations, it will be replied, and the narrow
field of patriotism will not contain that which aims at an
ideal in which humauity at large is reflected Admitted :
but it is ouo thing to open our hearts ond minds to what
greatness and excellence foreign countries have to show us,
which will scarcely be much more abundant than, in propor-
tion to the population, superiority is fouud to be here, and to
invito indiscriminately to our shores the mob of questionable
pretenders who scramble rouud the standard of art where-
ever it is set up, and in tho eyes of the majority of whom tho
said standard is only a tndt de Cocagne, with a leg of mutton
at the top for some, and a gold snuff- box for others. A duo
liberality in the appreciation of foreign artists, who have
earned a high position iu their owu country, is both wise
and commendable, and indeed necessary to stimulate the
home growth of art, and guard against ono sided tendencies.
But there is a point at which this should stop. Frsc-
trade principles are very well iu the sphere of commo-
dities and necessaries ; our wants and our means will keep
the balance in rigorous equipoise. But in the world of art
unfortunately, there is no such inexorable logic of tacts.
Fashion atid enyoilement are two evil genii constantly on ths
watch to disturb the serene and dispassionate judgment of
the public, and to deliver them bound hand and foot into the
hands of tho stranger.
It is not against Italian ojwra, therefore, that we protest,
but against three Italian operas neither of which is what it
might and ought to be from the materials which the state of
art in Italy affords. It is not that the public havo no busi-
ness with foreign artists — though it is a question wliether it
should uot begin by concerning itself with its own — but that
it has too many Italian irons in the fire. Two we thought
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May 22, 1858.]
THE MUSICAL WORLD.
331
one too many, but three urges the desperate conclusion th ft j
they are too many by three. Should the palled public in the '
frenzy of nausea rise against tho triunivirato of Italian tm-
prtssarian, and by an explosive revulsion of tasto morally
sweep them and their olive-faced retinue into the abyss — a
friend suggested blowing them from the mouth of a canon of
Bach — we shall ever revere tho mystic 4i three," and
cherish the superstition that there is luck in odd numbers.
A MASS BY ROSSINI.
(From Lt Guide Musical.)
A IK) IT three years ago, Castil-Blaze was present at a rehearsal
of the Donna del Lac/o at the Italian Opera, Paris. On hearing
the first few bars of the quartet in A flat, "Crudele aospetto'
(C, A, E) he perceived that the melody was perfectly adapted to
the " Qui tol/is peccata mundi" of the " Gloria ;" this discovery,
j the effect of chance, canted him to reflect, and, the
next day, he set about the task of producing, with various pieces
from tho operas of the same composer, an entire mass, subse-
quently called Rouinft Mat*.
A few months afterwards the score was completed, and, one
fine spring day in the year 18*6. a man remarkable for his
corpulency, and advanced in age, suddenly accented Castil- Blaze,
ana, tapping him on the shoulder, said : —
"Halloa 1 old boy, you arc pelting along at a fine rate, upon
my word !"
" Ah ! is it you, Signor maettro itlxstrittimo f Excuse- me, I
am half blind.
" Give me your arm and let us air our hundred and forty
springs in the midst of these speculators of the Opera ; but, that
we may be unobserved, and not taken for two professional stock-
brokers, let us walk atlagio, and talk totto voce. Well, tell me —
you are always doing something or other — what are you doing
now P
■ What am I doing ?— Oh ! vou want to flatter me, marttro !
I am doing nothing, but I am doing something better, perhaj* ;
for I am doing quite the contrary ; I am undoing, transfiguring,
transplanting, transferring, trans—"
He was about to continue, when the crowd of stockbrokers
became so compact as to drive them from the Boulevard du
I to the Rue Lepelletier.
om the beginning of this conversation you have, no doubt,
divined, gentle reader, that the interlocutor of Castil-Blaze was
no other than the illustrious author of (fuillaume Tell.
" You want to know what 1 am doing /" resumed the great
musical arranger.
"Yea, I do!*
" Well, I am writing, or, rather, I have just written "
"Go on— what P
" A mass by Rossini."
"Always caustic and facetious I Will you never change ?"
" Do not fancy, maestro, that my task was an easy one ! Try
it yourself. It is rather difficult eveu to parody an air, although
it is allowable to twist and turn « piacere the new words you
are arranging to any given music. But to adapt the immutable
words of the mass to melodies which have to be preserved in all
their parity ; to maintain a perfect accordance of feeliug, colouring
and expression between the scattered materials you collect, and
to maintain this accordance to such an extent as to make people
believe these transplanted compositions were written for the
words to which they are wedded, hie oput fii'- labor est.
It was thus that Gluck arranged his French operas. But no
matter. I have surmounted this difficulty, and my your
mass is terminated."
" Upon my honour, my dear fellow, you are an extraordinary
.. they were, the one (Rossini) addressing his questions in
and the other (Castil-Blazc) replying in Italiau.
" Let us hear," said the first " By what did you manage to
it the * Credo'— « Credo in ununi Deum, etc. !' "
' Ecco ridente in cielo* "
You have treated it, at any rate, as a
" Of course, was not that its original form in Auretiano in
Palmira /"
" Bravo ! excellent ! I never fancied I had composed so
majestic and well accentuated a ' Credo.' And the 1 Kyrie V "
" ' Santo imen,' the religious chorus from Otello."
" 4 Christe cleison ?' "
" The canon quintet from Mote"
" The 4 Incarnatus 1' "
44 Ninetta's prayer."
"The 'Crucifixus?'"
'4Tho 4 Chamr des Tonubrcs' from Mo**:'
4 'Let us go from the solemn and sad to the gay. How have
you managed with the 4 Cum sancto spiritu, et vltam venturi
seeuli 1' It is there that composers introduce their fugues,
full of vivacity and sometimes of brilliant folly."
"I availed myself of the animated *rr««i of the quintets from
La OummUala ami the finale of Semiramide."
"Well done."
" Allow me to submit to you the manuscript of your mass."
" No, I will see it when it is engraved. It is really an astonish-
ing feat successfully accomplished. I will answer for ita success ;
perhaps you still wanted this triumph."
Tho conversation had become so animated that Caatil-Blaie,
without observing it, had passed from the totto voce to the
mezzo forte, from the mesa forte to the forte piano, and from the
forte piano to the fortiuimo, so that all the farniente, all tho
" lions" and the loungers on the Roulevard du Gand had
gathered round them, and were saying to each other, "What is
the matter 1 "
14 They are two fellows who have been done for on the Bourne,
and are singing their De Profundis ! " replied one.
44 They are two shareholders of M. Mires," replied a second.
"The one is a thief and the other a madman," replied a third,
44 who have juBt been seized under the peristyle of the Op6ra, and
arc about to be conveyed to Charentou and the Conciergerie
respectively."
44 Thev are — they are — they are — etc."
In fact, I do not know what might not have been asserted,
had not one of the two pedestrians — the one who fears public
meetings and railroads — harangued the crowd, which kept
increasing.
"Signori Franctti," he said, 44 do not put a wrong interpre-
tation on our conduct Tho State is not in danger ; make your-
selves easy ou that score. As for me, I am that stupid musician
who "cannot do anything more. I am no longer any one. Bat
this venerable patriarch is Castil-Blaze ; respect him ! He is
my second father ; it is he who translated me into French, into
Provencal, into Latin, and inducted me into the possession of
a new empire. This is not all The villain now want* to take
inu to Paradise. I am not much frightened at this, for I presume
he is in no great hurry to set out himself* Make way, there-
fore, and let him pass, and if, in return for your kindness, you
get nothing from me, you will, perhaps, deign to accept from
him a Matt by Rotsini .'"
Since this meeting, and in spite of all the obstacles raised
against it, Rossini's Matt has been brilliantly successful among
musicians. The score has everywhere had a large sale, and
some choral societies have executed it. I am well aware that
some sticklers for all matters of art relating to sacred music,
have blamed the author for having dared to undertake and carry
out Buch a piece of eccentricity, or rathor such a wonderful
feat. But are they gratified in so doing t For my own part, I
think they arc not.
• Ca»til-U!aze died at Paris
Uth, 1857.
Madamk Viahoot and Madame Bosio havo arrived in London
for the season.
Charles Eckeut, lately appointed director of the Imperial
Opera at Vienna, is now in Paris.
Dr. Mark and his Young Pupils have been performing
with great success at Oxford, Banbury, Peterborough, and
----- • Next week they will stop at Hull, and give their
nightly.
Digitized by Google
332
THE MUSICAL WORLD.
[May 22, 1858.
ALBERT SMITH'S NEW ENTERTAINMENT.
Mr. Albert Smith haa made np his mind to bid farewell to
Mont Blanc, notwithstanding the continued success of his hoar-
headed friend. Why he haa done so will be gleaued front tho
following address, which is distributed among the visitors to
the Egyptian Hall :—
"TO MT ACniKXCI.
" After nrartr seven years, and two thousand representations of my
entertainment — connected with the tnoit pleusnnt associations and ac-
quaintances, and tho most interesting memories of my life — it can be
conceived that it is not without some rustling of mixed feelings I an-
nounce the present at the last season and tho last representations of
* Mo»t lUano." Not that the popularity of the mbject lis* decreased,
or that its interest appears to be worn out with uiy old nod firm friends,
the public. But ninee the 15IU of March, lrt.'>2," on which evening it
was first presented tot htm, I have scarcely had what can be called aholiday
—tho spnsmodio scamper of six weeks w iiich I h svo annually made about
tho Continent, at tho end of tho season, having been as much occupied
in'collecting and arranging materials for the new route as in recovering
from the fatigue of constantly— day after day, week after week, month
after month— illustrating the old one. I hire therefore oome to the
determination of applying to myself for a much longer leave of absence
than has been hitherto allowed me. And at the same time, not wishing
by any meant to break my pleasant relations with my public friendt,
but still tu be meditating something fresh for their — I hope— future
amusement, and with the interesting points of the whole world before
me for selection, I bare settled, after much deliberation, upon making
" CHINA
" the subject of my next season's entertainment. I purpose to start, as
soon as my audience will permit me, via the Mediterranean, Egypt,
Ceylon, and Singapore, for Canton, and wherever else chance may take
me. I believe the country eminently calculated to afford matter for an
entertainment after my own fashion. It is, at present, a point of con-
centrated interest with us all. It has the quaint advantage of remain-
ing now, at this present time, just what it was thousands of years ago.
Its popular productions have a wide hold on us, from the ' Wonderful
Lamp of childhood, and the Dinner-gong and Dessert -service of the
prime of life, to the 'Strong Family Congou ' of our declining years:
to sir nothing about that celebrated blue landscape in enamel so very
faithful it its attendance on os throughout our entire lives. And as
far as we arc vet informed, everything about China seems to be quaint
and strange, and madly comical. I hope that no foreign wars nor
homo occurrences will interfere with my present intentions ; and that
I may be enabled in a short time to ssy ' Good-bye '—I trutt only for
a while-to all my friends, full of bright hope end <
full of bright hope snd expectancy.
" ALBERT SMITH.'
programn
i eleisoii,'
Durante ;
To the above we have nothing to add, but to wish a pro«|.erous
voyage and a aafe return to tho prince of entertainment.
Ciiacovie. — Leopold de Meyer haa played several times at the
theatre. His concerts have constantly attracted numerous
and brilliant audience*. The celebrated pianist is at this
at St. Pctersburgh.
br Hall— The soventh grand rehearsal bv the Me-
tropolitan Contingent of tho Handel Festival Choir took
place last evening uuder Mr Costa's direction. The combined
force numbered about 14(H) voices. The.
of " Salve fac regent," Loewe ; " Christc*
" Cry aloud and shout," Dr. Croft ; " Ave veruni," Mozart ;
"Sing, O ye Heavens," Handel: "Flora gave the fairest
flowers," Wilhye ; selection from King Arthur, Pureell ; and
" Farewell to the forest," Mendelssohn.
Dramatic Ihtbllig bn . >: — Mr. and Mrs. Kceley, after a long1
absence, have returned to the Adelphi, and appeared on Mon-
day night, in Jnntt Pride. The play, this evening, is a new,
broad, eccentric drama, called Our rrtnch Lady's Maid, written
by Mr. J. M. Morton. — Mr. Robsou haa announced his benefit at
the Olympic, for Saturday, June 5th, when will be ]>erformed a
new and original comedy, by Mr. Tom Taylor. — Miss Reynolds
has come back to the Hay market, and has been playing Lady
Teovlo in the School for ScaiuIaL Mrs. Wilkins' Miu. Candour
is ci'-ellent. Mrs. Charles Young appears to-night in the
Hunckboit, id the part of Julio. Miss Amy Sedgwick continues
-The Adelphi Theatre is announced to be built by
RECOLLECTIONS OF CALIFORNIA & AUSTRALIA.
BT A MUSICIAH.
(Continued from pagt 2&4.)
Ones more upon old Ocean's heaving bosom, away from dirt,
and stench, and fever, with the city of Panama lying before us,
picturesquely commanded by the mountain from winch Bolivar
sent delicate attentions in the shape of cannon balls among the
hundred monasteries, making holes through the walls which the
lazy Granadians have never mended ; and out seaward, the
IW1 Islands, not a mere name, gentle or simple reader as you
may happen to be, but 6ond fid* Pearl Islands, where men dive
with stones round their necks, and grub for oysters, and battle
with sharks, and do a great many mors uncomfortable things,
which could be effected a great deal better by the diving-bell
without risk or trouble ; nevertheless a great many very fine
pearls are yearly found upon the shoals around the inlands, and
yield a considerable revenue to the divers. A very beautiful
island named Taboga is much frequented by the better class of
Panamanians during the sickly seasons ; it is the rendezvous of
the steamers, and a great safeguard to the health of the
empjoyit of tho Company.
The last gun fires, up comes the anchor, and ofl" we go, twelve
hundred souls in all, floating in a palace, with a captain for a
king ; and a right regal aud kind monarch was Captain Pat-
terson, a thorough master of his noble profession, stern and cool
as ice when danger threatened, but gentle as a woman when
comforting tho sick and dispirited.
All voyages are much alike, except that in this particular
trip yon have land in sight on your right hand nearly the whole
time ; why, bless me, 1 am losing all my nautical lingo, I should
have said, " land off the starboard quarter." I believe the same
feeling actuates everybody who has been upon a long voyage ;
you lose all idea of your destination ; you seem to belong to the
ship ; it is your little world ; you take intense interest in the
moat trivial occurrences ; you count the hours between meals ;
dinner is an era ; you exhaust all subjects of conversation ; yon
play cards till all the queens seem to be winking at you -, some
respectable old body gets a ducking with the spray, and you
scream with delight ; you walk backward and forward upon
the deck like a wolf in a cage ; you eat and drink from morning
till night, until, as the voyage lengthens, you get savagely ill-
tempered, your clothes get too small for you, and like Jeshurun,
*' you wax fat, and kick.
And this was our life (varied by three deaths among the
passengers), until we stopped at our last coaling station, Aca-
pulco, upon the Mexican coast ; and right glad I was to get there,
for to my horror I had nut on my last clean shirt the very day
we arrived. And now lot me give a word of advice to all good
folks " who go down into the sea in ships:" take with you lots of
linen, particularly if you pass through the tropics ; you can't have
too much, for your friends ore sure to borrow of you, and yoa
must be a mean humbug to deny them, or yourself tho pleasure
of receiving and granting so essentially grateful a favour : you
certainly do pick up some good and kind friends on board ship,
for it is the place to lay bare a man's (or woman's) character,
and 1 have formed friendships upon the ocean that I am sure will
prove sources of tho greatest happiness to me through life.
Acapuleo is the capital of the province of Guerrero, and the
most extreme western port of the Republic (I) of Moxico ; it is
a beautiful little harbour, has a fort, and a governor, and some
soldiers, who never know from one week to another who they
are to fight for ; sometimes Santa Anna, sometimes Iturbids,
sometimes Coinoufort, iu short, they are generally for somebody
that they ought not to be ; however, this does not seem to
trouble the general inhabitants, for like old Pan in Midaa, the
of the Aztecs
> little
" hit patu troub
Row the world wags.
So he gelt drink and vittle."
They have a cathedral there, (which has since been w<
shattered by an earthquake), and some years ago they tri
get up a sea breeze from the north-west, by cutting
fully
sd to
gap
through a large sheltering mountain, but the exertion was too
Digitized by GoogL
May 22, 1858.]
THE MUSICAL WORLD
much for them, Mid they did not finish it, and so they keep on
broiling as their fathers did before them, and their descendants
will continue to do, until some fine morning Brother Jonathan
will put an execution into the house, and not only seize the
goods and chattels as he did before, but annex house and land,
and all for the good of the world in general, and Uncle Sam in
particular. We had a few hours to spare, so ashore we went
The houses are all one story high, ana very lightly built, many
being mere bamboo huts ; the cathedral is, or rather was, a very
decent building before the earthquake, and as mass was being
said we entered ; and 1 cannot describe the shockingly ludicrous
effect of the music ; the orchestra, choristers and all, were cen-
tred iu an old barrel organ,— ouo of those horrible old things
they used to grind about London thirty years ago, and I am sure
that I shall scarcely be believed when I statu that during the most
solemn portion of the Mass — "The Sauctus," this beastly instru-
ment of torture shrieked out " Qod save the King " with half
the pipes broken, and a grupetto upon every second note ; with
great difficulty we preserved our countenances, out of respect to
the worshippers, who seemed to think it all right and were
evidently sincere in their devotions, but as soon a
in it U-d we de earn i icd, and sought for a bath house to
odour of sanctity we had experienced in the church. This we
soon discovered, and were received by the blackest old ogress of
a nigger woman I ever did see ; she was attended by two sable
damsels grinning from ear to ear, who walked off with the
Domino and H — n, and I was left to the tender mercies of
the ogress, who was without exception tho fattest old lady
I had over beheld. Well, she waddled off, I following, and
wc went into a kind of bamboo outhouse, covered with canvass.
There was a large tub in the centre, but no sign of water. Pru-
dently Mrs. Fee-fo-fum began fetching in buckets of the precious
aqua from a well, and emptying them in the tub. Feuding this
operation, I had commenced, disrobing, having taken off my coat
and shoes and stockings, for it was fearfully hot, thinking that
my sable giantess would take the hint and leave mo. Not a bit
i >t it, madam ; she stood there grinning, with her great black
puddings of arms crossed, examining my Anglo-Saxon cuticle
with great satisfaction. T pointed to the door as a hint for her
to be ffoue, and sha shut and bolted it. I began to be alarmed ;
she grinned, and, by signs, made me understand that I was to
Btrip : I felt how hojwless was my situation, in a far foreign land
and shut up at the mercy of this fiend ; what could 1 do, fair
reader ? I own it with shame— I did as she commanded, and
she seized me by the nape of the neck, lifted mo up like a kitten,
plunged me in the tub, and then and there gave me the most
awful scrubbing that I have had since I was a baby, and poor
dear Aunt Annie used to flay me alive every Saturday night.
Upon leaving the place, I found it was " the custom of the coon-
try, for my friend* had been served in the same manner by their
damsels. I aaked the Dominie how he liked it, upon which
kc blushed, and said it was very patriarchal and primitive. We
Sot an excellent dinner at a Chinese restaurant, and then strolled
> tbe fort, aad while resting under the shade of a large tree, wo
b*)w a vision of beauty that I shall never forget. I must premise
that the acta*! natives of this part of Mexico are nearly pura
descendants) of the Aztec race, aud bear in their features a very
strong resemblance to the ancient Egyptians ; but their forms
are faultless, and every movement (they being scarcely
encumbered at all with dress) is graceful and easy. And
now for my vision 1 A young girl of about fifteen years
of age, at which time the women here have arrived
at maturity, came towards us, bearing a large red
Egyptian-looking amphora, with a band of pointed black
figures round it, which she balanced upon,her hand ; tho arm
being held vertically, the weight of her burthen caused one
■boulder to be raised, while from the other drooped across her
plump and dusky bosom a gaily fringed chemise, her only gar-
ment— this reached just below the knee ; she advanced with
perfect ease and modesty, and offered us the contents of her jar,
' i contained delicious lemonade ; there was not a smile upon
but she looked at us with a glance almost of contempt
graceful costume, and went her way ■ in maiden modi
way ■ iu inaidcE
>re delicate and
site than this young Hebe's form as she slowly disappeared
among the trees, and left us wondering.
After locking at the fort (then used as a prison) we returned
to the town, passing one gentleman who was amusing himself by
walking on his knees as a penance, and howling out Miserere, in
which the passing inhabitants joined him, and devoutly i
themselves. But the most interesting specimen of humanity >
a stalwart individual of about forty-five, mounted on a fine
horse, with two or three coloured handkerchiefs bound round bis
head, and a tall steeple-crowned glazed hat above all : and this
youth's occupation was that of begging — a veritable beggar on
horseback, and I have no doubt that in the course of time he
will reach the destination so prophetically announced in the old
adage. As we were to leave the next morning, we thought it
best to make our purchases at once, and entered a tienda or
store kept by an American gentleman named Foster, now the
respected Consul at Manzanilla, (a free port discovered and
opened through his sole exertions,) where wc obtained the under-
clothing we stood so much in need of. and cracked a couple of
bottles of champagne with the hospitable storekeeper, who, in his
pleasure at meeting hiscom|>atriot*, spent thrict over tbe amount
we had paid him for our necessaries : but it was truly charac-
teristic of his countrymen, they will drive a hard bargain with
you in nn absolute matter of business, and afterwards spend
double the amount at issue in their hospitable attentions towards
you. Next morning we left the pretty little harbour, and
after passing a doiible-cratered volcano at night, (its name I
forget!) we soon camo out of sight of land in crossing the Gulf of
California, supplied an unfortunate brig full of passengers (fifty-
seven days from Panama to San Francisco) with provisions,
saw the lofty Island of Cnadnloupe at eighty-seven miles
distance with great ease, so clear is the atmosphere in this
latitude, and on Saturday, the 2!»th of February, 1852,
entered the Golden Gate or rocky entrance to the Bay of San
Francisco.
(lb he nrtimei.)
Berlw.— - At the Theatre Royal Cherubioi's Opera of LodoUka
is in rehearsal. Tichatschcck will give some performances during
tho preseut month. At the instigation of Madlle. Hulseii, in-
tendant at the Theatre Royal, a series of lithographic portraits
of all the actors who, since Ifilaud, have appeared at the
Theatre Royal, will shortly be published.
St. Martijs's Hall. — Beethoven's Choral Symphony was
repeated on Wednesday evening under the direction of Mr.
John Hullah, the chorus consisting aa before of Mr. HuUah's
first Upper Singing School. The symphony on this occasion
whs preceded by Mozart's Requiem. Tne principal singers in
both works were Misses Bank* and Palmer, Messrs. Moutcm
Smith and Santley. A grander programme could not have been
offered, aud Mr. Hullah is entitled to unqualified praise for the
continued determination be displays, in presenting to his sub-
scribers and the public such first-class music.
Festival or the Boss of tub Clkboy. — The two hundred
aud fourth anniversary was celebrated in St. Paul's Cathedral
on Wednesday, with a full choral service, in which the choirs of
Her Majesty s Chapels Royal, St. Paul's, Westminster Abbey,
and St. George's Chapel, Windsor, took part. The service
whs intoned by the Rev. J. H. Coward; the Rev. W.
Hall read the lessons ; and the sermon was
bv the Rev. Thomas Gamier, M. A., rector of Trinity
Church, Marylebone, tho text being taken from the seventh
chapter of St. Luke, 18th and 13th verses. The music con-
sisted of the Suffrages of Tall is: after the first lesson,
A 1 1 wood's " Magnificat in C ;" after the second lesson. Attwood'B
" Nunc Dimittis iu C j " after tho third collect, Mendelssohn's
chorus, " He that shall endure to tho end " (Elijah) ; before tho
sermon, Qoss's anthem, " Praise the Lord " (written for the
bicentenary festival, 1854) and, after the sermon, Sebastian
Bach's anthem, "Blessing, glory, wisdom, and thanks." Dr.
Elvey conducted. Mr. Goes (assisted by Mr. George Cooper)
presided at the organ with his accustomed abUity.
Digitized by Google
THE MUSICAL WORLD.
[May 22, 1858
ADVERTISEMENTS.
FREDERICK DENT,
Chronometer, Watch, anil Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
Snli JHaktr of tlje ©test Clock for Hjc Rousts oC flatliamrnt,
61, Strand, and 34 and So,
33, C-ock tpitr-strfct.
LADIES should visit tins Wholesale and Retail STAY,
BODICE, and PETTICOAT WAREHOUSE fcr Cheap f*4bli (MiMh
SelMael.ig pabwt front-fastening clastic stays and Lodio-.. 4 II 'to 11 fl
Furnlb and nursing slay*, aair-aujtiatluii V 6 ,. 21 0
Paria wo-.c stay*, nil ataai 5 II ,. IJ i)
Foe ball an 1 court droaaea, ladies sb. uld purchase their iuion« at William
OurUr-*, 21, Lud,;ate-«tro\t. whcru every ucw stylo can bu obtain-. 1
LADIES' VICORNIA CRINOLINE WATCU-
SPRINO JUPON. MUSLIN AND STEEL PETTICOAT WAREIlol ;»k.
a. d. a d.
Parisian Eugenl* lioop skeleton nklrts 4 6 to 25 0
Full nu Viguroia ciin <line petticoats 7 0,. 11 v
Flench watch sprii.g rniislin juj>.in* 0 8 ,. 10 0
Addroa*. WILLIAM CARTER, « Ludgnte-st'eet, two doors from St. Paul's, E C
Eugravkugs of tun a! ore Jr.-e.
K EATING'S COUGH LOZENGES. — A good 8T>eech
or an cftecUre *"iu( cannot bo given if tlio roca] oryuns ure In iin unsound
conHiloa. or a tcte-l with h. iusci.nfcs or Irritation To reined)- th'.- latter. aid to
pr> duce u.oli houe enuniintiou, every pubic character, whether r.1 the Bar, the
Senate, ar U*o Pulpit, should I. arc at h.Ujd Kesri o'e Cotf'iB Lo/tKoia. w.,tcb are
petroultod by the ronjo.lty • f tl.e Imperial Parliament, t'.o Itctitb. -.n J the
leading ITrTaTlftlTl of tlie Operatic Corp*. For affection* of ttio Threat or Cb<*"t,
said for Winter Cbuuh, t'ley are unfailing. Prepared and Sol i In boxes, la ljd.,
an.lttaa, 2e W. oa h, by THOMAS KEAIINO, Chetnlat, Ac, TV, St. Pauls
THE TWENTY-FOURTH ANNUAL REPORT of
the Directum of the MUTUAL LIKE ASSURANCE SOCIETY, b.gullier
wltb tbo Ca*m AccoCMt anl BaLAKCK Sllr.fcT for the year 1S57. fchowiug l' e vl&te
of the Society's aflatra on tbe Slat »>l December laat, as prescut'.,! t.j the General
Mei-tlng on th* 17th of February, laid, alao Prospectus, a Form* of Pruf .on], and
* of tbe Bonuaea paid on the Clairaa of the paat year, will bo dehvoied oi, a
I apiJHMliou to the Actuary, or to any of the Soc.cty* Agent*
Mm At Lire
S». King Street,
CTIARLES INGALL. Actuary,
ipni ic^London, E. C.
THE IMPROVED HARMONIUM. — Mr. W. E
■VANS, loTent.Tof the F..,(rliah narmou.um (exhibited in Lou-ton In 1H4X
ealla attention b. the Iniprovemoi,-* IV- ha* lately male in tin. last run cut. Tbo
subjoined taattmojilal fro.., Mr. Alft^l MeU..u U one ,f the m ,uy ha baa received
Tax Valx. Kivo'a Ho*i> Chblmu,
M:.rcl, 10th. 184*.
Dear Sib,— I hare uiach pleasure hi 1^'™* J°" my
> ; it » th. bat
To Mr. W. E Etaii
Yonn r) truly,
ALFRED MELLON*.
THE LONDON SEASON.
The
TCTtthflll
dTvota lu
of tbe f.M-lin». amd
d accuea of ralc'.y, ImTuo a tbe fair at,d
the g«a ff tKatlr l,^nd», an.L IL.ttfore, lo
.•oflbeT.^Ut. 1: I* ntbcooccaalouMthat
mlou to the dutUa
HOWIAND'S PERSONAL Itr.QUISITHS
it ID their optr.alona upon the liair, t. e Skm, and the Teeth,
ROWLAND'S MACAU AR OIL
la a delightfully IrigTrut ai d lrai>*pireul prepttrulioii for ti e lLklr, and *< an
lnrigornt r aud l-cnut bcr beyond all prvvcdent
HOWLANO'S KALTDOR,
for the RUin and Cotnplexioii, la unctptallel tor it* ritieaiid Iticatimable qiialitJoii,
The radiant bloom it imparts to tbe ci v k ; the » ltne«* v i delicacy wblch It
induce* of tbe liauda an I arm* ; 1U cap-iViility i a*tL:np irrila' i<'ti, uti<l jc-i • •ii-^*
cutaueuu* defecta, dikolui ,ll»i.t, a id all unii.htly ap[icnran :■«••. rcu'Jcr it in-
dl>pto>aU<i to every Toilet.
ROWLAND'S ODONTO,
or Pearl Dentifrice, for preaerelna; «nd beautify «b tl>c Teeth, lnirartlr..r to
■-mieolluj tbe O .m», an l for rcodeab.R tlie
■eet and pure.
Sold by A. ROWLAND and SONS.ttO. Hat^on
and by Cnamlata asd PorMmcr
OF SPURIOUS IMITATIONS.
London,
THE BOSK),
THE MOST DISTINGCE OPERA CLOAK OF THE
The fortn or tble elegant OPtRA CLOAK la peculiarly recherche aad
bccunnnff ; it fall* round the fljtrure in graceful, eoay fulueaa, and. though ample b,
alee, ha« an air of lli{hUieaa ; tbe bood la farmed of a acarf In caahcoer* or laee-
latteued by a tie. an I ao arrmh'. d that It can be worn without cruablng th<
dreeaor i njury to the bo«L and la quite free rrotn the objection- U which liieae
dare* are liable, Tt«„ that of pring undue height to the shoulders of the
THIS BEAUTIFUL OPERA CLOAK,
PSttOXKD BY
FAR Off B R AND ROOBR3
Cau l*o purchased oulj at tbelr
ORE AT SHAWL AND CLOAK ZMPOBIVX,
171, 173, and 17
FltEEDOM KKOil COUOUS IN TEN C TliS AiTEB I'sK
DR. L0C0CK3 PULMONIC WAFERS.
AnoUer cur.
" An did ittllt-A
J'*-! a duiet ul'
mcdicul pi
' AftUuna Vrom Mr. W. Barton. ApoUif-carie*' Hall, C>uzi]^1Uiq :—
hd, wh<> for yc-s.r» ti v* Ik»cu jdrllctod vrtib AuUoia, nod m dom
.8 reet, ba*i ii*td tvry tattuy jTOprictary niO'HcUkM m wlU m
Liut «11 were of lo uic. Sirjce ho beg-tn to uae larcock fi
Ilo aJccpn well at night, juid ta quit*
Sold by
UR I.OOOCK'S
Wafera lie feel* himaelf quite well a^ilu,
rvft^aabod iti Die roorniuif v
Dlt LOOJCK'S PULMONIC WAFERS give kuttant relief and a rapid cure of
aatbmo, co-.ii.-h*. and all dla plera ol the brcilh aud lunga To linger* ami
public aittukrr* they are IDTaiuabb) fur clearing and atrongthenlng the »oie*
Tb y have a pkuaanl U»te Pr^e la. l,d . 2a vi, and 11a. |<er box.
aL <l[uj»'ist'.
CAU TION —Every box rf thf genuine n. cdicinc has tlie
WAI'EIU* " In » bite lett-r* on a tel g>outi<t In th» U^eei
out wliicli wxirls nil are coanief ftlta and an ttn[H>.ltnu.
CiREY HAIR RESTOllED TO ITS ORIGINAL
r COLOUR — Neuralgia. Ncrrixia Hu.idach . RbeumatUni. and Stiff Joints
cutrd bv I'. M. IIKKRINU'* PATENT IIAUNI.i v HAIR AND FLESH
liRUSliK4. Tl<ey require n > prcparttion, -re niwaya r»-ady for uae, and oani«t
get out of order Btu-tbea, lo*. uu I IS*. , b\imbs fruoi 2*. od. to 10a Grey hair
an>l b ,linean j-revetited by F. M. U.'s I*ateul Piwei.tite Brush, pnoe 4a aad As.
OIBoes, S2, llaa ngli.U itreet. Loudon,
beco ... » Oiey. and it* R mcdy," grati«, or by post for four i
ol-.emit.ta and iwruntor* ol icpitU
pamphlets - Why
m Mampi. Sold t
LAURENTS MAUD VALSE — The most popular valac
of tlit- season, price 4<. IJoomt and Son a, HoJto»-s*rcct
"rpoO LATE!" — Miss Louisa Vinnings New Song.
' Price ?t. Ilo, aey and S >ni, Holles-etrett
SCENES OK HOME — New Ballad by
ami Sen*, nollc*-atrwt
8IQN0R 6UGLIELM0 S NEW SONGS.
1.-1L MATTINO 2 —LA MIA P1ETA
24 an t 21,
NEW PIANOFORTE MUSIC
RUDOLF NORDMANN.
TOWER SCENE. MISERERE, and All: CHE LA MoRTE,
"llTn.vabro'-
BRINK1SI, Ul.ut.io, Hon •UTravfc.t.
LA SIC1I.1KNNIX dca ' V(pr«a"do Verdi
1SAUKLLK. Ib.monc
GENEVE. Morvcau .ii : ?alnn
LA MIA LKTIZIv. fr-.tn "I UmbanU"
81 LA STANCHEZZ.t. ••Tr>.».il.>reH
LA CARITA Trio tie Roat.ui
M ANDOIJNF, NiKturno
THE MUM'S Pit AY Kit
TMK BARCAROLLE in •■RlgiJetln"
LA DANSK DES FEES
GREEK PIRATE'S CHORUS
II. BALES. ^Trovato^''
M (,l'El.t.A PIK» "Tr rab.ro "
SELECTION OF MENDELSSOHN S TWO-PART BUNGS ..
s. d
BOtMKY AND SONS' MUSICAL LIBRARY, 24 A 2S,
Digitized by dc
Mat 22, 1868.] THE MUSICAL WORLD. 335
MESSRS. DUNCAN DAVISON & CO.'S PUBLICATIONS.
PIANOFORTE.
i. d.
** BACH I ANA," Select Pieces (Prelude* and Fugues) from the miscellaneous Pmtioforte Works of Johk SHUBTlAlf Bach, not included
in tbe " Clavier bien tempcre," or •' 4B Piclndes and Fugue* "
No. l.-FUGA 8CHEBZANDO in A minor, w performed in public by Miss Arabella Goddard 8 0
FLISE, Romance, by E. A. Gomox .. ... ... ... ... ... ... ... ... ... ... 2 0
BELLA I 10 LI A (Rigoletto) by Jolm Hkimio ... ... ... ... ... ... ... ... ... 2 6
*■ Anion? tbe many nUnofnrte arrangements of Kignor Verdi', very |wpular quartec, wo have not >ta ono more unpretending oa-i at tbo nine time more
complete th»n thin. the oon.po.cr-. M«.» are respected, while the dhvplay and the concukuc. or tbo pianist ore consulted ; and the result Is a piece of moderate
difficulty, attractive at raorr sen*** tlunone. — .Vtuirat WorUi,
QCANDO LK SERE (Luis*. Miller), bv Jules Bkissac ... ... ... ... ... ... ... ... ... S 0
A SUMMER'S DAY, Romance, by Km Cm-. Mu.vi.-r ... ... ... ... ... ... ... ... ... S 0
" 'A Summer s Day ' Is one of tbo neatest mi l moot pleasant musical trifloo we have met with for a locj,' time. II. Moolot evidently possesses much poetical
foaling, w> leh bo baa very cleverly iiifiuod into tbio composition.""— Limp** Mail
THREE LIEDER OHNE WORTE, by C. J. Hargitt ... 8 0
PAULINE, Nocturne, by G. A. Osiouwi ... ... ... ... ... ... ... ... ... ... 3 0
LA JOYEBSE, Souvenir dea Champa Elysees, 0. MoKokkbll ... ... ... ... ... ... ... ... 8 0
In the Prtu.
PIANO SOLO.
CAPBICE BOHEME, by R. LiirDLEr ... ... 4 0
8 ONSET GLOW, by Emakpil Aouilab ... ... a»a ... O V
PIANO DUET.
DON PASQUALE, introducing tbe favourite Serenade. "Coin' e geutil," by Ricabdo Lwtbb 6 0
MEYERBEER'S NEW VOCAL COMPOSITIONS.
LORD'S PRAYER, for four voices (soprano, alto, tenor, and bass) with English and Latin text, organ ad lib., in score ... ... 8 0
Separate vocal parts to the above ... ... ... ... ... ... ... .. ... ... each 0 6
" We bav<i met with lew dovotiouel Ken of late years en cab ubvod to become widely popular. The melody i. quite Hau ls Uo, and Urn liannontao are
arraiijre.1 with the moot masterly ofclll ; while the .ubjoot. being vov whleJi Involves nu question of doctrinal or secUriau tlllfcnince, commends itself to all
'who profess and coil themselves ChrUtiana.'" — Btxitol Stemrf.
NEAR TO THEE (Neben Dir). for voice, piano, and violirocello. (Sting bv Herr Reachardt) ... ... ... ... ... 4 0
HEBE, HEBE ON THE MOUNTAIN RECLINING (Des Schiifi-r'* Lied), f..r voice, piano, and clarionet, or harmonium ... 4 0
*A* The above two tonga are eminenthi calculated Jor public concert*.
THIS HOUSE TO LOVE IS HOLY, Serenade for eight voices (2 sopranos, 2 contraltos, 2 tenors, nnd 2 basses), without accompaniment,
in vocal score. (Sung hy Mr. Benedict's Vocal Association of 800 voices) ... ... ... ... 8 6
Separate vocal parts to the above ... ... ... ... ... ... ... ... ... ... each 0 6
" We have recdv- d an English version, by John Ox*-ufort, Tea,, of M»yerbeer's hymeneal serenade, 'This House to Love is holy.' It is composed fur eight
voices, or. rather. In eight pans, since each p-irt may be streuirtbetird hy any number of voices.
"In of'cr to attain clearness, be cnn.tluUs hu two choirs or difllrcnt materials— one choir consists of fmaU voices, first and second soprani, first and
second slU; ihe otlicr clwlr oous sts of ran!r voice.. 6r»t and second leu. n. tir t and second heath The first vorao Is couimoaood by the rode etiolr. and la
afterwards token up hy tbe female The un musical subject is then divided Into pLrascs of two or three burs, aud givou to tbu choirs alternately. Thirdly,
both choirs combine
••While he equal, the Old Master' in tbo oarriatre of the voicro, in tbe purity of writing, and progreaalou of the parts, he has imparted a charm of melody
to which their canons an! fugue* no v. r attained and has silded a richness of modulation which was unknown to them. Wc would psrticularly instance
an abrupt n: .idulatlou, 1mm U flat to A natural (enharmonic for dOMtilc 11 IUt\ and bock again to D flat The English Words also are fittingly wedded to
tbo music "— LittrjmA Mail
NEW VOCAL "MUSIC.
s. d. I a. d.
"The very angela weep, dear" (Trrannngund Wicdcrvcrcinignttg), " Quick arise, Maiden mine," Air Styricn, by J. Dmssemb ... 2 0
Song, by Hozabt ... ... ... ... ... ... 3 0 1 " Lord hear us" (Dien que ma voix), prayer, in P, from "La
" S*eet little Jenny," Ballad, by M. Exdk«830HS 2 0 Juive," by Halkw 2 0
" My Mary" ditto " ditto 2 0 ' " ne will be hero" (II va venir), romance, in C, from "La Jtrive,"
"The old Willow Tree," Ballad, by 8. J. St. Leuku 2 0 by Halkvy 2 0
" The Troubadour's Lament," by Louisa Yabsoli> 2 6 " To-morrow," Ballad, by C. J. II ABO ITT 2 C
Pnquita, " I love when the sun is set," by G. A. Macpaiibkn; composed for and sung by La Signora Fumaga'.li ... ... ... 2 6
" PERSEVERE," or, the Career of Havelock, ootnposod and sung by Mr. Charles Bmhatn ... ... ... ... ... 3 0
" Thou art so far, and yet so near," composed and stiug by Herr Keicuardt ... ... ... ... ... ... ... 8 0
"MART A."
The copyright of the new Italian and French versions of M. Flotow's opera of " Marlu," perfurtned with the grciitest success at the Italian
Opera. Paris,' and to bo produced this season at llic Rov.l Italian OpiTa, is vested, under the International Copyright Act, in MM. BRAJvlira akd
* Co. have the complete opera in octavo (Italian or French words), as wcU as the separa"
, of Paris. Messrs. D. Davison
in Italian, on sale.
LONDON :
DUNCAN DAVISON AND CO.,
DfiPOT GENERAL DE LA MA1S0N BRAND US, DE PARIS,
244, REGENT-STREET, CORNER OF LITTLE ARGYLL-STREET.
Digitized by Google
336
THE MUSICAL WORLD.
[May 22, 1858.
DO NOT
Misa Frickor, c
WATCH ALONE. — A popular song by
impo.tr of "Fading Away." price 2s. "
THE NUN'S PRAYER. — An Illustrated Edition of this
Pot ii il»r Ploce U publUhed tikis day, prlc* 5*. Boosey *utl Sons' Musical
Ubnrj.il "
TITENDELSSOHN'S SONGS WITHOUT WORDS.—
ij± The six hooka complete, with profiler, by J. W. Davison, price 8- . tloth.
;3ioni{«inlUllsu^aua E^nglish.^e*. Lmircur. all
LAURENTS MAUD VALSE, third edition, illustrated,
price 4s. Also a cheap edition of Laurent's Album of Donee Music, cor.t lin-
ing sixteen popular Quadrilles, Valses, Polkaa, Galops, fee , price Ss., post I roe.
Bo.:o«y on I Sows' Muilcil Library. Holles-atroet.
BOOSEY AND SONS' LIST OF NEW SONGS. —
"PhoBbo dearest." composed Tor Bloie RooToa by J- T. Uat'.on, 2s fid.
•• Sccuca of nome,"by Dal re, !e. "The Arrow aud the Song." by Longfellow and
Balfc. S» " I do not wa'ch ajon*,* by Mlsa Anno Frickor, 2a. "Sneak gently,"
by Wright™ (uew cditi'mX is •■Those drier oM times." by Faithful (mug by
Mim Dolby t. 2s Ad. "I stood on the beach," by J. L. Halton. 2». " Too late."
by Pratteu (sung by Mils Visaing! "The moonlit aoa," by Prout, !a.
" When the oioon on tlie lake U beaming" (a popular American ballad! by
Mew.it,:* "IVmii. Into the carden, Maod." by Ballc (»iith oilltloni S«. "Who
shall be ralrsst." by Frank Mori (third ediliotiX Js. fid. " Good night, bcloved."
by Balfo (third odium*, 2.. td. "The Ncodle." by Nordmaun. 2s 61. Any of
the aljovo peat-free. Booaey
I and Sons' Musical Library, Ilollca street.
BOOSEY AND SONS' POPULAR DANCE MUSIC,
as performed at every place of public amusement. — Laurent's Maud Valse
(third edition) 4s Laurent a Argyll Galop, 9a. Leninites Adelaide Valse, 4a.
Lamnttc'a TrsTiata Galop, 2s Laurent's Romanoff Valao, 4s. laurel >t*« Mar-
guerite lVilka, 3* M Blague's Travtota Valao, 4s Melloo's Isabella Valse, 4s.
IVAlbcrts Uudu (Jnadrill... 3». Ouglielmo'a Gal 'p Furious, 2a Laurent's Second
Set of Lancer'" Quadrille, 3a. Bailee Serenade Qjalrllle. Sa. The abor care all pull-
t Ss. M. each. snd for acptett. 2a. fid. each. An, on. poat froe.
N
JEW WORK FOR FLUTE AND PIANO BY
K. S PRATTEN— In 24 numbers, price One Shilling each, R. H. Pratten'a
Rocrcallona for Flute aud Piano. Contents : 1, Robert, t«d que J'aknvc, Hobert le
Dlorjte. 2, Quind je quittais. ditto, a, Nobll siguor, Huguonets. 4, No oaso
(liUal, ditto. 4, Va penaiero, Nubueoo. «, Ern.nil Involaml, Emaol. T, Tutto e
sprczxo, ditto. 3, La mta letiala, LombardU. 9. La donna e mobile, Rigotetto.
10, E ils<.) dell* antmo, ditto 11, Qu-eU o quells, ditto. 12, Bella nglis, ditto.
1.1, Introduction and Galop Rientetto, ditto 14. Miasrere— Ah! ebe la mnrte.
Trovalore. 15. II balen del euo, ditto. 1«, 81 la itaricheuu. dilb\ 17, Murri,
Jennet limits. Lea Vf pre* Sidliennea. IS, Ami. k ceeur d'H«ltf)0, ditto Id, Jour
.l'ivr».c, ditto, so. Lit.iamo. BnndisL TravlaU. 21, Farigi. o cam, ditto. 22, 1>I
|>rov.ri aa. dll
CASY MUSIC FOR CONCERTINA AND PIANO—
J 4 12 numbers, price la. each, Popular Recreations, arranged by George Case.
(Each enntsliia i or fi pu. eo ) L Riifoletto : "La donna b mobile, and "Questa
oq .ells." 2, U Travsturc: "ll balcn." and "All! die la morte" (Troubadour'"
Song) 8, Lucia di I^unn.crmooT ; " Fra |«coa me." and " Tu cbe Dlo asptogastl."
4. KaaamMla: "All i» lo*t now." mid "Still so gently." 0. Norma: " L>ch !
im te " «. Site i.ni ..[ tlaa iniiel popular Valses, ly lVAIbert. 7, Polka:
•• L Eiyfant," by U'AibetL 8, Vu'sj (•aa^ by Madame Oanierl Venaono. S,
l'rencii Alia: " Partaut pour b Syrie," "I* Marseillaise," and "Mourir pour la
pnirle." 10, Irinb Air«: "Tlie H..rp that once through Tata's Halb" "St.
Patrick's liay." and "The Uiat Row of Summer." II, Scotch Airs: "Uouiiio
l<un ie«," "Bbie R lis of Sc.itlaud." "Annie I«unr," and "Cotnin' thro' the
n 12- j4r*u A"*: "Mi,1DH" "Old Folk* at Home," and "Nelly Bly.
Forms a kind
-Critic
SIGNOR FERRARTS NEW WORK on the Cul-
tivation of the VOICE and SINGINQ is now published, it*.* 8s.. and
may be bad at )na itMi lence. Derontbiro Lodge, P.trtlmd-road. Portlaitd-plaoti
a:>d at all tlie priuelpal mnsie aellets. "Of sll the trestises ou the cultivation
of tlie »oico thai hsve up|«ared for many }»»r», it is the meat stnsibte, coociae,
and useful."— Daily News, "There la more eeu-o lti this work than we find
nine out of ten nubllcaUoos ol a aimilar kind."— Athrns-um.
of vnraiLDisr of Ow vocal art, and not a mere c.'l!ocl'Hi of ex
"H- re >a a really sensible work."— Mimical World.
Allen's SllusiTn.cb (gatalooue
Of Portinjuiteaus, Dispatch Hoses. Writing and Dressing Cases, Travelling Bags
with square opening*, and Sou other articles lor Inn Tin ig, by po»t f«r twosiami'ii
ALLF.N'8 PATENT SOLID LEATHER roitTMA.NTKAlJ, with four Com-
|«irtmeuU.
ALLEN'S PATENT DESPATCH BOX. with an 1 without Dressing Case
ALLEN'S PATENT TRAVELLING BAO, with square opening, Tl.ee-j orticUie
ire the beat ol tlie kind yet invonud
J. W and T. ALLEN. ManufacUinira of Portable Bairack-room
— \l»and»2."-
B00SEY AND SONS' alNNOTJN,
lie pubUshod the first volume of a new, cheap,
and complete edition cf the
PIANOFORTE SONATAS OF BEETHOVEN,
J. W. DAVISON.
. 7l. on
>IB will be given with the first
■ Prefaoo by the Biilor.
aud in <
i will be
CONTENTS OF VOLUME
Sonata, No. 1, Op. 2.
Sonata, No. J, Op. 2.
HooaU, No. 1, Op. ID
Sonata, No. 3, Op. 10.
Sonata, No. 1, Op 14.
Huberrih.ru to this Edition are requested to f
aa early as J
Sonata, No 2. Op. 2.
Sonata, Op 7
Sonata. No. 2. Op 10.
SnnoU Palhelique, Op. 13,
Souats, No. 7, Op. 14.
fAe aoerr tritt t* jtubtUKtd a sev wari for rar
in tux rolurae. riolA (180 }*>gt). 7« fid ,
THE HARMONIUM MUSEUM,
a coluctiok or
ONE nUNDRBD FAVOURITE MOVEMENTS, SACRED AND SECULAR.
CELEBRATED COMPOSERS,
1HD AAJUMOKD JuR TBK HHHOSnH ST
RUDOLF N O R D M A N N.
by a DsseripUvo Notice oi the Inatrument by HENRY SMART.
J«4t PmMMKl,
ONE HUNDRED OPERATIC AIRS FOR
THE FLUTE,
anaaxesn «v
R. S. PRATTEN.
Pri« ll «./.
To bf puoi isaed mxl ireel-.
ONE HUNDRED SACRED MELODIES FOR
THE CONCERTINA,
ADJtaicacD in
GEORGE CASE.
P, ux U. fid.
lOKDOIi:
BOOSEY AXD SONS, 28, HOLLES-STHKET,
Published by Jons RoourT, ol Csallelekr-hlll. in the puiab of Ealinc. In tie
County of Mlddliscx. at the office of Boonat it S-ma. SS, Holloas tree: Sold
also by Ilrrn, IS, JohuatrBet, Great Portland-street; Allkk. Warwick-
bno; Yii-asrn. Holywell-street | KriTtl, Piiowar, & Co. 48. Clifsi*»lr-
G. Scuxuiimaxk, HO, Newgat^-atrvet ; Joux sm ni-no, Now(r»te-ee?c«t i
Harutv Mar, 11. Hatboro-bara. Agents fi»r ScotUnd. PaTiaisos A ^o*».
Edinburgh and ai^isgi.w ; for Ireland, II. Bi sbblu Dublin ; and all Mnsic-
eellers.
Printed by Wiu.ia» Btkklkh Joiikwx. " Nassau Suut Press, " 40. 8L Martie'i
in lu^rarish of St. Martiu-in-tho-Fielda, in the County of 1" "
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"TlU WORTH Or ABT APPEARS MOST IMIXBXT IN MrgIC, BIKCS IT RIQCTEbS XO MATF.F.TAT, VO FCBJICT-MATTBB, WHOSE EFFECT MtTST
d for Postage, 20s. per annum— Payable in advance, by Caah or Post Office Order,
to B00SEY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 22.
SATURDAY, MAY 29, 1858.
{
BIRMINGHAM
Atn*US1
Dartmouth
TRIENNIAL
TIVAL, In .14 of the Fund, of th. GENERAL H
■rtjNN Ut, 2nd, and 3rd of ooptombcr next.
MUSICAL FES-
PITAL. en the Slstof
Earl of
MISS ARABELLA GODDARD begs to announco that
■bo will givo a pcrlormaaeo of CLASSICAL PIANOFORTE MUSIC on
tbo afternoon of Saturday, Juno 2fl, In Willis's Room*. Tu commence at Time
o'clock. Full particular* will bv shortly aaiiouiicod.
MR ALBKRT SMITH'S MONT BLANC, Naples
Pompeii, and Vaeuvin* every uluhl (except Baturtlay) si 8; and Tuesday.
Thursday, and Su'unlsy afternoons at J. Places can bo accural at tho BnX-otnca,
,11 and 4. ■
H
ERR L J ANSA beg* to announce that his SEVENTH
ANNUAL MORN I NO CONCERT wUI take ntaco at tho Hanover-square
' r, June 1 4. to comment* at h*lf-|m»l Twoo^lnek^ Tlckita 7a Cel.
^vmhosVva/
WfcJ
10. M,:
SACRED HARMONIC SOCIETY, Exeter Hall —
CoodmHor, Mr. Coal a. -On Friday noxt, Juno 4. Carta's BU. VocalUla :-
Madame Clara .NoooUo. Mb* Dolby, Mr. BUM Reeve*. Mr. Montom Bmith.
Mr Wei**, and Mr. Thomas Ticket*. 8a. it. and 10a. 6d. each, at tbo Boeiety'e
v<Tice, No. 6. iu Exeter Hall.
M
R. AND MRS. GERMAN REED'S NEW ENTER-
TAINMENT —The new Series of Uhutratkma by Mr and Mm Rood (Uto
Kin P. II rtan) will bo lepuelud every evening (except Saturday) at Eight.
Saturday Alumoon at Three. Admission, la, la, atad ; Stalls secured without
extra charge at the Royal Gallery of Illiunration, 14, Rotrwt-atroot, and at
Cramer, Bcale, aiiJ Co. 'a, "01, Ilccrcnt-iitrect.
MR. CHARLES DICKENS will read, hi* " CHIMES"
no Thursday evening, Juno 3rd. at 8 o'clock; and his "CHRISTMAS
CAROL " on Wednesday afternoon, Jum 9th, at 3 o'clock, at St. Martini Hall
Stalli (numbered and roaerredX 6*. ; area and
" I to bo had at
Each Reading will last two houra. Stall* (number
galleries, an M : unreserved seat*, la, Tlrkota t
and HtuTs. publishers, 193. Plccaddly ; and at ttt.
ST. JAMES'S HALL. — Joachim and Rubinstein,
I crania (el irtinet), Madame RudcradortT, Mailamo Sherrington Imnna,
Miaa IVdby, and Mia* Meeaent will appear at tho nrtli Concert of THR VOCAL
ASSOCIATION or Jr-o Vutce* on WednesiLiy ovcriin?, Juno 9th. when several of
their moat popular madrigals and port lougs will bo performed. Tickcta, 2a Ad.
and 3* B»>«>"y «*!>*. 7a. M ; BoTa HiaUa. 10*. Cd , to be had of all tho
\f R BENEDICTS ANNUAL MORNING UON-
IV I CERT, under tbo immediate rastronajr* r.r Her Moot Orad.*r» Majesty TUB
IJUEEN, Bia Royal Highness tbo Prince Consort. Her Royal Highness the Duchess
of Kent, and Ber Royal Highness tlie Duchess of Cambridge, will lake place at
Her Msjesti's Theatre, ot> Monday, Juue Slat, ou tbo same grand acalo ofrormcr
year*. ParikuUra and tlcktt* may bo bad at Mr. Benedict's io»ldotKxi. 2, Man-
chcaier aquan.', aud at tbo principal Librarioo and Mualc Warohouaea.
DOLBY AND MR. LINDSAY SLOPE R"8
OF CHAMBER MUSIC will take plica at Willls'a
May 31, at 3 o'clock, whro they win bo aaaaatail by
,-ECONI) OtiNCRRT
Rooma. on Mote lay u/terihion
Mr. Hb»rro««, Sicnor PtatM, ■
half * -rnrnca oacli. m %J \n ll
of Miaa Dolby, 2, Ilinde-aln
TU, Cambodg -tarracc, Hydo-
1 Mr Oecrg* HnaaalL TlckoU (for reaerod n- .1.1.
of Mora Cramer and Co. 201, B,»e..t ;
n Manchoator-aquaro; aud of Mr. Llruiaay H-oper,
T. JAMES'S HALL. — MISS LEFFLER, daughter of
the late Mr. Adam LetBer, beta to ai.nounce that h«V Brat Grand Erc-ning
will uko place -.t tlicabi.vo Hall. Rotrciit-Htmt, on Moodav, Jane T. to
ce at Eight o'clock, wben she will be aaair-U-d by tho following raiment
Mr. Sims Hcerra, Mr. Weiaa. Miaa Dolby, and Ml*, Arabella Oo.ldard.
Otberdlatingnlahed artiata are alrcruly iKikel* to bo bad at the Hall,
principal uiualc-erllrrt, and U Mua Lafflor, 71. Oxford -street.
22
MAPLESON AND CO.'S
mmm &wmi&n mmmi nmm.
OFPIClTS :
CLARENCE CHAMBERS, 12, HAYMARKET. LONDON.
This Agency baa hocn catahlksbod for tbo purpcac of *u|iplylnc; what haa lieen
ao long rooolrxd both by Managera and Uio Moakal Profoawn generally, ria. : — a
medium of eommuulcat-ou, imd greater fac.Litiea fur tho transact] im of all busineea
oonnocted with Music
Tbls Agency la in a position to arrange, witli the utmost prom ptneaa. complete
Opentlc ct Concert Comimnlca, and suiiily a'l the Chord, Orcleetinl, and oilier
ruquisitca; also to negotiate cng-.i^eiionia of ercry kind for Artl*t,a ol ability and
repute, both vocal and instrumental, w Idol, cannot fail materially to aadat In tbo
ronioTid of obstacles and difucultice which have uitlitrto greatly retar<4cd the
alv:iiicoment uf the lyric art in th a country.
Keglatcra are kcjit (or tlie gratuitous iu-pectlon of Managers, containing entries
of the names of vocal and instrumental artist* wanting cngagrmentr, with all
nec.-wnry i^rticulars, Ac
MttatcsL RarirRxsa.— M. W. Ralf.% Esq, Cork-»treot BurHinrion gardens ;
Schim, 17, I"ruices-strect, Haoovor-aquaro ; Jules Benedict, E»q., t, Man.
Itcrnira,— John na«ings.
MMaildock, Est) . 18.
Bank or London.
Esq., 7, OVouce.ter .Uert, Ragout s-|«rfc.
M.D., 14. Albemarle-slrcct.
.'s inn. Temple.
TO FOUR.
1SS LAURA BAXTER will have the honour to give
a GRAND EVENING CONCERT of Vood and luaUnmcntal Music, at
the Queen's Cone, rt Reins, Ilanovar-squaie, on Tliursday, 17th June, IMa, as
comnione* at Rtgtit o Jock L'nner tiis imme-iiat* |.atrooag* of no rU.bt
llousirahbi th.- Earl of Mount Rdgcumbe and tho Countea. i4 sToni t t4± uail»-
ArtisWe: Madame PordanL Msylsnw Weias, Mia* Mail ld.» Baxter (of tbo K- ysl
Acinlemy of Mna4r, Iter first appearance! and Mlas Laura Baxnr; Mr. 81m*
Reeves. Sign or PUtil. Mr Henry OUgrorr. Mr. Wear*, and Mr Riehardsisj Tit*
Vocal Aaaociaikon. conductad by M. Hoeodk-t On tbia occnaion Miaa Laura I
will tutu;: Aha, Vol che aapeto," (Le Noxxe dl Ugaro) Moanrt; Aria,
8tgnor,',(Usnuguenots) Meyerbeer ; Grand Dust. "Fieroioc ntro,-(ll Tanertdl)
i(i-«iii, with Madame Persian i ; and Sir Ucnry Bishup'a cetebrated ~
bouad, "Home, sweet home," Bislo>)>. Coodncties. Mr Beuedk-t, Mr
Lodcr. aud Mr. (ieorge Lake Rcse.vod Seats, Hair a-Ouines each ; Unn
HcatN Se-venSliilhng.coch, or Four for One Guinea, I o be bad of
Baxter. 7a. Mdlon-.trect, ftirsct-aquare. orof the t
THE ROTAL FAMILY
respectfully to announce that he 1* open to •
approved, interest to;:, pleaalog, and iustr
MUSICAL ENTERTAINMENT,
DR. MARK AND HIS LITTLE MEN,
uumbcrimr upwards of thirty Iiistrumonlalist*, and a most cflectivt I bona*, (he
whole forming a most complete and unique
JUVENILE ORCHESTRA,
CDMroaxn or
Li tils English. Irish, and Scotch boy a frum five to alulssn years of age, wl.o play
tigs, choruses, Ac, In a mist effective manner, and to whom he g"
HSKCtieml and musical clucatioii In ordir to Uluatt^t* hi* logbly »h
system
operatic svto.: Lions, Macs, ducts, quart, ts, qnadrllles, marelics, and p Uta* ;
sing songs, ehorrjaes, Ac, In a mist effective manner, and to whom he gives a
grwuitons general imd musical education in ordsr Ui Hluati »te Ins Ingbly an»mvod
system or musical educaiksi. jiud will, whom lie traveU^ab-oit tie ^cciuniry^to
mntJSmut lTuaio^'for'lltllo crd.drcu in' eTo^'^nl'cati^'Md^TtBasw of tbls
tjT'tvja^ crni"lrc -
A II letter* adores*, please. Five Trade Hail. Maiicbeatsr.
Dr. Mark and Id* LitUo Men will perform. May 11 and June 1, gv.Mw.1a; ' ^
Dr Mark and h b) Uitle Men will porlorro, June t at D*re*>.
Dr. Mark aikd hi* Util* Men will perform. June 3. at New
Dr. Hark and h.i* tittle Men will perform, June 4. !>, and
■f
-r
pigle
338
THE MUSICAL WORLD.
[May 29, 1858.
piCCO.— For
42, Church-road, Kiugsknd.
MR. SYDNEY SMITH, Violoncellist (orchestral and
ao!o) from, the Coti-eTva'.urium r>t Mu-k. rind (Ik-waii^him* Oncrrts,
Lelpeic, Is open to eng»grnjcrt*. Address, 19, ISair-atteet, Lo<o bUr-*»p.»iT.
MADAME VIARDOT GARCIA has arrival in town
fur the Muoa. AH cx<mmui}Urati<'H« to be addr—id to h«r at \wi rontdence,
8, ConJuit strtci, Bond-stri. a, W.
MADLLE JENNY BAUR will arrive in town for the
*ca»>n on lb* SIM of Hoy All letters to be al l
pad, St JoiinVwusl.
1 to 30,
CARLISLE CATHEDRAL CHOIR. — There in a
vaoun-y In ih« above Choir lor a TENOR VOICE. Candidate* a-u rx.|.io led
to forward their applications and leatlmouhila t ■• Silas Saul, Eau, , Chapter Clerk,
Carlisle. Salary, J. mi ,i;hi.
DOUBLE BASS AND CASE — To be sold, a first-rate
Doubl. Bn«* aui mad* by Dodd. London. Price *fll.-Apply to
MR. W. W. GRICE bogs respectfully to i
Mueieal ProftMMu and partiea glvim, concert* that he 111
Duuiajreiuenl and aup-powndence of occbcairaa— Addreea, IB,
*citmiu>Ur Abbey.
the
M
R THORPE PEED, Assistant
with the
AT A late .signer Crivelil, bog* to announce that he ia in town for th* season
Application* for l**»-u* autl rimrairauienl* ara requeand to be addroaaed tu Mcaare.
' am (bo lato great
HER MAJESTY'S STATE BALL. — Mr. John Weippert
bad Uio uiiepeakabl* delisht of receiving HeT MaJM'y'a cwnmaiJ.i to
attend ami conduct In. unnrallo i orchcatr* at tba Grand lla'l given at Buckli*
bam Felac Id bo.io.ir of th. "
n,
SIGNOR LUCCHESI, primo tenoro from the Italian
Oinoa, Pari*, and of Her MaJ«*ti's Th. atrc and tbo Royal Italian Ojoira,
Lnti don, ha* the honi-rn- to announce, that ha fa lit t'<wn for tba present season
imM"; and tirlvato cincvrt" and flntshlii.' lessons in
'O..%J01,Krie»nt-
LAURENTS ROYAL QUADRILLE BAND. — New
Office, at Mc.-r. Bonacy and Sceia, 24. II i lemlrr t, whom full particular*
may be ha- 1,
and
HANOVER SQUARE ROOMS.— These elegant
(xiiii'vnlnit rxMrfuN 1 mvliij; l>or» re-deonrn.cd and entirely urw^rlghtcd with
tlto briJlbMit mn-tifflit^ arc to be lot f»r C n«rta, .Nibiic nnd Tnv tt? Balls.
n*ucnan, Mc-etin^tv. A*e. No concert- rooms am compete wj h them far sound, fur
either vtxul or .ii*rn.rncnt.U lunalc, orfrr public >|«nklijv; Far term* •pply at
tlie ftoumt. No 4, HaiviturHw^iiaxc, tn;l*oc.i the Iwiur* of ten and tour dully*
MADAME DOTTT, the celebrated Prima Donna of the
& alu, nn*J Faii-i lla-Un Openu formerly etw- lent under lloaflini and front-
r. tH. will ainu *t I cr Matiutfe, June 11, at ti-uaovei **tu:uc R>Mxnn, tit* m >et
uul.wtl I.Aijf lX>Mro8l llMN OK DONIXKlTI, wrttUti by tho Kroat ruae«trT>
» few iKiur* IWrnx matlut »* dccUrtxl jtaelf, ^nd e\pr«M!liu,'intlieiur«(, twichlug
manner tbu fv l.nct wlilch iuduofi it. "l'auvo DonUettl '." exclaiavl ftmntul,
when hu law ,t, " c*e-rt Uca lui. mnw e'c*t Urnluo " FuJt purlk-itlara htmrtly.
rr»HE MISSES McALPINES ANNUAL CONCERT
luixlrr ti c In
cd.aU |
mate Of H.-r Grace Margaret thwhc* of Somoiacl,
The Moat Hoi., the Murct.k.t.wa of Ah-tvum. Tba Itiiftit Hon tbo Cminlcw of
Hiirrowby, Uia Bxcrj lcncr the Turkinb Amta'si,ior, Ilia Kxrcltency Fcr uk
Kbao, Amhaaaador or Tuaia. Tbc Lord I"anmuro. K T , O.C B . tie,., Tba Kajab «l
8<M-»wak (hlr Jan.ca l.rooke) Uiaicml Sir Fciiwlek WHUama or Kara. U.t«mct.
OciRT-.H Sir Homy Stoika, K C.B . Ac . ai d John Im\ Raq , LI.D,, F.F.S., *c , of
HartweU park)wiU ttka pU.i- at luo Hanorcr-aqiun Koorni on Moodiiy croi.iui'.
Jiuia IUI>, to uxnnmuce at liail poat vlybt o'clock. Tickets 10a. bd. arid Ta. each,
to ba tuvd of the Nlaaea ]fcAi|ni<c, 2fl. Alirvl-tcrrnoo, QuccnVroad, Uayawatcr,
and at th« prtm ll*! Mnalc Warchoiiaca
HARP MATINEE— MR.
tbat lit" hast HArp O »«rt will taV(
No. 13. Port ilowi.-roail, Maid i vrde, eemn
|k rfcent Alr.,ra*aCcncrr1o, with acoomp^oit
and Harp ; „1* lunu l<,r Clarionet ium!
andH«i|> VocallnU Mlaa Marian Pn-cv
Smith, luatmmeutalifttn : Mt*« Mario
WalUT. P.ttit, BcTcru, Nlcbotaon, Ijiraru«, and llcrr SlcUmUt* Ticket* to' bo had
of Mr Tom,
TRUST begs to itnnonnce
VUcom »t Wednesday, at I iii rcaldtuoe,
cll'.l-j. .it Three o'clock, »rli. u lio will
lent, audio a Trio for V|u!ir,. Vwlourello,
p. Ilantboia an 1 1 Harp, arid Plaikofuttc
, M aa Ktnlly Oreahare, and Mr. Moatoin
n • Mcasra. Willy, N'ev aliam, Webb,
MADLLE. CAROLINE VALENTIN h« the honour to
anticline* that abc will gin a MATINEE MUBICAXE at tba lUcwrar-
aquare Ilooma on Tlinraday, Juiic JOtlt, lo eonmence at .1 o'clock Yocallata : —
Ma Hie. dc Villar, M Julea Lcfort, and Hrrr l>a*k loatrum*»t*Jl*U : — Violin,
Itarr J.ns.i Vl» onoell" M Paque; Harii, ncrrObcithllr ; Piano, Madll* VaUntiu.
C. n luct. n:— Hen WkLvIoi flan* and Hcrr Thoodor etrauaa TicluiU, lua. «d ;
Roaervcd ac-iu, 1 'jj. ; to U had of MadlSo. VaUntln, <\ I>uke->tieet. rtauorar-aquara.
aui of Moan Weaae'.l and Co.. Is, HanOTer-aquar*
MR.
BRINLEY RICHARDS'
Hanovor-^tiaro Ronma. Madan
MI&S MESSENT and
CONCERT. Friday nrenlwr. Ju
Viardot Uarela and Mlaa Maa-ent ; Mr. Blina Haevoa, Mr Allan frvit c. and
Mr. 8.H, 'ley ; Plan, f"rt« :— Mlaa Arabella Goddard and Mr. Bnnloy Richard*;
Violin :— Heir Oslchman ; Violoncallo — M. Pao.ua. Th* Vocal AaaucLatlou (900
vul<v»\ directed by Mr. llcnodict. Mian MoaMMt will aiu|$ a iww amir, ootnpntxd
fur her Mr. Hnllali. Mr Biinley Rloharda will perturtn Bcathorsn'a Sonata,
op. if', mid ti.rco of Maudelaaolih'a " I.iodn M— F aharp minor. Rook I.; E major.
Bouk II. ; and one lu Book V. MUa Arabella Ooddard » ri play Mandalaauhn a
lhtet, 0|. .H, with Mr Driidey Ibobarla. Conduct-
Moil, and IVrgcr. Reacri.d aeotA loa. <kL ; aljajds
wui cvminencv ptoctealy at cini.t o'clock.
MADLLE SPEYER begs to announce that she will give
a TI VNOFORTE RECITAL on Fatarday next. Juno 5, at WlM«a nVnna,
on whkl. ocoaaWm abe "Ul bare the honour ol i^rforniinu at lor lion, tram tbo
woik* of Rich. Beothovcu. Mciidc.»»ul n. and Chopin To commence at S o'clock.
Vncallata — Mlaa Kcuible, Ilerr Richard Dock. P;an nt AOtvni[-a;'nalnir —
Mr .Harold Tliomaa. Rcaerrcd and numbered acata. half-a-c-nmca. Tickets. 7 a.,
to be obtained at Olllrier'a, If, Old Bond-atreet ; at the principal muatc warc-
bonsra; and of Madlle. S|ieyer. S, I [';<■. Ramibigleat'eet, Katon^quan.
ONE OF THE FINEST ORGANS IN THE WORLD
TO BE SOLD,
fCTTA Vt.E FOR A
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL.
Apply to the Publaahtw of th* " Miarlral WorM.-
DOOSEY AND SONS' CHEAP MUSIC— R S. Pratten'a
O 100 Operatic Aire for the Fltite, la o I. ; Ca*»'a 100 tend Meiodioa for tk*
CitKiertlua, la 01 ; Coae'* 100 Popular Maloille* for (he Con cert; n i, la. ; Boovry'a
ll'.l :.-M,r, :.
UIGNOR FERRAHI'S NEW WORK on the CUL-
O TlVATloN of tbo VtrtCR and HIN01N0 l« now rmbUtbol m <1
way be lia-1 at hi* ren louce. lKron bjie 1>kjWc. i'. rllaDd r -ad, rortUo'Vpbee,
anil it all the principal muiic »dlc> a "Oi all the trcatiaea on the culUratkia
of t.'in voic« (hut Imvo *ipi>cirfhl !>T n aoy 3 oao, it in the tii<<*t e»iieible, <mor*«*\
and mwfut." — Lkaily Srvt*. "11.vre fs uioru wiwe in tlii* «orlt tliui w« fttxl iu
muo out of ten publications ul n ptmilar kiiMl**— Athena
ot sr.immar of ilic rotal art, nrvl not n nun- ocllrv^li 'ti of
"thru la a rcidty m:iu*ibte work." — Mum- .1 Uori*J,
rdlltn's Sllustnitcti i^aialoQur
Of PortmantisuM, l>, •|atch Boies, Wi lUnif an d Iiri*»liih' Caata. TravdllDi' B*g»
with MUM* ojwn'Ulf" mid jOO O' her art ii'lie lor Irnr. llmir, by poet for twoataail*.
ALLEN'S PATENT SOLID LEATHER POIITMANTEAU, with bur Corn-
par Unenta
AI LBX'S PATPNT DESPATCH ttr>X. with and without Drcarln,.- Caao
ALLEN'S PATENT TRAVELLING 11AO, wiih«iuare openi.,k-. Tlxau articlca
arc thr Inst ol u,e ki i.dl yet invented
J W. aad T. ALLEN. Maaafaetorera o' l'l-il.il.le Batnck-rouni Purn turaaud
MlliUiy Ou'.ftttct" <*ec 'cp.vnitc C^itAlosue*. 1& ml J3, Strand.
rpHI
HARMONIUM. — Mr. W. K
EVANS, U>»< lit r of tbo K* zllth Uaroiomum (exhibited in London in \M),
call* ••ttoitlim t- the improvement* hi- ba-i lately made in thla InMrun cnt. Tbo
ibjoinc-l tc ti.uo,,,„l f, ., Mr. Alfred MetU n I. .me . f tbc uvoy he haa i
Ptaa Sin,— I havo
Hairoonlum ; It I* llin bcai
To Mr. W. E. Erau*.
Thk VaLa, Kim.-j Roao. Citauu,
March I tth, I DM.
ire in t'lviuir you my ouinlon upon vour
of Hi* kind I have ever hcani
Ycnira rcry truly
ALl-llEU MELLON.
rpiIB TWENTY' FOURTH ANNUAL REPORT of
JL th* Dirvctora of th* MUTUAL LIFE ASSURANCE SOCIETY, toqether
wlih t!i*Ca»II Ami »T an i ilAi.aaci: Shickt for the year IS47. showing tie star*
of the Society's affairs on the Slat of December last, a* presented to the General
Meeting on the Kth of February, 1ASR, al*.i Proapectuai a. Forma of Pro|<aul, and
a list of tba Bonnaia pabl on the Claim* of the paat year, will Iw dollveteal on a
written or peranunl appliualiuu to tba Actuary, or to amy of tile Society * Aircnt*
in Gnat Britain.
CHARLES IN(1 ALL. .
Mcrrat. Lin l»u,5.r OrrtOB,
t». Kin*, S«*.t, Choap.^ Lomlon, E C.
Digitized by Google
Mat 29, 1868.]
THE MUSICAL WORLD.
330
AMATEUR MUSICAL SOCIETY.
Tub last concert but one of the present season took place ou
the 17th inst. at the Hanover-square Rooms, and the perform-
ance reflected great credit on the Society. The programme
was as follows ; —
Pibt I.— Symphony in O, "Tlie Surprise"— Haydn. Soma " Ocon,
than mighty monster (Oberon), Mi.s Ran «ford*— Weber. Solo for
the Violin (Verdi's "I Lombardi"), Mr. Irrins; Kougemont— Vi<mx*
tempi. Duetto "O la bella immantinentc" {Il<*llv), Mr. SanlW
and Mr. Coleridpe — Doniaetti. Concert Overture (\}S.)- St. Vinrcnt
Jerri*.
Past II.— Selection (William Tell)— .Rosaiui. Son)? "Come lite
with me," Mi«» Rmi.fowl - BarK r. Orertnre (Korma)-llelli-,i. Hong.
"Fair Nell or Heme Hrac," Mr. Santley-JIenrv LesK*. Mareii
(Robert Brucc)-Ro*iini.
Conductor, Mr. Henry Lealle.
The symphony was played remarkably well, especially the
andnnle, in which the baud accomplished a real piano more than
once. Mr. Jervia's overtnrc is evidently the w<rk of n musi-
cian, but somewhat deficient in melody. Mr. Rougemont
honourably distinguished himself in the solo of Vieuxteroi*,
and deserved the loud applause with which he was greeted.
Mias Ransford aang Weber's difficult icena with energv and
dramatic feeling, but she might have been better accompanied.
The bassoons, to the great dismay of Mr. Leslie suddenly be-
coming audible where Weber had evidently intended them to be
silent. Miss Ransford also pleased very much in the ballad
"Come live with me." Mr. Santley sung Mr. Leslie's "Fair
Nell " with the utmost taste and expression.
The last concert of the season will be given on Monday next,
when " Angelina " is to be the star of the evening. Ilummcl's
Concerto in B minor has been selected for performance by the
accomplished pianist.
PHILHARMONIC CONCERTS.
This fourth concert, on Monday evening, wm ouo of the most
magnificent entertainments ever given in the Hanover-square
Rooms, by the Philharmonic or by any other Society. The
name of Herr Joseph Joachim once more exercised a powerful
attraction, and there was again a crowded andienco. The fol-
lowing was the programme : —
part r,
Smfonia in 0 miiior Motnrt.
Aria, " Vedrai, carino," Min Loni»a Pyne Moiart.
Concerto, Violin, Herr Joachim Mendelsohn.
Overturn, " Jesaond* * fyolir.
Tint n.
Sinfonia in F, No. 8 Beethoven.
Air, "II tosve c bcl contcnto," Mirs I.. Pine Pacini.
Sonata, Violin, Herr Jonrl.im ... ' ... Bach.
Overture " FanUka " Chcrubini.
Conductor Profftaor Stcrndala Bennett.
Both symphonies were very finely played, and the well-known
allegretto in that of Beethoven was encored. About the com-
positions themselves there is not one word to say. They can
never, to use the French idiom, "passer en relujuet," since they
aro stamped with eternal youth and a beauty that is im-
perishable.
Equally well chosen and almost equally well executed were
the overtures. The qualification, however, only applies to
Fanisia, which was taken too quick, whereby the grace of the
first theme of the allegro and the quaint character of the second
were in some measure lost. Why Spohr'a overture was substi-
tuted for Mr. Macfarren's Hamlet, which had been annonnced,
no one seemed to bo aware. The programme contained no
allusion to the subject ; which wo cannot help thinking was a
slight both to the subscribers and to Mr. Macfarren. If, how-
ever, as we heard it reported, the overture is to be performed
at the next concert, there will be no further cause for dis-
satisfaction.
We need scarcely remind our readers that Herr Joseph
Joachim's performance of Mendelssohn's violin concerto is
renowned all over Europe. The last time ita gifted composer
ever attended a concert was when Joachim (then a mere boy)
played this concerto at the Oewandhaus concerts in Leipsic.
This was a very short time before he died. In 1869, Joachim per-
formed it at the sixth concert of the Philharmonic .Society, and
created a sensation not easy to forget. Five years had wonderfully
developed those qualities which in his boyhood had caused him to
be regarded as a phenomenon. Of phenomena generally we have
been taught to stand in few; but the precocity of Joachim
(like that of his friend and best counsellor, Mendelssohn) was
destined to ripen into matured excellence — not to disappoint by n
settled mediocritv, as is so often the case. Six years more have
piUHTl"! away, and* only brought him nearer and nearer to the goal
which no genuine artist ever considers he has quite attained.
" Excelsior is hia motto, and so he goes ou perfectioning him-
I If year by year, with :ui ultimate view to what ideal himself
alone e;»n know. Hia performance of Mendelssohn's romantic
and beautiful work on Monday evening was splendid from first
to last, and the euthusiasm it excited was unbounded. Equally
brilliant was the reception awarded to Herr Joachim's execu-
tion of Bach's wonderful solo sonata, the second movement of
which iB the well-known fugue in G minor, a prodigy of learning
and iuvention.
We canuot imagine cither mechanical skill or masterly expres-
sion carried further than in this performance. The audience
were enchanted beyond measure, and, as at the end of the con-
certo, Herr Joachim wan cheered and recalled with acclamations.
Miss Louisa Pyue sang " Vedrai Carino" charmingly, and
Paciui's hacknied cavatina with the utmost brilliancy.
At every succeeding concert, Professor Bennett experiences
a warmer welcome. The subscribers are thoroughly conscious
of the great benefits he is conferring on the Society. It was a
treat to listen to the accompaniments in Mendelssohn's concerto,
as played under his direction. Ho has now the orchestra
entirely under control, and his popularity with the members
increases with the confidence they repose in him.
ROYAL SURREY GARDENS MUSIC HALL
A Conckrt was given at the now Hall on Wednesday evening
(in aid of the poor of Bethnal Green), which, notwithstanding a
powerful array of talent, did not draw so large an assembly as
might have been calculated on. The area was crowded, but the
galleries and reserved seats were all but empty. The bill of
fare was not very inviting ; still, more than ordinary attraction
might be supposed to attach to the names of Herr Joachim,
Miss Louisa Pvnc, Miss Susan Pyne, Miss Poole, Mr. W. Har-
rison, Mr. Weiss, Mr. Sidney Pratteu, Mr. H. F. Trust, &c. The
comparatively thin attendance was attributed to want of suffi-
cient advertising. Cluiritica, howevur, rarely " pay," and most
people would rather go to any other concert, than to one devoted
to a benevolent object,
Horr Joachim was, of course, the "lion" of the evening. He
played the first movement of Lipinski'a Military Concerto,*
pieco bristling with difficulties, though containing one beautiful
cantabUt phrase, and a Caprice by Paganini. Both created an
immense sensation, and both were encored ; but Herr Joachim
only retained to the platform and bowed — thnB setting an ex-
ample which it would have been better had the other artists
engage*! in the performance imitated.
Miss Louisa Pyne introduced " Tacea la notte." from the Tro-
valore, and Bishop's " Lo ! hear the gentle lark !", Mr. Sidney
Pratten playing the flute obUigato. She also joined Mr. Har-
rison in a duet from Linda di Ckamotini, besides taking part in
some concerted pieces. The alow movement in Verdi's aria
was given with Miss Louisa Pyrin's peculiar charm of voice and
manner ; the allegro was less admirable. A general encore
ensued, and Miss Pyne repeated the " cabnletta." The accom-
plished singer was also encored iu " Lo ! hear the gentle lark !",
which she aang with great brilliancy and taste, i
Mr. Harrison sang two solos, " The Muleteer," and a ballad
of hia own composition — " I will not weep at losing thee." In
both he was rapturously encored.
Not the least pleasing singing of the oventng was that of Miss
Digitized by Google
340
THE MUSICAL WORLD.
[May 29, 1858.
E. Gresham — a lad v whose name ia not familiar to us— in the
lovely song from Jkr FrtuehiUt, "TJud ob die Wolken," (in
German). To a pure soprano voice, this lady adds extreme deli-
cacy of expression. Miss Greshani is a pupil of Mr. Benedict.
The other performances call for no remark.
Notwithstanding that the orchestra was empty, there being
neither band nor chorus, the effect of the music was excellent,
a result attributable to the admirable acoustic properties of the
building, which, it is only fair to remind our readers, was duo to
the sagacity and experience of M. Jullien.
vocaiTassociation.
Thk fourth conceit took place on Friday the 21st. Herr
Joachim was engaged, and Herr Pischek made his first appear-
ance in Loudon for two years. These constituted the principal
attractions of the programme.
Hcrr Joachim performed Bach's Chaconne, with Mendelsohn's
accompaniment for the pianoforte (admirably played by Mr.
Benedict), and created a/urore. He would not , however, accede
to the demand for a repetition, but merely came forward and
bowed.
Herr Pischek sang the air from Mozart's Seraglio, " Wer cin
liebchon," a German ballad by Schumann, " Die bicden
Grenadiere," and the "Standard Bearer." He was loudly
applauded in all these. Madame Liza Hayncs, in the romance
and prayer from Otdlo, " Assisa a pie d'un salicc," despite of a
cold, and a timidity natural in a first appearance before a
London public, displayed a charming quality of voice and
genuine expression.
Miss Susan Goddard, pupil of Mr. Benedict, played with Mr.
Horatio Chipp, Mendelssohn's sonata in B flat for pianoforte and
violoncello, and achieved a docided success. The young lady is
a pianist of talent and promise. Mr. H. Chipp is rapidly rising
in the estimation of the public, and may be looked forward to
as the legitimate successor of Mr. Lucas.
The Vocal Association, assisted by the Orpheus Glee Union,
sang several part-songs, a motet i.v I lauptmauu, and Marenzio's
madrigal " Fair May Queen." The association is decidedly pro-
gressing under Mr. Benedict's able superintendence.
The other artists were— Madame Amadei, Madame Borcbardt,
Mr. Wilbyo Cooper, and Herr Deck, vocalists j and Mr. Paque,
violoncello, and Mr. W. T. Best, organist, instrumentalists. Mr.
Best played on the great organ Bach's Prelude and Grand
Fugue, in G major magnificently.
The fifth concert is announced for June 9th.
CRYSTAL PALACE CONCERTS.
The second grand concert took place on Friday, the 14th inst.
The following programme was given : —
Part I. — Overture (Leonora) — Beethoven. Aris " Quando Miro "
Hits Dolby— Mozart. Song "Msd Tom," Mr. Weiss— Purcell. Solo
for Flnte, Mr. Svensdcn— Bochm. Aria " Osstn Diva," Miss Louisa
Aris •• Dalla tua psce, "Mr. Sims Reeves— Mozart.
Pyne— !
March J
Past II.— Overture (Dcr FreyachuU)— Weber. Part Song " Ave
Maria"— U. Smart. Duct "Serbami ognor" Mitt Louisa Pyne and Miss
Dolby— Bossini. Song for four voices "To May Morning" — U. Leslie.
Aria " Oh, 'tis a glorious night," Mr. Sims Beeves — Weber. Olee
" The Cloud-capt Towers " — Stevens. " Bule Britannia," Mr. Leslie's
Choir— Arne. Ballad " The Tribute of a Tear," Mr. Weiss— Lotler.
Bacchanalian Chorus from " Immaauel " — II. Leslie.
Conductor— Mr. A. Manas.
Mr. Henry Leslie's choir carried off the honours of the day,
the audience — a rare thing at these concerts — being excited to
rval enthusiasm by Henry Smart's Part-Soug, " Ave Maria," a
result not to be wondered at, considering the beauty of the com-
position and the perfection of the singing. It was encored and
repeated. In tho solo vocal pieces Mr. Sims Reeves's song from
Eton Giovanni was by far the finest performance of the concert.
Miss Dolby's "Quando Miro" was also capital, as was Miss
Louisa Pyne'a " Casta Diva," especially the ailtgro.
The third concert is announced to take place on Saturday
MR. AGUILAR'S MATINEE.
A vert excellent programme was presented by Mr. Aguilar
on Monday morning to nis friends and the public, who filled the
Hanover-square Booms in every part. The only fault in the selec-
tion was that it did not contain a single composition from his own
Q which, from one so industriously productive, occasioned
surprise and disappointment The capital pieces were
Mozart's trio in E, for piano, violin, and violoncello ; Beethoven's
j sonata in E flat. op. 29, No. 3 ; Bach's concerto in D minor, for
pianoforte, with accompaniments of two violins, viola, violon-
cello, and contraliasso ; and Mendelssohn's Caprice in E. op. 33,
No. 2. Mr. Aguilar was assisted by Messrs. Jans*, Clementi,
Goffria, Paque, and Howell, respectively at the violins (the
first two), tonor, violoncello, and eontrabasso. Every tnor-
f*au, more especially Mozart's trio, appeared to please unani-
mously. To tho sonata of Beethoven and the caprice of
Mendelssohn, Mr. Aguilar added as a solo performance, Chopin's
polonaise in A flat, op. S3, with which the concert was brought
to a termination. In all of these varied performances he dis-
played that talent and intelligence to which he is indebted for
nis reputation as a pianist versed in every school, while preferring
the only true one.
Tho vocal music was entrusted to Miss Lindo, pupil of Sign or
Ferrari, her first appearance, and Signor M arras. The lady
possesses a soprano voice sweet if not powerful, and well culti-
vated. She gave the air from Figaro, " Deh vieni," in a most
pleasing unaffected manner, and was loudly applauded. Her
second song, Beethoven's " Herz, mein herz, indicated ac-
quaintance with the vocal art in its dramatic no less than its
expressive form. Miss Lindo also joined Signor Marras in
Rossini's duet, " Mira la bianca." The success of the dibtUante
was decided, although somewhat endangered by a I
excusable aud natural under the circumstances.
HERR MOLIQUETS CONCERT.
took place on Wednesday evening
e an audience, among whom
of connoisseurs. The pro-
one of very great interest as may be seen by the
lowing :—
Past I. — Overture (La Clemens* di Tito)— Mozart. Recitative and
Air (Croeiato in Kgitto), Miss Lascellca— Meyerbeer. Violin Con-
certo, Op. 38, Hcrr Molique — Spohr. Becitative and Air, •• U voi deli'
Erobo," Mr. Santley — Handel. Becitative and Air (Faust), Madams
Budcrsdorff — Sgiohr. Pianoforto Concerto (MS., first time of per-
formance), Mdllc. Anns Molique— Molique.
Past II.— Concert Overture, (MS., first time of performance)—
Molique. Becitative and Air (Idomeneo), Miss Kemblo — Mozart.
Concerto for tho Concertina, Sig. Regondi — Molique. Bolero,
Madu;ne Ruderadorff — Bandeggcr. Duet (Torquato Tasso), Miss
Kemble and Mr. Santley-Donizetti, Fandango for the Violin, Bcrr
Molique— Molique. Overture (Prometheus), Beethoven.
Conductors of the Orchestra— Hcrr Moliquo and Hcrr Manns.
Herr Molique has a plea for inviting his friends and the public
to an annual concert, since ho never receives
empty-
handed. On the present occasion, besides his very masterly
performance of Spohr's concerto,* and his own quaint and
ingenious FamUtngo,he brought forward two new and important
compositions — a pianoforte concerto and an overture, both, by
tho way, in F minor. The pianoforte concerto was composed
expressly by Herr Moliquo for his daughter, Mdllo. Anna Molique,
who made so successful a dibnt last season, in a trio from the
same pen. It is full of interest, and, as might have been ex-
pected, masterly. The first movement is of a somewhat gloomy
character, elaborately instrumented, and extremely difficult for
the solo player. The slow movement (in D flat) is melodious
and expressive, while the Jinale, a sparkling rondo, contrasts
admirably with the two preceding movements, and brings the
concerto to an animated and brilliant climax. Mdlle. Anus
Molique's execution was remarkably energetic, and distinguished
• Which M. Sainton played with such brillisnt success at the
Digitized by Coogl
May 29, 1858.]
341
throughout by • mechanism to which the epithet of unerring
may be justly applied. It must have demanded no ordinary
amount of labour, as it required no ordinary talent and facility,
to master a work of such difficulty in so complete a manner ;
and Mdlle. Anna Molique richly merited the unanimous applause
and recul which followed her performance.
_ The concert-overture is, we are inclined to think, even a more
highly finiahod work than the concerto. The orchestra is Herr
Molique 'a natural element, and ho breathes in it freely and at
ease. With the pianoforte, not being a pianist, he is naturally
less at home, and some passages in his concerto would be perplex-
ing even to the moat export performers. But all ho composes for
orchestra is written with equal fluency and grace. Herr Mo-
lique's instrumentation is in the admirable school of S|>ohr,
stamped with certain peculiarities of his own that every con-
noisseur may recognise. The design of his overture is classical
and pure, the groat masters, whoso works he has studied deeply
and lovingly, being his models. Thus wo have a composition in
which symmetrical form and consistent development are every-
where apparent — the production, in short, of a learned and un-
compromising musician. Herr Molique directed the performance
himself, whereby nothing was lost, but, on the contrary, much
gained. The overture was received with the warmest applause,
and cannot fail to enhance the high reputation of its composer.
We hope to hear of it some fine day at the Philharmonic.
One of the most extraordinary performances of the evening
was that of the concerto for the concertina, one of Herr Mo-
lique's most ingenious and beautiful compositions, to the merits
of which we bore testimony when it was first publicly performed
by Signor Rcgoudi, for whom it was expressly written. To
make such an instrument as the concertina at all effective in a
large room demands no common talent ; but Signor Regondi
does not merely accomplish this — lie makes the concertina sing
as though it were a human voice, and his taste and sentiment in
the melody of the slow movement are quite as much entitled to
admiration as his unprecedented manipulation in the bravura
passages of the allegro and final*. To bo brief, in the hands of this
gentleman tho concertina is no longer a concertina, but loses its
insignificance, and becomes one of the most expressive of instru-
ments. Such a display of consummate talent could not foil to
be appreciated, and Signor Regondi retired amidst loud and
universal plaudits.
Miss Laacellea sang Mercadante's air carefully and well ;
Madame Budersdorff exhibited great fire and Animation in the
splendid scena from Fa tut ; Mr. Sautley gave the fine song of
Handel with admirable vigour ; and Miss Kemble and Mr.
Santley, in conjunction, did every justice to the duet from Tor-
quato Tauo. Herr Randcgger'a bolero was made a little too
much of by Madame Rudersdortf, which was a pity, since it is a
genial, well-written, and pleasing composition.
The bond was that of the Crystal Palace, with the very im-
portant addition of Mr. Henry Blagrove as chef-d'attixque. The
concert afforded unqualified satisfaction.
MISS FANNY CORFIELD'S CONCERT.
Miss Fannt Corfield, a young pianist, pupil of Professor
Sterndalc Bennett, gave a concert 01 classical pianoforte music,
on Fridny evening, last week, at the Beethoven Booms. It was
her first appearance in public, aud the rooms were crowded
with amateurs of the piano, anxious to hear tho favourite pupil
of so renowned a master. Miss Corfield selected as her initia-
tive essay Mozart's Sonata in A, for pianoforte and violin,
in which she was assisted by the popular and accomplished M.
Sainton. The young performer exhibited brilliancy of execution,
pure tone, and a command of tempo, rarely to be found in inex-
perienced players. Thus her first ordeal was passed trium-
phantly. In Mendelssohn's duet for pianoforte, " Andante con
Variazioni," Op. 83, (originally composed for one performer, but
subsequently arranged for two, and performud by the author and
Frofes»orBenuctt,attheconcertofthe latter.iu 1844). Miss Corfield
enjoyed the powerful co-operation of her master, ami tho execution
was irreproachable throughout. Professor Bennett's trio, in A,
Op. 20, and Mendelssohn's Trio in D. minor, Op. 49, both for piano-
forte, violin, and violoncello, in which the pianist was joined by
M.Sainton and M.Paquo, were also given. In the former Miss Cor-
field displayed great neatness aud dexterity united to a thorough
appreciation of the character of tho music. The solo introduced by
Miss ( 'orfield — Beethoven's Grand Sonata, in A, Op. 101 — was
hardly so well suited to her present means. Such a work demands
great execution, ability, and entire self-possession. It would have
been better for theyouug pianist to have chosen one of tho earlier
sonatas of the same composer. Miss Corfield showed ambition,
nevertheless, in essaying so difficult a work. Taking into account
that she had never before appeared in public, Miss Fanny
Corfield's first concert may be regarded as holding out high
promise for the future.
The vocal music was entrusted to Mrs. Bertha Street and
Mrs. Lennard Lewis, with whoso efforts the audience were
evidently gratified. -
MAD. SZARVADY'K MATINEES.
At her soeond matinee, on Monday (Willis's Rooms) Madame
Szarvady was assisted by Herr Molique and Sig. Piatti. Tho
full concerted pieces were Beethoven's trio in E flat (op. 70),
and Mendelssohn's quartet in B minor (op. 3). The grand solo
sonata was Beethoven's in A flat (op. 1 10). Tho short pieces
were tho variations on the " Harmonious Blacksmith" (Handel);
the sonata in A, of Scarlatti ; Chopin's nocturne (op. M); and
tho " Chasso" of M. Stephen Holler. In all these the musical
public had an opportunity of judging Mad. Szarvady, when as
Mdlle. Wilhclmiuo Clauss, sho first played them in London. On
tho present occasion she was most applauded in the compositions
of chopiu aud Heller, which she plays in a manner peculiarly
her own. Herr Molique and Sig. Piatti were her co-operators
in the trio and quartet, Mr. Henry Blagrove taking the viola in
tho last. The rooms were very fashionably attended ; but wo
remarked that Beethoven's wonderful sonata was quite beyond
the comprehension of Mr. Mitchell's patrons, to whom the inspi-
rations of MM. Gloria and Ben6 Favarger are probably more
congenial than those' of the mighty toneqtoet. Ma<L Szarvady,
however, shows true artistic faith in refraining from entertain-
ing them with their ordinary intellectual food.
SIGNOR AND MADAME FERRARI'S CONCERT.
The annual matinte of those talented professors, Signor and
Mad. Ferrari, took place at the Hanover-square Booms, on
Wednesday, and attracted a very numerous audience. The pro-
gramme was entirely without pretensions, the pieces, with one
or two exceptions, being exclusively of a popular character, but
well selected with regard to the abilities of the executants. To
tho concert-givers were added, in the vocal department, Miss
Lindo, Miss Dolby, and Mr. Teunaut. Mibs Lindo is tho young
lady, pupil of Signor Ferrari, who made her debut and was so
favourably received at Mr. Agullar's Concert last Monday. On
the present occasion, she song Mendelssohn's, " Zuleika," and
joined Signor Ferrari in the duet from Tonptato Taeto '' Cofrei
Sofronia. Signor Ferrari introduced Dessauer's song, " How
amid the leafy blossoms," besides taking part in Rossini's duet,
" La Pesca" with Madame Ferrari ; in a duet, by Gradier, " El
vestito azul," with Miss Dolby ; in Costa's Quartet " Eoco qual
fiero istante," with Madame Ferrari,MissDolby, andMr.Tcnnant ;
in Billetta's quartet, " I poveretti ;" and in Henry Smart's trio,
"The Carnival," with Mad. Ferrari and Miss Dolby. Tkcso
were all sung in that artistic style to which Sig. Ferrari has
accustomed his patron*. Madame Ferrari gave the fine air
from Matanitllo, " Splendor delta grandezza,'T with equal bril-
liancy aud taste ; and Miss Dolby sang the recitative and air,
" Parmi les fleurs," from the Huguenot*— which, bv tho way,
Grisi and Madllc. Titicns both omit — and the ballad, " Those
dear old times." Miss Dolby's execution of the former was so
admirable as to make us regret its omission at tho Operas.
Tho instrumental i>erformances included two solos by Mad.
Szarvady — a Nocturne and Impromptu, both by Chopin, and both
charmingly played; a solo on the concertina, marvellously exe-
cuted by Signor Begondi ; a solo on the horn by Signor Cavatli ;
and a solo on the violoncello by Herr Lidel.
The accompanists wore Siguor Billetta and Mr. H, Thomas.
Digitized by Google
THE MUSICAL WORLD.
[May 29, 1658
THEATRES IN PARIS.
OnifAKT has ceased to retain M. Roger, tlio celebrated tenor,
who ntumed to tlio native fteklsof his artistic triumph* Inst
week, ninl re-appeared on Wednesday at the Grand-Opera
in his originnl part of John of Lcydcn. Tim reception ot this
favourite artist after his successes in classic Germany was
warmed hy the two-fold motives of congratulation and welcome
Madllo. Artot, (jiupil of Mad. Viardot,) the new representative
of Fides, produced a very satisfactory impression.
Tim Theatre-Fraucaia will shortly close, that the building in
which that establishment abides may ba restored. The troupe
will, say the papers-* yrcys the JWne*rrf-trau*migr»te to the
Salle Vcntadour in the interval. It was rumoured that the
entire company— the flower of legitimate dramatic at t in France,
nurtured under the bell-glass of State protection— would bo
transplanted to London for tho period of their exclusion from
the Rue Richelieu. If tho experiment was projected with the
hope of gain, it baa been wisely droped.
A new opera, it is said, by M. Lininander, will bo produced at
the Opira-Coniique on the 1st of August, and the new tenor
M. Montaubry, is to maku his Jibut therein.
At the Theatre- Lyrique there has been a revival of GattibelM,
an opera by M. Airuo Maillart, originally produced ten years
ago, tor the opening of the National Opera, under the manage-
ment of Adolpne Adam and M. Mirecour. The principal porta
were suug by Madle. Borghese and M. Michot. Sabina, the
heroine, waa originally cast to Madllc. Chcrie Courand, now
Madame Adolphe Adam. The Noc«* tie Figaro will continue its
run on alternate nights with Gattibtba ; and so great has been
iU success, that tho director, M. Carvalho, has decided to prolong
the season a month.
A new comedy has been successfully produced at the Gym-
nast;, due to the joint authorship of M M. BurriOre and L'apeudu.
Tho dialogue is very spirited, and a number of various characters
are effectively dopicted, which are intrusted to Geoffrey, Dupuis.
Lesueur, and LandruL Eiuile Augicr, in association with Edouard
Fouasier, has a new comedy at the Vaudeville, which is entitled
Lt* Lionnet Pauvre*. At the Porte St.-Martin, the revival of
the BohimitM de Paris (clothed in English by Mr. Boucieault,
for the Adelphi, some year, since) helps M. Cogniardto fiU his
THE
IN ITALY.
THEATRES
No. II.
(From our Milan Corrttpondent.)
Havixo described the " managing powers" of the Italian
theatres, and the difficulties they present against any successful
speculation on the part of the impretario, it becomes necessary
to allude to a class of persons who, in conjunction with the
», are highly prejudicial to the prospects and inte-
2 artists who refuse to become their creatures or
of those
The system of" buying and selling musical artists"
is an old trade in Italy, but it never was carried on to such au
oxtent as at the present period. A number of great speculators
are in the field, among whom may be mentioned the brothel's
Mar/.i (tho present impretario* of the Bcala, and several other
theatres); the Merelhs, father and son; l>octor Lampugnani,
who is Mr. Lumlev's Italian agent; and Borrachl, of the firm
of Borrachi and Verger, of Paris. These gentlemen have, each
of them, a legion of artists upon their lists, who have articled
thoiuselves fur periods of frOBa tin to iHv year*, ui very mode
rate salaries, and whom they are anxious to " let out" for a short
or long date, expecting, like the greedy usurer, an interest of at
least '• shent per ahent,"
The fact is, that with the exception of tho 'Stars," who can
command engagements, even Italian artists themselves soon get
disgusted with the chicanery and obstacles they have to encounter
in ttiis country in endeavouring to procure engagements, and are
willing to article themselves to these "speculators," in order to
be relieved from such annoyances, for a much small, r stipend
than they would otherwise realise, in the first place, because it
is sure ; and, secondly, because it loaves them more free to
I their studies. But all is not gold that glitters, for If the
singer be successful a ready purchaser is continually found by
the "speculator," and thu singer is constantly hurried about
from place to place with scares ly any breathing time, it may he
also continually shouting Verdi, until at the expiration of their
term they have answered the purpoau of the " trader," but find
themselves quite used up, and with but little voice left to pursue
their career on their own account, while, If tho singer be not
uniformly successful, the "speculator" quickly finds some
quibble or other upon which to found a breach of contract, and
coolly dismisses the unfortunate victim to seek redress at the
tendor mercies of the tribuual. Here, then, is the secret of a
monopoly iu favour of those on the "speculators" list, and acting
materially against such as keep themselves unfettered ; and as
the proprietorship of a journal, or au intimate connection with one,
forms a main feature of the stock in trade of dealers in artists,
it omounU to this— sell yourself to me and I will write you up,
attempt to manage your own affairs and I will run you down.
It rnavnot be generally known to your readers that the mode
of payin'i; the salaries of artisU iu Italy is different from that in
England. Instead of paying every week, or every month, the
amount of the engagement (generally a stated sum for the
season) is divided into four equal portions, called "oaartalt." Of
these the first is usually paid before the first night of perform-
aucv— the second when one-third of the season is past — the
third after the middle of the season—and the last at or previous
to ita termination. But such is the unsatisfactory state of most
of the Italian theatres, that they are fortunate indeed who
obtain their fourth " quartaU." As an example, I copy from
the Gaaetta dti Teatri of this day, as follows :—
"At Venice, Signor Roggia l>o» paid only one ' qwtrtalJ to hi*
company, and after eight performances h»* closed the theatre.
" At Fiume, tho Honourable Signor Dcllc-Vedove bss not paid the
last 1 quartale.'
" At Trieste, the sanie Honourable Signor, bade adieu to the company
soon after their srrivsl.
"At Alessandria (Piedmont), Signer
Dello-Vedove'i example.
"At Milan, Siguor lturniioili followed tl
and closed the theatre after four or fire cf
"At Lucca, the imprtiario, Carlini, suspended payment after a few
perform auces.
" At Ferrars, idtm, idem,
"At Palermo, at the Theatre Sauts Cecilia, the manager
psvment sAcr the first night's performance."
But these questionable proceedings will continue
wholesome reform takes place. The public require good i
— good orchestra — good scenery, decorations, &c, etc, a~~
present prices will not admit of them. One shilling to the pit
and boxes of a second-class theatre, nud at most two shillings to
such theatres as La Scala and San Carlos, with large salaries to
the leading "stars" mutt cud !u a loss to the manager, especially
when it Is considered that in every theatre of any note all the
boxes are the property of residents, not to speak of lucumb
which surround the lyric art iu Italy.
Okokbx Ha:.!., BisHorsoATB Street— (From a City Corre-
jioojkioir.)— Miss Clara Mackenzie, student of the Royal Aca-
demy of Music, gave a concert in the above hall, on Wednesday
cmy
evening. The pieces were multitudinous and tho artists various.
The audience was somewhat sparing iu their enthusiasm, and
only insisted on one encore iu tho course of the performance,
vis., Mr. Redfearn in tho air " La Donna c mobile," from
llifjoleUo. Miaa Clara Mackenzie has a tolerable contralto
voice, and her best effort was iu the lirlnditi from Lucrum
Borgia. Miss Emily Spillcr of the Royal Academy of Music,
played a solo ou the pianoforte, and Mr. Isaac of the Royal
Academy of Music played a solo ou the violin.
Di'ndee — (From a Corrttpondent). — A large Concert Hall and
Corn Exchange was opened to the public t>y a grand concert
The performers were M. Jullien's orchestra, M. Rt'menyi, Miss
Louisa Vinuing, and Miss Ranoe. M. Jullien complimented the
architect on the acoustical properties of the room, which he
states to be all but perfect. The building is 130 feet long, CO
feet wide, and i2\ feet high, and contains from S,5t*j to 3/*«»
May 29, 1858.]
THE MUSICAL WORLD.
343
A MODEL CONCERT.
ST. JAMES'S 11 ALL.
GRAND VOCAL AND INSTRUMENTAL CONCERT
Uireu by the Editor of " LA PitKSSE l)E LONDRK3,"
ivrlht purputt of tilallMing a Club fur Artitttt,
On WEDNESDAY EVENING, MAY 26, 1858,
I'mler the .upermtandoaoe of II. Sr. I.soEB. K.q.
PROOKAMMK.
Douuetii.
Scotch Melody.
Balfe.
SMo, Pi.uo
l.t PAltT.
Ororturc— Tho Crinwderi
Air— The Star of Life ...
Misa Thcrvaa Jaftija.
Duet— Witliiu • Milu o' K lmboro' town '
Tiie Mi<«< Mc Alpine.
Hung — Come into the garden Maud
Solo Trombonob Baataiaio aur "Lucia ili hammer
moor," finale original by .Sig. Cuiampo ... (Jiiiampo.
... ... ... Stapcllctdt.
> Nocturne et Etude Triouiphalc in OcUMS,
Ou one of Hopkineoii'a grand putiul pianoforte*.
Herr Slapelfeldt.
Air— Robert lot que j"ainio ... ... Meyerbeer.
Malume RuderadorlT.
Harp accompaniment, Mr. Trust.
Song* — Ttiere ia lore. Aecomp. by the composer R. SlCTcnion.
„ Beware ... Madnine llenrio ... Reuthin.
Solo, Harmonium ... Loui* Engel ... Eugcl.
Air ... ... Si^nor Marraa ... Marra*.
Duet-Sul Aria ... ... ... Jluwri.
Miaa Eylca and Madame Wciit.
Air— Darid derant Saul ... ... Bordcae.
Mr. Jule* Lefort.
Song ... ... Miaa Rotluchild ... Bellini.
Air — The celebrated Waltz ... ... Ycnzano.
Madame Gaatier.
Fantaiie Orgue Harmonium. Hon Potquale ... Donicctti.
Madlle. Nancry.
Bollad-Thc angel mother ... Mr. and Mrt. II. St. Leger.
Mi.. Kyi. -».
Air areo Yurialiona ... Madame Birder ... Kucken.
Solo, Violin— La Cloehotte ... ... Pegamn'.
M. Violti-CoUina.
(irand Scene — Softly aigha ... Madame Weiae Weber.
Solo— Zittcr ... Madlle Mundi
Solo, Horn — Sur uu motif do Lucia, Ac.
Signer Caralli.
Ballad— The ro»e of morn
Mr. Thorpe Peed.
Song — My barque ia bounding near
Mr. Winn.
Ballad -Herr Pi»ol»k ...
2nd PART.
Outcrture— L* Paltl d'Amour
Sung — Tbe Heroea of the Runka ...
Mr. Thorpe Peed.
Conductors ami
Muudi.
Cntalli.
Mori
Schubert.
M. W. Balfe.
with
1 arcompaoimrnta
Mile. D llerbil.
Mr. F. Olorer
Si|»nor Lorenio
Kileken.
Balfe.
Wei,.
Ballad— The Tear ..
Air- II B.ccio
Ballad— Croaain* tho
Madame Wei,*.
Solo, oj.liicleidc- Souvenir* de Nuplp*
Signer V. Coloaaitti.
Romano- The Lorer'a Walk, ML. Muaou
Rondo— Mile. Fin«li
Iriah Melody— Oh ! bay of Dublin ...
Miaa Kyloj.
Solo Violoncello
(dig. Giovanni di Bio.
Ballad— Tho Strain 1 heart!
Romance— Tu nVami all 1 *i ban mio ...
Signor Luocbeai
Chanaon— Good Night Belored
Uerr Kcichardt.
Ballad-Katey'a Letter
MUl F. Huddart.
Duct — Mira la biauoa luna
Madame Gaatier et Sig. Dragone.
Quatuor Coiioertant (8 hand* on two of Erard'e
grand patent pianofortca)
Mile. D'Hcrbil, Miaa Ilinfleld William*, Mia.
J. Lindaay, and Miia Frecth.
Ballad— Norah ... ... ... Balfe.
Mr. Tennaut.
Air— Anna Bolena ... Mud. Loaano
Mr. A XI me. St. Lcger.
Ilotaini.
... Lady DulTerin.
... SerraU.
... Howard Olorer.
... Balfe.
Lady DulTerin.
Roaaiui.
3rd PART.
Iriah Melody-The Minatrel Boy— Miaa Stabbach
Aria
Trio — Yorei parlar
Miaa F. Rowland,
Solo — Emmclynka
Herr Zirom.
Solo — Piano
Wanderer ... ...
Mr. J. Allfeldt.
Air- Ah ! fora'e lui
Bellini.
... Halle.
MiM F. Huddart.
... Zirom.
... Arnold.
Song
Song
Finale — Yadaai ?ia di gua.
Mm* Emily Spillrr.
n
Herr Piaobek
Mr. Winn
Verdi.
Schubert.
Bellini.
and Goldberg.
at Eight o'doci PreoMy.
Pricea : Sofa Stalla, 10,. 6J. ; Beaorrad Seata, 7a. 6d. ; Re .erred Balcony, St ; Area, 3i. ; Upper Balcony, 2a. M,
Ticket* to be bad nt the OHloo of La Prette <fe Lomlrei, 9a, Warwick Street, Regent Street, and at the principal Mnmh
Joogle
344
THE MUSICAL WORLD.
[May 29, 1858.
HER MAJESTY'S THEATRE.— Titiens, Alboni,
Ortolan I. aud Plecnlomtai ; DlngUm, Bohut, Bouereutmo, Aldfajhiert,
Ca«elli. ViatottL and UeUetti .„
Tu«day June 1 LE8 HUOUF.NOTS. and the Ballot with M i llie Tugll.inl.
Tl iuwl.iV Juuc 3, I t KOZZE 1)1 FIOARO. and Billet with Mudlle- Pocchiiil.
wird,'' June . IL TROVATORE and Ballet. Applications to be ™"de at
the B-x-r.fD.ee.
Monday, Jus* ?. GRAND MORNINO PERFORMANCE DOS GIOVANNI
and other entertainment*. Th-j llallet will include Madllca. Pocchini and Maria
Tajtllncl. Momiuir dreai onlv U neceeaary. To commence at lialf-paet One
Prleee of a.!mUaL;>u . Box**, from CI 1U Cd to *\i f i lit Bta-Me, (la ; Pit and
. ; Ga Ut,-. Sa «d.. to bo had at the Box-office at the Thealre.
ROYAL PRINCESS'S THEATRE.
UNDER TUB MANAOEMKNT OF NIL CHARLE8 KEAN.
N Monday, Wednesday, Friday, and Saturday, MUSIC
HATH CHARMS, KING LEAR, nnd SAMUEL IN HEABCU OK
HIMSELF.
Tuesday and Thureliy, THE STOCK EXCHANGE: or. Tho Omen Buainwa.
FAU9T AND MARGUERITE, and SAMUEL IN SEARCH OF HIMaELF.
0
ROYAL PRINCESS'S THEATRE— MR AND MRS.
CHARLES KEAN reapectfullr Inf.e-m the Public tint their ANNUAL
BENEFIT will take pi ice on SATURDAY, JUNE I'.th. upon which wen* on
8hak»pere'e May of THE MERCHANT OF VENICE will be produced with tho
•a rue accuracy of detail and hietorlcal corrcctocee that hare mnrt«d the prevpiua
feerra'a at thi* theatre. In oanaeqiieBoa of thla arranir«mn>t KING LEAR will
bo repeated SEVEN NIGHTS more, nrul then witlidrawn, to make room for
I OF VENICE. KING LEAR, Monday, Wednoeday. F.tday,
TDOYAL OLYMPIC THEATRE— On Saturday evening
A IWU^Fu'l7vtCTORTr,^"hth I^ADDY°H ARD A^RE "^"cwtc^ude
ti TIMES. Commence at half-pae: 7.
THEATRE ROYAL, ADELPHI. — On Saturday
crmlng. May ». tho performance will commence with THE MYSTERIOUS
STRANGER. To conclude with OUR FRENCH I.ADY H MAID.
POMPEII.
THEATRE,
GREAT NATIONAL STANDARD
SUOREDITCII — Proprietor. Mr Jon
,ccea» of the IIcl.day Knlertoii.m ui«. The dramatic sneclaHe of
I the newTcruon or THE DAUGHTER OF THE REGIMENT baa
locoowfiil Mlm Rctwot-a Uiace uu.1 Mr O. K. Dirkeowu ercry
The «r. at tragedian Mr. Ph.lpa will re-appear on Saturday next On
Mcuday and during the week (SatitnLiy exoantedX lh» perf.>rmancea will dm-
nvouce with the grand dramatic •pectocle of POMPEII: OR, THE HO"MEU
CITY. Supported bv Mr O K. Dkk.ii'ou, Mr. J.imoa Johnateu, Mr. F. Morton,
Mr. 0 B Bgwood. Mr O. Cook, Mn R. Homior. *e. To conclude with th« now
ver>4oii of THE DAUGHTER OF THE REGIMENT, written for Mia* Ib-becca
I».K
drun
ry regujUion
TO CORRESPONDENTS.
Mr. Sutton vilt be kind enough to inform ut when the
took place of rehich he tend* vt a notice extracted from the Daily
Port , f Friday May 14,
ixveral concerts vhtch took place during the pott week are un-
BlttTH.
On Uw> 24th imUtit, nt her residence, 123,
Park, the lady of Sim. Ucevc, Kiq., of a
Bjdt
THE MUSICAL WORLD.
LOHDON, 8ATUBDAY. May 29m, 1858.
In another page will be found the programme of a concert
which was givon 011 Wednesday evening at St. James's Hall.
To this curious document, wo beg leave to call the attention
of our readers. Nothing so monstrous, nothing so humilia-
ting, has been circulated in this metropolis within our re-
membrance. A concert of 54 pieces, vocal and instrumental,
and out of these scarcely half a dozen worth hearing under
any circumstances ! The entertainment — a questionable
term for such an unquestionable infliction — was professedly
"given by the editor of La Prtue ale Londrt*, under the
of H. St Leger, Esq., /<*• the purpote of
tstabluhing a dub ofartUtei? Never having heard either of
the aforesaid editor, or of " H. St Lcger, Esq.," we do
not presume to ask under what plea those gentlemen were
justified in soliciting public support for any such object ; but
we have a right in behalf of all who regard the art of
music from a serious point of view, to protest against
their proceedings. The whole performance was an impo-
sition— nothing better. How indeed could it have been
otherwise f
The crowd that flocked to St. James's Hall on the occasion
may or may not have been a bond fide assembly. With that
we have nothing whatever to do. If it was really a paying
audience, so much tho worse. In that case, whoever gave
half-a-guiuea for a stall, or even half-a-crown for a seat in
tho upper balcony, was simply a blockhead. Had he seen the
programme in advance, and reasoned with himself for one
instant, what could he have expected 1 Supposing that every
piece advertised was performed, he would necessarily be
afflicted with a surfeit ; supposing the contrary, he would then
be virtually " done" out of his money. In either case a victim
—in neither would he be entitled to the smallest degree of
sympathy.
The prevalence of " monster-concerts" is growing into an
intolerable nuisance. Their results oro debasing alike to art
and to artists, besides exercising a pernicious influence on
the public taste. Every one who cares for music should set
his face against them. They metamorphose what should bo
a genuine and delightful amusement into an absolute bore.
They corrupt and degrade, instead of refining and elevating
the miud ; pall on the sense, instead of stimulating it to
healthy enjoyment Examine and sift them how wo may,
not an argument can be adduced to palliate their glaring
inconsistency, not tho shadow of a defence be instituted in
their behalf
Such an example of the species " monster-concert," how-
ever, as that of Wednesday evening, is without precedent
We say it advisedly— music was never before so shamefully
dragged through the mire. If any intelligent gentlemen
whose avocations do not ordinarily bring them into contact
with musicians happened to be present, their experience
of this "entertainment" must have inspired them with a
very contemptible idea of tho profession. No wonder
foreigners laugh at us, and refuse to believe that we have any
true love for the arts, when they find such stupid perpetra-
tions not simply endured, but encouraged.
Rut another point remains to be diweu-ssed. Out of the
singers and players — between forty and fifty in number — who
took part in the concert "given by the Editor of the Prtut
de Londret, nu 1 undor tho superintendence of H. St. Leger,
Esq." wo should be glad to know how many were remu-
nerated for their services. Somehalf-dozen wereprobably never
heard of until their names appeared in the programme drawn
up with such abundant vigour by "H.St. Leger. Esq." Granted,
nevertheless, that Signor Giovanni di Die (per Baceo.'),
Herr Staspelfeldt, Madllc. Nancey, Mudlle. Mundi, Miss
Paulina Cahan, Herr Ziram, Herr A. Arnold, Mr. J. Allfeldt,
and others with whom fame cannot boast a very intimate
acquaintance, were ready to jump at any chance of earning a
little distinction, the same inducement could not be held out
to Mad. Gassier, Mr. and Mrs. Weiss, Herr Rciehardt Messrs,
Bulfe and Benedict, Herr Pischek, who was ingeniously an-
nounced to sing the 52nd piece, and Mr. Winn, who was put
down for the 53rd. Messrs. Benedict and Balfe (we address
ourselves to the highest authorities) will perhaps bo polite
enough to inform us what the concert really signified, and
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May 29, 1858.]
THE MUSICAL WORLD.
345
what persuaded them to lend their services. The explanation
at the head of Mr. H. St. Leger's programme is moA) plausi-
ble than convincing. The notion of " establishing a club for
artistes " out of the proceeds of such a trnmpery performance
could hardly, we think, be entertained by any one in his
right senses. And yet, if the statement was a candid one,
and not, as might reasonably be imagined, a pleasantry, on
what grounds do the projectors found their right to institute
anything of the sort ? What aro they to art, and what is
art to them I
If, however, there be any intention of setting on foot in
this country the system that prevails in a great measure
throughout the Continent, lowering the relationship between
artiste and the press, we shall consider it our duty to apeak
in plainer terms.
What's that you say in your bills, Mr. E. T. Smith I A
million of Italian operas? Heavens, what an infliotiou !
No, no — beg pardon- We had not our glasses on ; but wo
can see clearly now. "Italian Opera for thi> million." All
right ! Wc Itcg pardon once more, and in the name of the
million, thank you into the bargain.
So we have three Italian Operas all going on at once !
All (granted a sling) within a stono's throw of each other.
A happy coincidence may enable the lover of variety to see
and hear three " Traviatns" in one evening. He may behold
Mad. Douatclli rejoicing in champagne and gay society ; he
may witness the distrens of Madlle. Bosio, whon Alfredo is
torn from her anus ; and without incurring the expense of
cab-hire, he may be in at the death of MiulUo. Piccolomini.
On another happy occasion Madlle. Bosio shall drink, Madlle.
Piccolomini shall break her heart, and Mad. Donatelli shall
lose the last particle of her lungs for his enjoyment. But
the cup of sweets is not yet drained to the bottom. A third
good throw of fortune's dice — such a *pit H as rejoiced the
heart of Agamemnon's watchman, and lo ! our enthusiast
shall st* Madlle. Piccolomini wag her head merrily over her
bumper, his heart shall thrill with sympathy for Mad.
Donatelli's crosses in love, and ho shall sit at the death-bed
of Madlle. Bosio. By all tho muses and graces, a most
poetical permutation !
This multiplicity of Italian operas is a luxury in the
strictest sense of the word. It docs not answer a singlo
useful purpose. It cannot be explained by the disciples of
Bacon or the disciples of Plato, inasmuch as it is equally
without causa efficient and cattm Jinalie. There is nothing
like it in any habited part of tho globo. [Once, wc under-
stand, it did exist in some uninhabited part of the globe, and
became such a nuisance, that all the inhabitants fled en
maese]. Perhaps we may regard it as a fungous production
of tho London soil, and recommend that a palter bo read on
it in tho Museum of Practical Geology. There was origi-
ginally a causa efficient for tho growth of opera in Cis alpine
countries, and that was to be sought in the fact, that Italy
was the land, par excellence, for operatic composition and
vocal training. When artists all come from one place, it is
but natural that their language should accompany their art
But that cause lias ceased, and, nevertheless, Italian opera-
houses increase and multiply as though the mandate recorded
in Genesis had been uttered, not to the human race, but
to them. When Italian music was at its zenith, wo had
only one Italian opera-house, and quite enough too. Now
Italian music is at its nadir — now the entire peninsula has
nothing to show for itself in the way of composition, save
the rapidly composed works of Verdi ; now vocalists come
indifferently from all parts of Europe, but in tho face of
theso facts wo have three houses in which nothing but the
tongue of tho sweet South is to be heard.
" But then the Italian language is so bcautifuL" Now, ye
masses, — and pretty largo masses you must !>e, if you can
fill three theatres— don't be affected. We are perfectly
aware that the preponderance of vowels in an Italian word
renders it remarkably smooth and sonorous to the ear. But
that the modicum of pleasure thus produced is at all equal to
that of listening to the words of one's mother tongue, we do
not for a moment admit Without insisting on any un-
reasonable John Hull ism, we assert that Italian is just tho
language that a general public of the present day is not
bound to understand. French is accepted as tho universal
medium of communication among the fashionably educated
of every country ; German literature is among the most
important phenomena of modern intellectual life ; but Italian
is simply studied for the sake of the old iiocts, who maintain
in our libraries a position analagous to that of the Greek and
Roman classics. To the literary student, who devotes him-
self to researches connected with the revival of learning and
the dawn of |>octry in Western Europe, a knowledge of the
tongue of Dante and Pctrarca is of course, indispensable,
but persons of this class if they were all assembled together
on one spot would scarcely fill a moderately- sized pantry,
much leas would they contribute in any sensible degree
towards tho repletion of three big theatres.
If we cannot find a causa efficient for the monoglott state
of tho lyrical drama in London, we are just as unsuccessful
if wo look out for a caum jbialis. What good end can be
answered by a multiplicity of Italian operas I None at all,
but, ou the contrary, it can only lead to positive evil. "Are
fongo, vita brevit," is a good old antithetical proverb ; Are
parm, tluaira mulia, though it does not look so neat, is
nearly as sound. Artistical perfection is not a product of
Manchester manufacture that can be multiplied in sufficient
quantities to meet every increase in demand, but it is con-
fined to a chosen few, and by the multiplication of establish-
ments devoted to any single branch, we merely make a little
go a great way, forming a number of weak companies
instead of one of proper strength. On the other hand,
artistical vanity is a plant of most luxuriant growth, and is
quite ready to stock tho stages of fifty operas in one parish,
if there are blockheads enough to build them. Here, indeed,
is an additional clement militating against the formation of
an effective troop. What aspiring lady will quietly play
Adalgisa under a steady-going manager, when a daring
speculator pants to secure her services in Norma 1 Where
can be the limit to rapacity, when rival managers bid against
each other ; and every artist, when ho strikes a bargain, has
a right to conclude that if he had waited a little longer, he
might have had still better terms ?
No wonder that the Belgravians fret and fume about the
Italian organ boys. For upwards of twenty yeai-s have these
boys played, and nobody ever found fault with them. But
now that Italian ojteras are grinding away almost every
night in every part of London, an Italian organ grinding
every day becomes absolutely intolerable.
M. Jullies has returned to London after one of tho most
brilliant and successful tourt ho has ever undertaken.
Sunday Music in tni Parks. — On Sunday next the "People's
Subscription Band" will inaugurate their season by a performance
iu the Regent's Park, which will take place from four to six
o'clock.
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346
THE MUSICAL WORLD.
[May 29, 1858.
A NEW BIOGRAPHY OK ROSSINI.
(From L<i Rerut rt Qazrttc Uvsieale.)
It has, at the preaeut day, become the custom not to wait till
celebrated lueii have ceased to exist in order to write their
biography. There would be but little objectionable in such a
courso, if books of this kind contained merely what was suitable
and becoming, and if the writers were always truthful and well
informed.
Truthful biographies are not, however, uow-a-days the most
numerous, but, instead of them, the biojrapftie-rekame (" the
puff biographical ") and the biograpkie-pampldet (" the biogra-
Ky paniphlctical ") flourish. Men of real merit do not need to
va recourse to the former ; unfortunately, it often happens
that they caunot escaiic the latter ; aud the greater the celebrity
a man possesses, the more is he exposed to sec his acts and
words travestied.
Rossini had no need of the puff-biographical ; his praises were
written by all who, throughout the world and for nearly half a
century, have never ceased applauding so many delicious master-
pieces of his. As fur the biograpby-patnphlctical, he has had to
undergo it on more than one occasion, aud only a short time
since one was printed, in which sentiments and even acts of the
most revolting coarseness were attributed to the most polite and
well-bred of men — onu who possesses in the highest degree the
sense of propriety. Such kinds of productions may be allowed
to pass unnoticed ; they never enjoyed a very extensive in-
fluence, the pamphleteers not reflecting that, by endeavouring to
run down men of recognised merit, they would only bring them-
selves into disrepute, supposing they had not long (Toue so
already.
The book of which I am about to speak is, without being
precisely a pamphlet, more audaciouslv conceived than all the
pamphlets in the world, and I do not think it possible to adduce
an example of another such publication, not exactly for what it
contains, as on account of the manner in which it* contents are
presented to the public.
In the first place, we must Inform our readers that tho first
edition of the work, written In German, and, up to the present
time, utterly unknown in France, dates from fourteen years
back. It has just been translated into French, with the address
of Brussels and Lcipeic, under the following title : " E. M.
(ETTINGER. Iiomni : L'homme et Cartiete. Traduit de Falle-
maud, arte Vautoruation de, I'auuur, par P. Royer." It forms
three small volumes in lSino., and opens with au introductory,
letter, beginning as follows, to Joaccnimo Rossini :—
" Do you remember, glorious maestro, a young German, who
in the mouth of April, 1830, was presented to you in Paris by
M. Castil-Ulazi-, and who brought you — illuttriseimo Dio delta
tuiuiea — a whole heap of affectionate remembrances, a little
green velvet cap, anil a letter of recommendation, on rose-
coloured paper, Iron* the £ignora L. M . . . i. of Munich. Do
you remember this young man, who soou inspired you with such
a fueling of friendship that you gave him a room in your house,
a place in your box, aud something of which he was much more
proud, namely, a little corner in your heart 1 At that time, he
who writes these lines had the honour of sitting every day by
your side, before the crackling fire on your hearth," ko.
M. (Ettinger continues by informing Rossini that he can only
gain by being exhibited at he realty is, wilJiout rouge and
without veil.
After such a declaration, addressed to the very person of
whom the author is about to speak, who would not feel inclined
to accept for gospel all that is asserted in the work 1 Unfortu-
nately, there is a little obstacle to this. To M. (Ettinger's
interrogation, Rossini will not reply in the words of the epi-
gram—
"Ma fui, s'il m'en iourient, il nc in 'en •uuvient guero,"
for the excellent reason that he recollects nothing at all about
the whole matter. Ho never received the introductory letter,
the (ierman work, nor tho French translation of it. Ho
only heard of all these a few days since ; before that period he
knew nothing of M. (Ettinger.
Will it be said that this is a piece of forgetfulness on the part
of Roisini, and that, having known so many people, in different
countries, ho has forgotten tho author of the letter and the work ?
In the firlt place, we must bear in mind that Rossiui possesses a
Dstluor.v that astonishes all those who comu iu coiiuict with him ;
he recollect! persons he has not seen for thirty year*, aud re-
members tiic times and circumstances of his meeting them. But,
even supposing he did not possess this precious gift, what man
iu the full enjoyment of his faculties, would ever entirely and
absolutely forget a person who had lived on terms of intimacy
with him, who had lodged in his house, and who had brought
him a letter and a given relret cap from .1 lady, forgotten like
everything else connected with tho matter 1 No one, assuredly,
will be able to believe such a thing.
The whole story is simply a plan employed by M. (Ettinger to
sell his book, though I consider a man must be very daring to
adopt such a course, at the risk of being almost inevitably con-
victed of bein^ an impostor.
And now, what is the value of tho book itself 1 Most cer-
tainly it is nothing immense; it is a production in which, as
M. (ittinger confesses elsewhere, he mixed up fiction with fact,
by inventing certain adventures of the most ordinary descrip-
tion, with which he connects Rossini's sojourn iu Naples, and in
which he makes him figure. M. (Ettinger depicts in them the
manners and customs of the Neapolitans after a fashion that
proves ha has uot the slightest acquaintance with them.
This circumstance is of no importance as far as our subject is
concerned, but what is of great importance is that, in facts
purely historical, or, at least, given us as such, M. (Ettinger is
no better informed. Nor is this all. He expresses himself with
regard to Rossini's first wife (Isabello 11 brand) iu a mauner
the most offensive aud unbecoming to the composer to whom he
dared to write his introductory lettur. Nor does he treat the
second any better, a lady whoso kindness, amiability, talent, and,
above all, devotion to her husband, arc known to us all.
As for Rossini himself, he is made to write letters and express
opinions, which certainly never entered his head, and I would
hare the reader mark that I am not now speaking1 of the
romantic portion of the book, but of that which is given us as
historical. M. (Ettinger, while pretending to exhibit Rossini to
us without a ted, muffles the composer in a sort of ignoble
costume, which, as I can guarantee, does not fit him in the
least, and which M. (Ettinger might well keep for himself.
But do wc find any new information, or any example of
interesting appreciation ? Not the slightest. Everything under
this head is borrowed from Carpani, orBeyle (Stendhal), another
importer, who gave himself out as a friend of the maestro, and
pretended ha luid lent him a coat.*
All that relates to the general history of music is no belter
treated. I will not abuse the reader's patience, but will content
myself with one specimen. M. (Ettinger introduces on the stage
Guinault talking to Rameau, to whom he has brought a part of
the (Jatelte de lioUand« for him to set to music ; now Rameau
was five years old when Guinault died. Moreover, the names of
the composers mentioned, aud tolerably well known, arc given
incorrectly, etc.
Well, this book has remained utterly unknown in France
since the first edition, published fourteen years ago. It then
went through two other editions, without the composer who was
the subject of it being informed of its existence, and without auy
one crying out against it. At present, M. Rover, deceived like
every one else, has translated it, and will, no doubt, fiud a great
many readers. i
Rossini always cared very littlu for what was said about him,
* Itoisini happening to be taking a wnlk in London one day with
Mad. Paita'i huibanrl, an individual bow* and turns towards them.
Honiioi doc* not move, thinking tho •ulutntiuii is addressed to his
friend. Tlie latlrr, who really knew tho penon, returned bis polite-
n*M, and then ob>«r»e» to BOMbd : "How is it, maestro, you »ay
nothing to your friend, who, whA in Italy, loat you a cost for iomo
ceremony or other ?" » My friend— ill Italy-lent me a coat ! Why, I
tujvsr knew him or eren saw him, in all my born dsy» I" Beyle related
the fact in a Vie de Rossini. Bejlr, a* we know, who was afterwards
on author of some talent, commenced hi* career by giving himtclf out
as the author of tho Lettree nr Haydn, s tranilation or the Saydine*
of Oimeppi Carpsni.
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May 29, 1858]
THE MUSICAL WORLD.
347
and, in a certain sense, he was very right. In tho present ease,
however, it appeared necessary that olio who did not bring him
green retret caps, or Lite ft from ladies i'<» .Vuniefi, on rose-coToured
paper, but whom be in kind enough to honour with hi* friendship,
should protest for him, nnd not allow matters to go further.
Otherwise, what would Ik; the result ? In thirty or forty years'
time, M. (Ettinger's book would be everywhere quoted as on
authentic and irrefutable testimony ; it would be said Ui emanate
directly from Ro&xini, whom the author knew intimately, and,
consequently, to present the public with the most exact portrait
ever traced of the composer of Ouiliaume TtU. The lines the
reader has just perused will, 1 hope, bo a sufficient protestation,
and not be without their eifect. Admen de va Faoe.
HER MAJESTY'S THEATRE.
Ox Saturday the Traviata was given, together with the
di vtrtUteinent, Fleur-det-Cha mpt.
On Tuesday, Don Giovanni, with Flexir-det-Chamt*.
On Tlinrsdav, It Trovatore, with CalUto.
To night tho" jVo^e di Figaro will be produced, with Madllo.
Titiens as the Countess j Madlle. Piceolomini, Susanna ; Madlle.
Ortolani, Cherubiuo ; Signor Beneventano, Count Almaviva ;
Signor Belletti, Figaro ; Signor Belnrt, Basilio ; Signor Castelli,
Antonio ; and Signor lloasi, Uartolo. Madlle. Marie Taglioni
makes her first appearance this season in a r.ew bullet, entitled
La Heine dei Songee : so that the performances will bo more
than usually attractive.
Verdi's Opera, Luita J/i'Mer, is In active preparation for
Madllo. Piceolomini, and will be produced on Tuesday, June 8th.
A morning performance takes place on Monday, when Don
Giovanni will be given, with a ballet, in which Mndlles. Pocehini
and Marie Taglioni will appear.
ROYAL ITALIAN OPERA.
Til* first appearance of that universal favourite, Mad. Boeio,
took place on Saturday night. The opera was Tsi Traviata;
Mad. Bosio was of course Violetta ; 8ignor Oardonl filled the
place of Mario in Alfredo, and Sig. Orazioni made his first ap-
pearance this season as the elder Germont. The cast was In
other respects strengthened by allotting the subordinate parts of
Dauphol, D'Obiguv, and Doctor Grenville, to Sigs. Polonini and
Tagliafico, and M. Zelger, each of whom was perfect In his
way.
Madame Boeio was received with loud and continuous cheers.
She was in splendid voice, and sang with all her accustomed
brilliancy. As a specimen of bravura execution, nothing could
surpass Ah ! fors 6 lui," one of the rare opportunities for
genuine vocal display presented in the Traviata. Histrionically,
Madame Bosio bos made a great u U-nnee, nnd many points in
her acting were touching and pathetic to a degree. She was
recalled at the end of each act with enthusiasm.
Sig. Gardoni sings the music of Alfredo charmingly, acts the
part wi^h considerable spirit, nnd looks the lover to the life.
The scene in which Allredo repudiate!) Violetta, displayed a
greater amount of dramatic energy than we have ever remarked
in him previously.
Signor Graziaui obtained the only encore of the evening in the
oJr,"Di Proveuza il mare, il suoL" The music of Germont, like
that of most barytorio parts composed by Verdi, is well suited
to the peculiar means of this artist. Signor Qraziani is by no
means an earnest or impassioned actor, but the beautiful quality
of his voice would atone for a multitude of deficiencies, many
more indeed than can be laid to Signor Grazinni's charge.
The scenery was superb, and tho costumes were rich and ap-
propriate. The desire to achieve «oi.i« thing particularly striking,
however, has lead to excess in the saloon at Flora's house, whero
tho ball takes place, which, in place of representing a modern
drawing-room, or suite of drawing-rooms, exhibits the sumptuous
interior of a palace (most probably copied from Versailles or
the Tuillerics). Tho sceuo was gorgeous and magnificent enough
for tho ball in Don Giovanni.
The introduction of the ballet in the ball scene is very happy,
especially done as it is at the Ttoyal Italian Opera ; it materially
enhance* the effect of tho choruses of gipsies and matadors.
On the whole the Traciata In it* new attire was eminently
successful. The same opeia was repeated on Thursday. To-
night the Huguenot*, for tho fifth time.
Sig. Rouconi and Herr Formes ore expected in a few days.
RECOLLECTIONS OF CALIFORNIA k AUSTRALIA.
BY A. MUSIC I. IV.
(Continued from page 333.)
Fou the whole day previously to our entrance of the liarbour
we were in sight of the coast range of mountains, which were
covered with the bright green of the wild oat, which crows here
in profusion after the rainy season (the winter of California) bod
closed ; beyond this range could now and then be seen the lofty
crests of mountains, the continuation of the great Sierra Nevada
(Snowy Mountain) chain ; these eminences were crowned with
magnificent trees, which, to our distant vision appeared to bo
lofty pines; but were in truth the distinctive growth of these
latitudes, the red wood, a distinct species of arbor vitas, of which
a magnificent specimen (the Washingtonia Gigantea) can be seen
in the Crystal Palace. The northern side of the entrance to the
harbour has a short reef called Punto de Diabolos, and with this
exoeption it is one of the safest ports in the world,, being com-
pletely land-locked ; and if due attention is paid to the tide-rips, as
they are called, no danger need be apprehended if the weather
is clear, and as the fogs that sometimes infest this particular de-
gree of latitude occur only in the heat of summer, when the
warm sun meets the oold currents of melted snow that arise in
the lofty sierras, the morning was most, clear and bc&atiful as
we entered the Golden Portals.
I do not think that the most philosophically-minded man living
could resist an intense feeling of curiosity mingled with delight
as he sailed majestically through this wonderful outlet, formed
ages ago by Nature's band to permit the pent-up waters of the
interior which formerly (as she shows by her own rocky pages)
covered large portions of the land, and then bursting through in
wild convulsion forced this only outlet into the great Paoifie,
and left the beds of her lakes huge alluvial volleys, richer by far
in wealth of soil and waving of golden corn, than tho rude
ravines of the mountains, pregnant witb the ore that makes wise
men of fools, and kings of slaves.
What then were our feelings 1 A band of adventurers, leaving
home and happiness to struggle (perhaps fall) in a strange land,
thousands of miles from ci vilisatiou, now entering their goal— of
that earnest band how many have succeeded 1 how many have
buried their fairest hopes within this cemetery of broken affec-
tions ? how many have but landed on tho soil to seek an unknown
grave t dying of actual starvation, in a land of marvellous fer-
tility, and in possession of hoards of the fatal metal that in other
climes could nave bought them every luxury but happiness.
No sad thoughts like these crossed our minds, nut all was eagor-
ness and wild excitement. As we sailed up the bay, a little fort
was passed on our right it was formerly tho old Presidis.
" Hurrah, boys ! there's the old flag ; three cheers for Uncle
Sam I and sec, look, look, there Is San Francisco I" "What f
those straggling tents, scattered upon the side of a hill ?" How
our faces lengthened,—" Was this the magic city we had dreamed
of 1" "Had we travelled so far, and suffered so much, to reach
this miserable encampment t" "And where are the countless
vessels of all lands which we were told were rotting in the har-
bour for want of crews 1 " we see but one little schooner far away
sailing to the north, and even she is lost, an island hides her
from our view, disappointment lowers in every face. But still
our noble craft goes onward, onward, and we do not stop at this
wretched encampment, and we near a point that at first was
not perceptible from the opposite shore, and now, good steers-
man, hard-a-starboard, round she goes, and the great inner bay
bursts upon our eyes, teeming with vessels of every size and
nation ; to our righ^ in a largo curve, lies the noble city, huge
wharves, rapidly built at fabulous charges, are stretching into
the bay, lined with thousands of spectators with throbbing
hearts and waving hats, as they recognize upon the deck some
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THE MUSICAL WORLD.
[May 29, 1858.
" old familiar face," or the still dearer partner of hi* life's
chanoei come to share the luxury his willing hoiids have wrought
for her.
The noble steamer slowly rounded to the wharf, but we were
too impatient to wait, so seizing a small valise each we shinned
down the ship's side into a boat, a regular New York Whitehall
wherry with a real New York Whitehall vrherryman. The
Dominie's kind face was beaming with benevolence. H — n tried
to appear as if he didn't care a fig, but it was a most transparent
attempt at deception, and as for myself I felt all over in that
peculiar nervous manner that is so characteristically described,
as " sitting upon pins and needles." Wo were soon landed at
the end of the w barf, paid the modest sum asked for about five
hundred yards rowing, which was five dollars, and in a few
minutes were in the midst of dozens of old friends, where boarty
greetings quite bewildered us, and it waH odd to hear the various
exclamations ; •' What, Tom, is that you, why how long have
you been here t" " Oh, about two years." " Well, I thought I
hadn't seen you for a week or two." " And how are the old
folks ?" " Oh, well and hearty ; father begins to break a Uttle,
and mother feels the winters more with her rfaumatit." " Why,
my boy, you must fetch 'em out here ; this is tho climate to
rejuvenate them ; people can't die hem if they want to, they have
to go elsewhere — they only dry up here and get a little stiff in
thejoints." — " Why, there's Dick Jones, he looks queer I" " Yes,
he's had a touch of Chagres fever, and I fear is rather bard up."
" Hard up, and in old Frisco ! that shan't be long. Dick, my
boy, bow are you 1 here old chap, put that in your pocket to
keep the devil out (giving him a fifty dollar gold piece) and now
come up to my shanty, you shan't move till you are well, and
Doctor Gray will soon put you on your pins again." And with
a warm shake of the hand he leads off his sick friend and if
poor Dick Jones's eyes do fill with tears, don't blame him poor
fellow, for Dick is very ill, and Dick is thinking of his wife and
little girl at home, and what would become of them if ho was to
die ; and Dick was allerta »oft~hwrUd cuts, and Dick can't help
feeling a little womanish in his weak state ; and oh ! Tom, Tom,
if you are sometimes a bit of a rowdy, and a little too fond of a
free fight, you arc a good warm-hearted fellow, Tom, and that
was not the worst thing you did in your life when you saved the
poor woman's Uttle baby in the great fire, and burned off all
your whiskers which Mary Jane was so proud of.
We soon found quarters in a very fine hotel, " The Oriental,"
and then, as evening stole upon the city, and the light of the
setting sun tipped the oat-clad hills with a brighter emerald
lustre, and brought out in bold relief upon a sky already studded
with stars, the stern outline of Monte Diavolo, which rises like
Yesuvius from a plain ; we went forth to join in this evening
carnival of nations.
Although in 1846 there were only three adobe houses here,
which wero used as stores for hides and residences for the agent*
of the Russian company and other traders, by this time (the
spring of 1852) the city was assuming a splendid appearance,
spite of the devastating effect of fires which fivo times had laid
the youthful metropolis in ruins. Noble stores were in course
of erection in all quarters, the curve of the bay was laid under
contribution, piles were driven into tho shallow shores, large
buildings erected upon them, tho sand from the adjacent hills
was removed to fill up the foundations, large ships were gradu-
ally being built over and surrounded by earth, ana at the present
time (1808) hundreds of noble streets of granite, brick, and
stone cover the spots where noble vessels rode at anchor.
The appearance of the city at night was very singular ; large
shops filled with every luxury of dress and jewellery met your
view on either hand, superb mirrors and gaudily coloured
French pictures graced (or disgraced)^ the walls/while Wilton
bar-rooms and gambling houses, on every block of
buildings these hells reared their heads, not concealed,
but open to tho streets, while at the tables, groaning
with their golden stores sat quiet, saturnine-looking indi-
viduals, quietly dealing monte, faro, rouge-et-noir, or the
noisier Roulette; here, at a semi-circular table, would be seen a
wman, once, perhaps, pure and beautiful, bat now her still fiae
features distorted with the lust of gain, and her fiend-like heart
shining through her sorpent's eyes : she is dealing vingt-et-un,
or throwing huge dice through a tin box ; on every baud is
heard the same monotonous cry, " Faites votres jcux, Messieurs,"
aLe jeu est pre*," "Pungle down, pungle down, all down, no
more," " Bank wins," " Double the red," s Black wins," " Gentle-
men, make your game," " Faites votrcsjeux," " Cigars, waiter,"
" Gentlemen, what will you take I" Bang ! bang !— a general
rush—" What is that t" " Oh, nothing, only a little difficulty at
the farthest table j Jem so-and-eo shot Bill so-and-so." "Any-
body hurt 1" " No, no one of consequence, only a Greaser,"
(a greaser means a Mexican), "go on with the game, Faites votrcs
jcux Messieurs."
A nice life this for a quiet country curate, or a young lady-
like gentleman with weak nerves.
Our Good Dominie held up his hands with unaffected horror
as we emerged from one of these dens of vice, and walked to a
quarter of the city called Little Paris, almost exclusively in-
habited by our mercurial neighbours (as Punch mildly and
medically terms them,) here we found charming cafit with their
accompanying bands of excellent musicians, and exceedingly
good singers, male and female ; and after hearing some well-
playcd and sung selections from operas, we supped, and retired
somewhat bewildered to bed, to rise next morning upon tho
Sabbath ; and so ended our first day in San Francisco.
(To b» continued.)
ROBERT SCHUMANN*
Robert Schcmamh was a little above middle height, and
alightly inclined to corpulency. In his healthful days there
was in his bearing something elevated, noble, full of dignity
and calmness; his gait, on the contrary, was usually slow,
cautious, and a little indolent and ahufniug.t Accordingly his
eye was mostly sunk, half closed, and only lighted up in con-
versation with near friends, but then in the most agreeable and
kindly manner. His countenance made a pleasant and good-
hearted impression, without justifying the epithet of the beau-
tiful— indeed one could scarcely speak of an intellectual phy-
siognomy ; the fine-cut mouth, commonly protruded a little and
puckered up as if to whistle, was, next to the eye, the moat
attractive feature of his full, round, rather fresh-coloured
countenance. Over his short nose rose a high, freely-springing,
arched brow, remarkably expanded in breadth about the
temples. Above all, his head, covered with dark brown, full
and rather long hair, had something downright, altogether
strong, and one might say four-cornered about it.
His physiognomy had, with a certain shut-up cast of features,
for the most part a uniformly mild, benevolent expression. The
rich soul's life did not mirror itself there so vividly, as in san-
guine natures. When Schumann wore the friendly mien, which
was not, to bo sure, too often, he could exert a fascinating in-
fluence on those about him.
While standing— long standing easily fatigued him— he held
either both hands behind his back, or at any rate, one hand,
while with tho other he musingly brushed his hair one side, or
stroked his mouth or chin. If he sat or lay unoccupied, he often
let tho upraised fingers of both liands play with one another.
The manner of his intercourse with others was very simple,
lie spoke but little or not at all, even when questions were asked
him, or at least only in broken utterances, which constantly
betrayed his activity of thought when any subject interested
him. There was nothing conscious or affected in this. Hie
manner of speaking seemed very much like "talking to himself;"
the more so, since he used his organ only feebly and with-
out much tone. About the ordinary, every-day affairs and
phenomena of life, he never cared to talk at all; and about
weighty subjects, such as deeply interested him, he only ex-
* Tranilsted from Wasielewsky's Kographf, for Dvigki't Botlou
Journal of Mutic.
t In the home, where Schumann for the most pert wore felt shoes,
he sometimes walked on tip-toe, without sny outward occasion. I can
speak, of ooune, only of the last jesri of his life, daring which I knew
Digitized by Google
May 29, 1858.] ,
TIIE MUSICAL WORLD.
349
pressed himself reluctantly and rarely. One had to wait the
favourable moment with aim, and then again ono might stay
hours with him, without really getting into conversation. But
from his silence, to any person, ono could not infer any anti-
pathy or sympathy on his part. It was simply a characteristic
trait with him, one that developed itself quite early.* Tet he
often, by his persistent silence, offended persons who did not
know him intimately, or who thought thoy knew him too well
to need to notice this peculiarity.
In meeting strange and uncongenial persons, Schumann's
social forma may frequently have been somewhat repulsive.
Especially was he very easily offended by a certain uncalled for
" confidential cordiality" and forwardness. He certainly
bo entirely acquitted of humours and a certain peevi
especially during the last yeirs of his life, which were cloude
bv continual inward Buffet inga. But the kernel of his nature
always was so excellent and noble, that the impeachable sides of
his personality were scarcely to be taken into the account He
felt and showed himself in the best humour in the more private
friendly circle, with a cigart and a good glass of beer or wine,
of which latter he preferred Champagne, being in the habit of
remarking : •• This strikes sparks out of the soul!"
In the family circle Schumann was seldom accessible ; but if
one enjoyed this preference ho felt the most beneficent impres-
sion. He loved his children not less than his wife, although he
possessed not the gift of occupying himself deeply and for hours
together with them.
The outward life, which Schumann led during his last years,
was very uniform and extremely regular. In the forenoon,
until about 12 o'clock, he worked. Then he usually took a walk,
accompanied by his wife and some near acquaintance.! At 1
o'clock he dined, and then, after a short recreation, worked till
5 or 0. After that, he visited, commonly, some public places,
or a private club, of which he was a member, to read the news-
papers and drink a glass of beer or wine. At 8 o'clock he com-
monly went home to supper.
Tea parties, so called, and evening parties Schumann visited
but seldom and exceptionally. On the other hand, he occa-
sionally received a certain circle of acquaintances and friends of
Art in his bouse. At such times, when he found himself in a
good mood, he could be a very agreeable host ; indeed there
were single instances during his Dlisseldorf life, when ho showed
himself uncommonly cheerful and good-humoured. Once, in
fact, after they had had music and supper, he proposed a general
dance, in which, to the joyful surprise of all present, he took a
lively part himself.
In professional affairs Schumann was severe and conscientious,
although he almost never gave way to expressions of violence
or passion, and if ho did, ho soon spoke again in a conciliatory
ana conciliated tone. This happened, when he had once been
peevish towards one he esteemed, which he immediately felt
and tried to make all right again. When there was difference
of opinion, he commonly kept silent ; but this was always a sure
sign of his unproclaimed opposition, on the ground of which he
simply acted as ho thought right. To all malignity and coarse-
ness of feeling he was inexorably stern, and where it had once
manifested itself to him, he was evermore irreconcilable.
Of Schumann's way of meeting his companions in Art (mu-
• Kapellmeister Dom communicates tlia following experience :—
" When I isw Schumann again for the first time after ■ long absence
in the year 1813, there was music at bit house (on bis wife's birthday).
Among those present was Mendelssohn. We had scarcely time to
exchange two words, for new parties kept offering congratulations. As
X took leave, Schumann said to me in a mournful tone, ' Ah, we hare
not been able to bare any conrertation.' I consoled both him and me
by alluding to the next meeting, and said, smiling, ' Then we will hare
a good spell of silence !' * Oh/ replied he, blushing, and in a low tone,
' (hen you have not forgotten me ?' "
f Schumann smoked Tory floe and strong cigars, which he playfully
called iittle devils."
J If, on the wsy, he met his children, ho would stop awhile, pull out
his lorgnette and look at tbem a moment, saying in a friendly tone,
" Now, you little dears t" then he would resume his former mien, and
sicians and critics especially) I have already spoken in the
course of this work. In this respect he was a model. There was
no trace of jealousy or envy in him. He joyfully and warmly
recognised what was great, significant, and talented, particularly
whon he felt himself addressed by kindred elements. In the
latter case he showed too, — what must strike one in his thoroughly
German tendencyand way of thinking — an enthusiastic sympathy
for foreign art, although he was completely on his guard
against the more recent dramatic music of France and Italy, and
with regard to the latter never attained to a correct apprecia-
tion, baaed upon objective intuition. During his last years he
sometimes expressed less interest for some great masters of
the past, particularly for the art of Haydn and Moxart.
Indeed he indulged occasionally in disparaging words about
certain works of these composers, in which he naturally was
misunderstood by most ; for the principal, immediate cause of
such expressions was his sickucss, although it is not to bo
doubted that, with advancing years, his habit of spinning in
his own ideal world, gaining more and more the upper hand in
him, had a certain share in it.
In the departed, the Art-world of our time has lost one of its
most highly and richly-endowed creative minds,— one of its most
consecrated priests. His life is alike valuable and instructive
for the history of Art. Valuable through its restless striving
for the highest, for the noblest, and the results which he at-
tained,— instructive through the errors with which he, too, as
more or less every earth-born being, had to pay his tribute to
the Finite. But blessed is the man who has so ■
erred, as he has done !
EnisBt-ROH.— On Saturday week Mr. Thome Harris gave the
first of his recitals in Mr. Wood's new saloon, George-street,
which was filled to overflowing. The selection was judicious,
and the performance uniformly excellent. The more prominent
features of the programme were Beethoven's Sonata in G, three
of Mendelssohn's Lieder ohne Wortt, and his duo Sonata for
pianoforte nnd violoncello. Beethoven's Sonata was rendered
in a style which showed how carefully Mr. Harris had studied
the work. Every movement was given with appropriate ex-
pression. Not less successful was his rendering of the Licder,
the second of which was admirably played, and produced a
marked impression on the audience. In Mendelssohn's fine
duo Sonata, Mr. Harris was ably supported by M. Allard, both
artists appearing to be thoroughly imbued with the sentiment
of the music they were engaged in interpreting. The profound
attention with which the admirable composition was listened
to showed that when high class music is adequately performed
it cannot fail to be appreciated. Were the public afforded
more frequent opportunities of bearing the pianoforte
compositions of the great masters of the art, they would
soon bo taught to prefer them to the flimsy and ephemeral
productions of the inoro modern schools. A piece by Ru-
binstein, entitled Kamtwnoi Ottrote, was also highly effective.
The second " recital " was given on Saturday. The
vhicht
comprised many exquisite moreeaux, in which the abilities of Mr.
Harris as an accomplished pianist were conspicuously displayed.
In Beethoven's " Duo " in C minor, for violin and pianoforte,
Mr. W. Howard gave his assistance, showing, in his execution
of the " adagio " and " scherzo," the taste of a true artist. The
"recital" was again attended by a highly fashionable and
ADVERTISEMENTS.
FREDERICK DENT,
r, Watch, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
%nt IHalitT of the Sttlt Clot It for tfjc fljuusn of 13«lUaunt,
61, Strand, and 84 and 88,
Digitized by Google
350
THE MUSICAL "WORLD.
[May 29, 1868.
A DIES should visit this Wholesale and Retail STAY,
J BODICE, and PETTICOAT WAREHOUSE lor Cheap Faihiuoabla Goods.
a. d. t . il.
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A DIRS' VIGOUNIA CRINOLINE, WATCH-
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K EATING'S COUGH I.OZKNOKS
or nil cflertl?* arm* Ml nt he iriran If the vorsl
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asthma, concha, and all 1 < .rlera of the l«enth and loas«. To atngera and
prihlfc- apoaJtera they are inTalunble fur clearing and atrenuthcslng uie rob-e.
Tli y have a pleasant taete Prcc U. 1 J- . 2a. ti-, and lis. |*r boat. Hold :y
all dmirifttf.
CADTIOlf -Erery box of the g*i.ii!mime-IWnehejtl«iwerda, " DR. L0COCK"S
WAr-ERd' ln .Oilto lctl^n .m a rwl erwtnd in the Q-.Ternment atomp. and with-
out which worda all are ovintcrftilta jnd an Impoaltlon.
THE LONDON SEASON.
of the f-Wmga am d aoeneo of
to ahiue to a-lraotage un-fer the auto of i
hrcrcnaod iltenHon to tl.u 'iitl.aoftho TmI1«
II •
for tho
The
lety, liidtiera the fair and
y frlenda, and, therefore, lo
Ii la hi Uieae c«u1kch :bat
ROWLAND'S PERSONAL REQUISITES
Itirat in their operiUona upon the Hair, the skin, and tho Teeth.
ROWLAND'S MACASSAR OIL
for the Halt, and aa an
Imbnmt- r and
ROWLAND'S KALYDOP.
Skin and Complexion, ia unequalled for ila me ami IncfUnublc qtatitisa.
■ bloom it impart. I., the rl.*. k , the aoftitoea and dellcncr which it
be hiiirl. an. I arms ; lt» capibility ..f aoothint; irrttaiion, and remoelng
Icfwta, dlai-olor.tiuna, ».id all unaiuhtly appearances, render It lu-
dl'pr ntnldc to erery Toilet.
ROWLAND'S ODONTO,
f^»*W, forprwii^ i.iid lieauHfymgthe Teelh, hnparting to tl cm
awl*?! aixl pure. ' rl g ths
Sold hy A. ROWLAND and SONS, 30.
and by Ohcmteta mad i
OF
VfR. HOWARD, Stirgwn-Dentist, 52,
iTl Intmluce l an entirely new description of ARTIFICIAL
wpltont »|irtnir». wirea, or Inr»Urrea. T ey an |*ifctly
teeth aa ii.il to liedi.tingniahad from tucori/ti aUby thecloai
never c'nuuo colour or i^ny. an 1 will be fouul «ii«,i>r to any teeth or or
n». 1. Tina method riooa not require the <xrr,u.--lon of rrxita, or any
ttoa, will aiipport and preeerre teeth that are toots, and ia guarautes
articulation and nuatlcaU-m. Decayed teetn atopped Bead rendered
uatful in ouutlc-itlnii. £2, Flocb-atreeL At heme r m 10 till 3.
MENDELSSOHN'S SONGS WITHOUT
Tlie nil hooka complef-. with pro face, by J. W. Darla
The Verdi album. i-\ aiiiiip. In It.ilan an I Ei (tlHi, *>. Ui«ip.iit'< album or Danco
Miieie. 1« qnadrilka, raiaea, po kv, *c, is AU pi
HoUea^troet
WORDS —
prioo S-". cloth.
LAURENT'S MAUD VALSB, third edition, illustrated,
price ta Alao a cheap edition o! I/iurenl'e J
log aixteon popnbir tfiuvlri lea, Valaea, Polka*. G
and Sona' Mu«l<-al Ubrary. Hdlea-atnet
E
ASY MUSIC FOR CONCERTINA AND PIANO.—
12 numbers, price la cicfa. Popular Recreation a. amitged by Gvorge Case.
(Baeh eonbalus A or 8 pages) 1, Rigolctto: "La donna a mobile, and "Q/ies-a
« quella." 2. II TroTat.ro: "11 baien," and "Ah! eha la raorte' (Troubsdour*a
ftong) S, Ltican di l.amnirrmoor; " Fra locoaove." sui l "Tu ebetho aaplcgaati."
4, SMinamhula: "AH la loat now." and "Still an gently." 5. Norma: •- D»h !
lion «e " «. Seloct on o« the m^at popular Valaea, hy D'Alberl 7. Folia!
"I.Enfiuit,' by 1/ Albeit. ». Vu'au (-unjr by Madame Ouster). Vetiiai.o. »,
French Aba: "Part-ant p. ur la Sirle." "I« Maraelllalac.- and "Mourir p.
lah Alr«: "The Harp that once throngh Tarn-* Halla,
pour La
iT -st.
Bo*wsy
Blue Delia of Sc ti.m.l,"
IX American Aim: "Minnie,"
and St/na, UoUae-atrceL
'•Altaic l^urie,"
•01 Folka at H<
and
'Comin' Ihr..' t
md - Nelly B^r
FOR FLUTE AND
PIANO BY
acli. R a Prattcn'a
)'alroe, liobert lo
\EW WORK
1^ R. 8 PRATTKN. — In 21 numbers, prloe One Shilling
Rccrcatkiua fie Flute and Piano. . t.'< .ntenU : 1. Roliert, t- 4 q
DiaMe, 2, (,'mnd oarlttaia. ditto, .5, Nnbil algic r, Hugncalats. 4. N
otrttsL ditto, i. Va psnaiero, Naliucrei, 6, Krnani hivolaml, Emanl. 7, Tutto o
apreuo. ditto, g, La nils leliaia, Loinbardi. v. Iai lonna e moWle, RigoVntto.
in, K II »-l dell" anlma, ditto 11, Qutnta o .piella. ditto. 12, Bells ftglia. ditto.
13, Introduction and Oatop Rljroletto, ditto 14. Mlacrero— Ahl cue La m rte.
Troaators. 14, II balen del aun, dill- 1«. <l la aUiehrasv ditto. 17, MerH,
Jeunca antiia. Lea Vepiea iiicilletuiea 18^ Ami. le cumr d'Htheno, ditto 1*. Jour
0. LlbLiroo, BrindlaL. Traviata. VI, P.irigi, o cara, ditto. 22, Di
dlTres.e, ditto. :t>. LlbLiroo, Brindlal. Traviata.
Projeiiro. dmi^iS. Ah, forV t. hat, dlt'o, 84, »
AND SONS' LIST OF NEW SONGS. —
for Wma Roavoa by J L Hatton. *a- *l
.be Arrow a ..1 the Song," by Longfellow aaij
I do not watch alone." hy Mlaa Anno Fneker. 2a. _"' Hpeuk gon'.ly."
BOOSEY
"Phml«
•■ Scenea n
Balfe, 2*
by Wrlatitoti (new cdlti- uX 2s ' fhoae dear old umea." hy Falt.hhtl (aung by
MUo Ikilbyi, ia od. " I stood on the beach, ' by J. L. Hatbm, 2a. "1»> b\te.>
by Piatten («ui« hy Mian Vinuingl 2a. "Ilia ti.ootilit aea,'' by Proiit, 2»
"'When t)<e iinem on ti'e Lake la beaming" in jwij-ular American baili-lX by
Maasett, :a ••C«ne into the w>nlm, Mand. bj- Balfc (»lxtb callUnri). Sa. " Who
-iillon), 2s. ti l. "Oood night, beloeaad. -
by Nordmsnn. 5 ta. Any o<
* w-a k a . « ^
abrdl lie fairest." hy Prank Mori (third e.
brlM'iiiihlpI *im..tU .'a. id. "Tho >
thfi c jaj-t-frcc tiotM- atiJ Soils* Mi
OOSEY AND SONS' TOPULAR DANCE MUSIC,
perfumed at .vi r j- lJnce of public anna ment— Ijanrenfa Mimd Valaw
fthlnl ed tiou) 4a Laurcnt'a Argyll Oalop. Sa Lanwttea Adelaide Valae. 4a.
LrtniotiD'a Tinv.ntA Oalop, 2» Lriiircnta RouianotT Valae. 4a Isurci t's Mar-
gii nte Polka, Sa M .nUirnc'a Trtiaiata Valw. 4a. Mellon'a lasbtlla TaJae. 4s
D"Atl«-rt'a limb. Quadrille, Ja. Ougnelmo'a Qahip Furiaax. 2a. Lourenfa rVv
Sat of Uncer". Qitklrllle, Sa. Balf.'. rli rcuade Quadrille, Ss InaaboreareaUl !
Digitized by Google
May 29, 1858.] THE MUSICAL WORLD. 351
MESSRS. DUNCAN DAVISON & CO.'S PUBLICATIONS.
PIANOFORTE.
"BACHIANA," Select Ficcru (Prelude* and Fugncs) from the miscellaneous IWforte Work* of Johjc Snunux Bach, not
in the " Clavier lri>n temper*," or « 48 delude. and Fugue* '*
No. l.-FUUA 8CHERZANDO in A minor, as r*rformed in public by Miss Arabella Goddard
ELISK, Romance, by K. A. GoMIOH
BELLA FIGLIA (Rigoletto) by Jclm DniMAC
••/mow the many pliiiKrfxrto amHigenwu la of Hlgnor Vcrdi'a tory popular <|""<c*. *• have >
I. d.
" Ainotur tin nunyptaunf.>rto arrangemente of Mgnnr Vcrdi'a tory popular 'I'tv-tet. w* have not F*m> one mora unpretending and st the same H
romVlcu than thin, The comiWi ido.s are respected, while Uie dtaplsy aiul Die lonvenleuce of th« |4iu,Ul are consulted : and tlie mult la a piece vf i
difficulty. aU. active lu more seaiae* than on*. "-Vwmf »«rM
QUANDO LK 8ERE (Lnisa Miller), by J COM Bbibbac ... ... ... ... ... ... ... ... ... 3 0
A SUMMER'S DAT, Romance, by EroC-NR Mosiot ... ... ... ... ... ... ... ... ... 3 0
" 'A Rummer's Da T ' tn on* of tho neatest ml moat pleasant n-nataal triftoe wt liavo met with for a long time. M. Hooiot evidently pcoaciaca mum | ctleil
feeling. <*■ Icli he liaa very deaerly Inflated into tula ci>ropu*iUnii."— liKipool Mail
THREE LIEDE R OIINE WORTE, by C. J. Hargitt ... ' 3 0
PAULINE, Nocturne, by G. A. OfBcmHK ... ... ... ... ... ... ... ,.. ... ... 3 0
LA JOTEUHE. Sonrcnir dr* Champa Elysecs, C. McKobkxll 9 0
PIANO SOLO.
CAPRICE HOIIEME, by R. Lirouv ... ... ... ... ... ... ... ... ... ... ... * v
SUNSET GLOW, hy Kx.txruT. Aorn.att ... ... ... ... ... ... ... ... ... ■•■ 3 0
PIANO DUET.
PON FASQUALE, introducing the favourite Serenade, " Com' e gentil," by Ricabdo Listsu ... ... ,m ... ••• 6 0
MEYERBEER'S NEW VOCAL COMPOSITIONS.
THE LORD'S PRATER, for four voice* (soprano, alto, tenor, and bam) with English and Latin text, organ ad lib., In More ... ... 3 0
Sa-parate vocal part* to the above ... ... ... ... ... ... ... ... ... ... each 0 0
•• Wo turn mot with few devotional »eroge of lata years so caUmVed to becomo widely popnUsr. Tho tnelixly la rjtiltc nandoHe, and the 1 tiruvonies are
arranged with tho moar. masterly skill ; wnlle the subject, being one which iiiTolres no qusaUoo of doctrinal or aai tartan diflcroocc, commands Itself to all
'who prolaaa and call themselves) Christian*.'" — JhiMd Mrrevry.
XEAR TO THEE (Nchen Dir), for voice, piano, and vwbimcello. (Sung bv Herr Rcichardt) ... ... ... ... ... 4 0
HERE, HERE ON THE MOUNTAIN RECLINING (Dos Sdiafcr's Lied), for voice, piano, and clarionet, or harmonium ... 4 0
The abort Iko tongt are eminently ea/entated for public concert*.
T11I3 HOUSE TO LOVE IS HOLT. Srrenad* for eight voire* (2 armrnno., 2 contraltos, 2 tenors, anil 2 basse*),
in vocal score. (Snng by Mr. Benedict's Vocal Association of 300 vote**) ... ... ... ... ..." ... 3 6
I vocal purt* to the above ... ... ... ... ... ... ... ... ... ... each 0 0
Wa haie receir d an Kagli.b ver.lnn. by John Oxniford. Esq.. of M-yerbccr's hymeneal serenade, 'Tbta Houw to Ixrvo Is holy.' It la composed for eijfht
mt, or, r-lUr, in ei«ht porta, ami* .-.icli pirt ma) be strengthens! by any niimUr of voisssx
In <r.lor In attiiii tlttwiuas. he nn^titut» l.ta twu choirs of dlfcrent mat«rUs-uiw cliolr consist* of /rmaU voloss, first snd second sojiranl. first and
milnlU; the other etMr cona at! of m«U «ilc««. tlr« ao.l srmnd tctj-n. ftr-t and accond basat Tho Am vorso ia oosatoenesd by Um mm!* clw»r. and ka
ait. rwarda Inkcn up by t».c faiuale. The ».mo muaical aubjict Is ih«u divided Into phrases of two ur tbroi! bin, sud given to the choirs alternately. Thirdly,
ki. th eh.tlra cooiMne.
•' White he sipuls tho Old Vaster, in tho carriac* of the vole™, In tho purity of wrltln*. and projrrssslon of ths parts, h* has Imparted a charm of melnjy
to which their ennons and nutnra oevir altaliisd »od baa added » rlchueas of mclulatton which was unknown to them. We would larticulsrly iii.lu.cc
ansbnirt rnxdulatlou. tn.m u I! a to A natural (enharmonic for double II flat), and back again to D flat. The Knglish words also are fi snugly welded to
the rooslc."— iisrrpeel Mail.
" The very angels weep, dear" (Trennnnf; and Wiederrereinignng),
tJonir, by Mozart SO
Sweet little Jenny," Rallad, by M. ENDg&saoBM 2 0
" Mv Mnrr" ditto ditto SO
NEW VOCAL MUSIC.
*. d.
s. d.
" Quick arise, Maiden mine," Air Styrkai, by J. Dcssafir ... 2 0
" Lord liear u»" (Dieu quo ma voix), prayer, in F, from •• La
Joive," hy HAL1TT 2 0
He will be here" (II va venlr), romance, in C, from "La Juivc,"
'* The old Willow Tree," Ballad, by S. J. 8t. Liukr S 0 by Hal6vt 2 0
*• Tl>e Tronlwdour'* Lament," hy MUM Yabwoid 2 6 " To-morrow,'' Ballad, by C. J. Haboitt 2 0
I'.Tinitji, " I love when the stm n set," by G. A. Macpabbsk, composed for and rang by La Signora Fumagalli ... ... ... 2 0
*' P ERSEVERE," or, th* Career of Hii'veloclt, composed and sung by Mr. Charles Braham ... ... ... ... ... 3 0
*■ TbOB art so far, and yet so near," composed and sung by Herr Reichardt ... ... ... ... ... ... ... 3 0
"MART A."
The copyright of the new Italian and French versions of M. Flotow's opera of " Mart*," performed with the greatest success i t
■a, Paris, and to be produced this season at the Royal Italian Opera, i* veated, under the International Copyright Act, in MM. Ml
dm, of Pari*. Messrs. D. Davison and Co. hnvo tho complete opera in octavo (Italian or French words), as well a* the separate
the Italian
MBAXWTI AMD
complete "opera in octavo (Italian or French words), as well as the separate vocal piece*,
I Ulian, on sale.
LONDON:
DUNCAN DAVISON AND CO.,
DfiPOT GENERAL DE LA MAISON HRANDUS, DE PARIS,
244 REG E NT-STREET, CORNER OF LITTLE ARGYLLSTREET.
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352
THE MUSICAL WORLD.
[May 29, 1858.
ONE HUNDRED SACRED MELODIES
rod tm
CONCERTINA,
ARRANGED BY GEORGE CASE.
the Works of the following great Composers :-H AN DEL,
IN, MOZART. HAYDN, R0S6INI. JfEHTJI, FAREANT,
HUM MEL, PUECELL, LORD MOBNINQTON. sU„ «tc
Price One Shilling and Sirpnct.
1. And Die Glory of tho
Lord, McfleUl.
2. Pastoral Symphony,
ditto.
S. HesUllfeedhli Flock,
ditto.
4. ThcLordgaYOlhcWunl
ditto
[5 Tho marr'llou* Work,
Creation
; 8 With Verdure clad,
ditto.
r In Natlrc Worth, ditto
tl. Aguu« Dei
0. Mr, St Paul
It. Chorus, ditto.
II tXuusan
Miter.
IS ^
It Holy. Holy. Lord God
13.
!«.
Eto Itii.uicy'. Bud.
Angels
lair.
17 Holy Lord
IS. Ball, Jodea!
land.
10. Lard, for Thy tender
mercy', sake.
30. Bound tho kntdlltoUri!
21. Hark I the herald uu-
gels bIii g.
22. Hyniu of ore.
2*. Blivi.y.
14 Dedford
is Cambridge New.
CONTENTS :
24. An,:«l » Hymn
-7 KcruinghaDV
28. MouiitEplir.dnJ.
2D. BfairUad.
30. Ht, George's.
91 Dowland
31. German
33. Aaron.
St. Bidllan
S3. St Peter"*.
36. Truro.
37. Portuirucee, or Aduate
Fblel**.
3S. Evening
30. Abingdon.
40. London New.
41 Old Hundredth
41 Dorises.
43. Milton
41- Hsnorer
45 Morning Hymu
4« Falcon Street.
47. York.
45. WoelB
4». St. Ja
M. Hasfidd.
St. OalTary.
SI Vienna.
S3. Cariuuo.
I 54. St. Col umbo.
I 55. Si Pancras.
56. Luther's Hymn.
57. Eton.
I 58 Miller's.
39. Winchester Now.
SO. Yarmouth.
01, Weimar,
oi Bryaitston*.
tgoroery.
JunsUn*.
S3 Monti
54.
6S. Newmarket.
6ft, Islington,
57 Hund-v
55. NiHllugharo
09. Bj, O^VB D
70 B»th.
71. Surrey.
72. UimvfctlMi.
73. Bt. Fetcrsbuigb.
74. Oruaftxian
75 Raster Hymn
76 1 u-ini
77. Ascension.
73. b*hbath-d*y.
79 Hrden'iam.
80. Vesper Uymu.
55.
50.
It. Doubi'ep>ut.
& ::
Mi .»
, H9.
1 100.
Mnjieal Library. 88, HoUesntreat,
\M EMOIES OF RACHEL. — This work, in two
> I with Portrait, prico 21... U published this day; nnd thon
curly copies are requested to give their ordors Immediately to
Hunt and BkKkeit, publisher*. 13, Great Marlborough -etreet.
who doslr*
TWO ENGLISH DUETS, "Hope!" and " Spring time*
by J. Dllrrner. anther of the at
and 8c»," and " Rosebuds on the
140, New -
•• Spring 1 1
It Mill, and
I^od
Sous,
ROBIN ADAIR, with Variations, composed expressly
for. and dedicated to. [Mm Arabella Qoddard, by W. Vincent WaW 4a
N D. — Pianofortes for biro at 12*. ptr month and upwards. London : Robert
Cocks and Co.
WARBLINGS AT EVE, Brilliant Morccau do Salon
Tor piano, by Brlnley Richnrd*, postage free, 2s.
" O I nightingale, that on the bloomy spray
Warbli-rt at cvn, when all the woode an still "—
"This rasy, sparkling gem I* ttie universal Uvouritc of the day."' London: Robert
Cocks and Co , New Burluiglou-stroct, W.
Just Publl»he.l.
THE FAMILY SINGING BOOK. — A collection of
fifty German popular songs and .lti."t*. with English word., wd an easy
' nemt, price 4*. London : Published at tho Unl»«r*al Circu-
THE ARION, Books I, and II.— Just published
continued monthly, a colta-Uon of Part Song* by tbo mail cclcbr-
p>wm, trttiulatod and i«tit#d by K. F rciLuie Hcillr. Dook I, ct>n tains •—
KhuyAutumn Tit* Hnj^y Wanderer, T.ieOoliIco Bridge (.Ant time f
in EittsUndX RcUUiirJt's Sprui;»h Conionct, Im^pTvortltQ Itow, andPivuc
chafcra Kftnk II r.-.n(*(n* \l. n.t,,!*.^,),..-.
chafcr,, Book II. „
blliiht. Tho snow dotli
4s. a I look ; or In Four
per page. Lon loo. G.
Book* or the Anon
for Musi, rnnting.
->lciKl«la-nlu4's Tollirvls, O dy witt
telt. On yonder gtaro, On the lsltc. flenre and r
pirate P.»rts, is. oath ; >e para to Voice Part*, a
to ho
tod Com-
Metidsls-
bliSbrd
• Cork-
i came a
.rtH, i^riou
halfpenny
.v i]Mei t
ONE HUNDRED OPERATIC AIRS
THE FLUTE,
ARRANGED BY K SIDNEY PRATTEN,
SthWietu from TWENTT-ONB tf Of MOST POPULAR OPKR tfl 07
THE DAT, to arnnt*t that Ikm or mart a in from rack
plajrad tagsMer, f<rrm\*g as tttUmtMg jAtet.
OPKBAS:
LA TRAVIATA, II. TBOVATORE. RIGOLrTTTO. ERNAN1. OBEKTO, VKPRE8
81CILIENNC. LUI HA MILLER MACBETH. N 4BUCODONOSOR, I LOM-
liAnill. SIMON BOCANEGKA. FRA DIAVOIA DON OIOVANNI, NORMA.
IL DIAVOLO
LUCIA
1. On ynivtcrrnck. ! Si.
5. Ye«, to-morrow, I M*
8. Tounff AgDM. ] S7.
(4, Prf idly and wtdoly. S8
S Then »in« lift ^tdo*. SV
6. 1a dum InTltAol. 40.
7. Nolla FnUldi RimitiL 41.
A. Ublamono'lletocalid
9. Dl Prorrnta 11 mar. tt.
10. Sem pre libera. 43.
II- Ahpersompro. 44.
11. Sonrealanottefolta. 44
13 A que! mr.no 46.
14. Tncea la notle placida. 47.
IS Dl tale amor che dirsi 45.
16. Abbictta Z.ngarn 49.
17. Deeerto »ulla ten*. VO.
18. Di geloao amor. 5t.
IV. Nobil Doona. 51
20. Nobil Signer. 55.
11. A c« B»ol tout*'*Jltn>(. 54.
11. Co«uc rugladVt. 55.
13. 0 tu ehe 1' alma adora. 65-
14. Brnaal. tnroUinl. 67.
15. Tutto e eprexao. SB.
26. Torna. Torna. 5I>.
27. Come rintl di stan- 50-
chessa. 01.
23. LapktarleineuofaTon 82.
29. Vorrano a te aid aurc. I 08.
30. Lh ci darem la mana
31. AudUm, aodiam.
32. II into tcaoro.
35. Mi trvdb
3f. Fin ch' han dsl Tioo.
CONTENTS:
Cmesta o queUa.
Mliiuet.
PeHgordiuo.
Air da RilleC
Oalop.
Veglla o donna.
spemiua ed
Caro nou'O,
Si vomletta.
Ciasrun lo dice.
Conrltii partir
Da quo! Istante.
Dal aura ton
Mecoall'altariiiTcnen;
Sort* o la luoa.
Tutto »glqj*.
Tempo o felice.
Sorrn 11 aan.
Prendl I' anel.
SertlU nel del.
Ah ! Torrei trow.
Ah ! forao 5 lui.
E Piqutlto.
Parigl o cara.
Addio dui nassnto.
Dltc alia giorine.
Oh quando i«nl.
Htrnie la rampa.
Mai reggend >.
PerigHarti ancor Ian-
goento.
Un tnomento pltL
II balen del snV.
Q tonal porerl vJTtu.
79 0
Ab si ben mio.
DI quell* pit*.
Ab cbe la morte.
SI la starn
E d sol dell' ■
Tu - 1.: le feste
La donna 6 tr.
Uu dl *n beu.
Bella (igba dell
.illato
* ton
Q lanii |<
llaiW,l(o
Dl peacatore ig
A tun toa madre.
Maffto tirsinL
luMIco I II <
Cat* Dira.
Sola furtira.
Ab si fa core
Ob non tremare
Oh di qua! set tu
vituma.
Cicl pictoao
Clelo, dl s'elta orbato.
Clc] pietoeo. rendila.
II 7<mro leggwr.
Iniellce 1 e tu crorlarl,
I a it I. lotlsta.
Hon fu sogno.
' lo I
Boo««y and Sons' Music U Library, 28, Holle»-*tr*ct, Oxford-itroot.
SCENES OF HOME— New
^ } andSoiiri, Ilollca-stroct.
by
"VIEW PIANOFORTE MUSIC— Rummel's Fantoaiaa
i. s from Bclisano. Roberto Dereraux, Beatrice dl Tends, Martha, and Simon
Roceanegra; Brtnley lUebards's Marie Nocturne, The Harp that ooco through
Tarn a Hatl. The S^iInU or the Rhine Valae, and Old Towler ; P. do Vo*'* Hour coir
<lu Trorutore, Bnndisl dl t'Opern Ia TravlaU | Beatrice, Mazurka; Ixnoley.
M^1dU<.- Allcruande ; O luce di quest* ruilma, mil Fanlahia on La mia letisim and
0 BI(B5ni Kobe'* Fantatale de Salon on airs in Era Diarolo; Nannunn s I~
Bells of hVotlsnd ; Marschan'a Rhim Llcder Waltsea and L'RIogansL .
Hymue a Cere*, 5tc. Also, a great rariety of new alts, duets, and trios' by I
Campari*. London : R Mill* and Son, 140, New Boiid-strort
THE STAGE, OR,
and teaching* nil the art*
Despair, Grief. "
THE MODERN GUIDE TO
AMATEURS' INSTRUCTION nOOK,
and Pnastw— Physically and Elcciitlonary. in Lore.
Mlldnos*. Remorae. Itagi?, Batrod. Rerouge, Joy, H>|KX-rl«y. Tyranny, and
VBliuiy; with all th* moro elegant |«)inls In Opera. Burlesque, and Ootnody.
nee. ssary «o speedily qualify young i>en«ms of both aexes for this lueratirv and
plnuwnt profcatlon. Also the Names and Residence* of Managers and their
Tli. atrn all orer the Kinjdow, the C«J,.ni»», aud the Uultori btstea. Thli ixrw
work (warm from tho press), ruut never bef re In print, will be sent to any
Addrew tree by ixwt fur twulr* iiost slam pi — punctually per return put. Direct
Fl-hersnd Smr, Kingdnnd. Lotidon. EstablUhed 1817.
Published by JoB» BoooiT, ol Gastlchar-bUl, In tbo pari»h or Baling, in t> •*
County of Middlesex, at the omee of Booa«r * Sofa, 15, Holles^trw,,. Sold
also by Rir.n, 15, John-strool, Great Fortla-d-.lreet; ALigjt. Vfarwick-
--■>; Vick«»n HolywelUtreet; Kxtrn, I'aotvsB. 4k Co, 48. Chesnai.'.e :
\ Ncwgato-stroot ; Jotrtr Rhu hdio. Newgato-Mrwt ;
O. ScBxraiiiKB. 85, Ncwgato-stroot; J
Hoibt Mat, 11. nolbom-bars. AgenU
Edinburgh and Olaagow ; for Ireland, H.
sellers.
Printed by William Stkmceb Jo
Uao, in the Pariah of Sc. Martin
Baturday, May 29, 1565.
in the County of
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bb i>bdijctei>. Ir is wholly pokji *sb power,
AND IT
SO MATERIAL, SO 8F EJECT-MATTER, WHOSE EFFECT
ASD E.NSOU'.ES WHATEVER IT EXPRESSES." — Gdethe.
SUBSCRIPTIOtf:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order,
to B00SEY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 23.
SATURDAY, JUNE 5, 1858.
■ price a.
\ STAMPED 8d
MR. ALBERT SMITH'S MONT Bl.ANC, Naples,
romp-ill. and Vesuvius every night (except Buluplay) »l 8 ; and Tuesday,
Tin
Kiryptiau-I
every
I Hainrday afternoons at U. Place, can be wonrwl at the llox -office,
dally, Uet-nri'Oll 1 1 and 4, without any extra charge.
H
ERR L. JANSA Legs to announce that his SEVENTH
ANNUAL MORNING CONCERT will lake ptaeo at the Hanovcr-an.uai'e
e,n Moudav, June 14, tnoornmencent half paatTwoo'c'ock. Tickets. 7v Ad.,
d S<nl«, li» 6d.. may l« (btained at lleir Jnnxaa, 10, Morningb u crescent,
Tull pnrtlc-.Uani will le duly
ST. JAMES'S HALL— NEW PHILHARMONIC
CONCERTS Director, Dr. Wyido.— Tbe next Cmctnt, on Monday evening.
Jane 1 1, will be on extra Moout nigU. VoralMt, Miss l»mei Pync : Fiannfort.-,
OUT Rubinstein. Tickets, ia . 2. lid , 4a., 7a M. ; and alalia 10s. Od . ot Cr»ui«r
iiiul Co , Rifc-cnt-stro-t; Keith, Prowsc, and Ca.. 48. Cbea.Mlde,
W. OliAKFF NIC HULLS, Hon. Sve-retary.
VIH, BENEDICTS ANNUAL MORNING CON-
IT I CKRT. und«r (l.o Imraoliato idtr»naff« of HcrMo-t Qmdaim Mmtemty TI3E
QURKN. Hl« Ili.yiU U^tiiim. thoPticiCvCou^ii, Iter Roy*. Illffhnc^tiwlJuchfltt
or Kent, mid Ucra pil Uighai
Uer MajentN '* Theatre, oa Monday. J m-
year*. PmrHcuLirw and tick* U may be h
rtuxtor-ft^iurc, and at U>e jutncipw LtUi
uf G»BibrMKe, will l.iko |ita*» at
ou the attno tfracid sclklo of formci
Mr. Bcuciict'fi reoidcQRi, ?„ lfau-
tint Music Wiirebouaea.
M
ADLLE. CAROLINE VALENTIN has the honour to
xnno'iuee that »be will give a MAT IN P.P. MUSICALE at the Hanavcr-
aoiLar.i Rii. ma on Thursday, June lOih, to commence at 3 o'clock Vocalists : —
Ma-Ilk. do Vi'lar. M Jules Lefort, and Hcrr DMk. InsiniinentaHaU :— Violin,
HaRJoiWi Vl'Vonwllo. M Paoiic; Harp. Hcrr Oberthtlr ; Plana, M idlir. Valentin
Cenducn.rs :— Ucrr Wilbulm 0»u» and Here Thcodor Manas Tickets, lus. 6d ;
M
R. AND MR8. GERMAN REED'S NEW ENTER-
T.UNMENT— The now Serio. cf llluslratiems by Mr and Mrs. Reed Hi
■ P. llnrton) will bo repeated every evening (except Saturday) at Eight
rdsy AfUrtKonatThrve, Admission, la., Jx, and is. ; Stalls aecuied withmit
a cl.ar^e at tt.« Itoyal UOlery of llltia'rutkii. 14, B«p>ut-atre«t, and at
•. n.-nlc, and Ci.'i, 201, Regent
M
R. CHAS. DICKENS will road lua <• CHRISTMAS
CAROL " <m Wedni atUT Aftcrrnou. J -in* !i at a o'clock; and the Btory ot
' LITTLE DOMUF.V." on tburaiay Kveulne. .bine loth, at H o'clock, at 8t
Martiu'a Hul!. Ivicli Pc.vIIck will la-t t*n l.i in«, H(aU« (i.itnsbered and
reacrvcdX ; Ar , .i?d i. i ' ' I j 1 ' '\ I'd . {h [■ -rrvr' 1 S< ,'. v ! ■ Tickrr'* 1^ )c
bail at >le.-.ra. Cbapir..m and llaU'n, j.uMinbcr', 1'J.l, Piccadilly; nui at 9'..
Martin's llxll, taag.acrc.
MR. JACQUES BLUMKNTHAL htm the honour to
aunoin.oi that bin ANNUAL OR VKD MATINIIC MU5ICALK <vlll Uk*
plxco on Al..r. liy next, Jmr: 7. to comuicDce at "'clo. k, by Hud («crn.|»siou of
the M**t lb-i*. tbe Marrhionaaa of Duwnflliire. at VI, BcIctatc w^nare. The pro-
oranim''" and tkkeu are now readc and may be hxd at Cruoor'x, Mitehal'a,
Ch^ppcXo, nnd Olllvi. . of Mr. UtMttk 4, tTMugton »pi*«*. Bronlr•to^
M
"ADA Mil DOITI, the cclebrat4jd Prima Donn» «»f tho
. rVida and P.ni» Italuii Oi*ra«, formally atiMent midtr Roaainl and Doni-
will jlnir at her MMiuce. Jure II. at llanovcr-aijuwe Ib«.ma, the ua yet
uuh,ar.l LAST COM WAIT I ON OK DON1ZI7TTI, nritteu by the ureal iuac»lro
a few liouretH.fi l.; In. ina.lutxa declared itaelf. indcxr<rcAg|iurinl)ioni»*t toucbiog
manner the fc !!..«• w'deh IikIutoI It. -Pauvie DnnuetU '" exclaim d Bcatof
when ke eaw ,t, " c'r.t lien lui. m-ia c ent terrible." rul! lurtlcubrealiortiy
ST. JAMES'S HALL. — MISS LEFFLER, daughter of
the Utc Mr. Adam Lfflbr. I"i« to ai.noiinco tlmt licr l.rat Oracd Kecnlne
Concert ni l take place ut ttio atH.vii Hail. Reffrnt-atroc t. on Monday eTt-ning
Mil, Juno 7. to commence at Eiiibt oVIexik, whtl» ahe w II br aaakteJ by tlie
followbu eminent artUta: Mr Sinn HceT.a. Mr. Weiaa. Mia* Dolby, and Miaa
Arabella Go Idard. Otherdia m<m»he.l artiats are already en«o«, d. '1 Ickrtu to
bo bad at the Ball, principal mnxlc^elkra, and r | Mlaa Leflivr, 71. Oxford otroet.
T EFEBURK WKIA'S OFFERTOIRES
±J OROAN -Woieel bimI Co. tieg to
•election ot aix of these cet«bi»t«d.
3a. to .la each. IS, Unuorcr
FOR THE
) tlwt they have pubHil«.l a
by William Rea. 'price bom
M
/|ISS ARABELLA GODDARD begs to announce a
peifonoauce of CLASSICAL PIANOFORTE MUM'', at WIDia'a Rootna.
on 8afurt!ay afternoon, June Iff. to con'.mrnce at Tnree o'clock. Miaa Goddard
will l.<e aa,Uted by Hcrr Ji*oi h Joaelum and Hltfnor Plattl. Atooaifj otlior piecea, the
programme will luctude: Dniack'a Pi;uiofi»rto Qu u*tet iu Fl flat; H,:hul*ert'a
SooD'a (pianoforte aoluit) in A minor; Joachim'!, "Tbema Varte,"" for pianoforte
and rioia ; J K. Uach'a Pan'oat, coa P'l;;a in C ndnor ; nnd Beethoven a Grand
to Kreiiier. to be performed by Miaa Arabella C
Full pur.lciU.Lri will tc shortly anno
:d.
MANCHESTER CONCERTS.— The Directors of the
Mancheater MONDAY KVBNING CONCERTS are prepared to arraniye
Ut their foithooinln^ acaaon, ranimencing in Hop'eaiber next, with individual
I'ttist*. or |i*rt1ea formlnK for i-rovlncUl tonra Term* and daUe may be n.ldn.a»«l
to the Becrelary, Mr Tbomaj bryec. Free Trade Hall, 1
THE ROYAL SOCIETY OF FEMALE MUSICIANS,
EatahlUhrd 18.W. for Ihe relief of Ha diatnaacU Mcmberx Patraneaa, HER
MOST ORACIOCM MAJE.STY THE QUEEN.— On Friday evenlnc, June 11. at
the lIanover-a»i'iare boom a, will bo perforniod. Tor tho txnelit of tide lnatftirt>on.
>t MU^elUneoiai Concert of vocal and liiatmmental mnalc. Vocal INwXt™.< i *
Ma l.i mo PcrsUnl. Maduma Itieder. and Madame CUra Novell'' ; Ml«e I^mlaa Pync,
Miaa Suaan Pj ne, Mi-a Mtiuoot. Miaa K< oiblo. MteEbaa Diik'hea. and BlMlkaby.
Ilerr PLachek, M. Jllloa l^fort, Mr. banrlcy. Mr. W. taarnaau, and tl.ii Geiillenien
of the Orphoua Glee t'tilou ; Inaummeutalitfta : Vlo!hi. Herr Joachim, l^inno Orune,
Horr Engell. and Piauoforto. Herr Md.tiiait.ln. Tbe oictteatrawlivle nunurouH
ami complete ; Loader. Mr. Hcmy Biagnive Cotiducur, Proleaaoir. btemdale
Mux. Doc The Ooueert will coil. tnei '' at eight prreliely. Itekct\ half-
Reaerred Seata. one ir'dnea each.
J. W. HoLi-tKu, 8 cretary. 1J, Macclcane Id -street, SoFio.
tMirn nir MmciJiiii or
IR
MOST ORACIOUlt MAJESTY THE QUEEN,
U II U TUB PRINCE CON80RT,
THE ROyVl FA MILT.
DlL M..IIK
aith bia highly appaoved, inti-resiinp
ly to nnuouuos that he i« open l« ctiKOfc-ctutuU
|d,aaing, laid iii,tnictive
MUSIC A h KN TEK'J'AINM ENT,
mi. MARK AND HIS LITTLE MEN,
upwards of thirty lintrurocritallsbi. and a
vilv le furmiui; a im.'t compklu and
iflcellve Ch.-nir. tho
JUVENILE ORCHESTRA,
coHronui or
Little Eiim'J«1i, Iriali. and Ho,lch boya. from five to sixteen yenrs of one, wl o play
Operatic ncluctiona, solcja, duets, ijUorV-ta, r]i«a4rilkM, miirvJita. and |v.ik^«; ard
einir a. nf-a, ehomaca, Ac , In a m et effective nutiiur. aud to wbmu L, ;'.Tea a
irm'uitMUB ^reiicnU and musicid olurdion in order to ItluMrate hia Uiebly r.|'p -nveu
ayetctn of misuoal ednnbilnei. and witb wbofii I mi travel* aU.ut th <• .i:'-' t>.
excite an Inlercat for nnd litis, H <«tabilsli uitimeal inatJtnUona c.^i i n.
eerviitolrca «.f Music " for litUe chlldreu Its .very town, city, and vllss ■« of this
great empl«Au y&Amm, please. Free Trade Hall. Maiiel.estcr.
Dr Mark nwl hla Little Men will perf.wm, Juno i and 7, at Shrewstrary, aUjdug
there Sattinlay and Sunday
Dr. Mark and hi. Utile Men will perform. June 8, at tho Public Dullaiaa-s, .
Ludlow.
Dr Mark and hit Llltk Men wi'l |Utiorm. Tune 0. at the Onn
Tenbiiry, tinder ll>e raatronacrv of ibe Rev. Sir Frederick Gore t
Doc. Mn> and Professor ot M'laic at tbe Uuiveralt r at Oxt>-ru>N as.
Dr. Mark and his Utile Men will perform. June 10, aWtttM
Leo'idntur. ^
Dr. Mark and his Utile Men will ncrf rrm. June 11 nod I4,ia>"
Hereford ; "Uyinfr there H-vuivlity and Stin-tay.
354
THE MUSICAL WORLD.
[June 5, 1858
J)ICOO. — For engagements, 43, Church-road, Kingslrtnd.
jyjADLLE JENNY BAUR has arrived in town for the
All letter, to be
to 20.
LAUKENTS RO\AL QUADRILLE BAND. — New
Office, at Vnin. Booeoy and Bona, 24, tloile*-.tro:t, where, full particular,
may bo bad.
\fR. SYDNEY SMITH, Violoncellist (orchestral nud
J.VX auto) from tlio Conaervatorlnm of Mud.-, and Oewandbau. OinfcrU,
Ldpeie. I* open to engagemcnta. Addreaa, 19. Boar-etreet, Lf'ic;-aUr-'n'i xr
MR. W. W. GRIUK begs respectfully to inform the
Muaicnl Profoaaiou and portle* giving coocerU that he undcrtakee the
management and .npennUndenoe of orclicatraa.— Addreaa, la, Nortb-atroet,
WcatmlnateT Abbey. H.W.
ANTED a situation as first or second violin or viola, in
* London Orcheetre. The odvortUer U alao a good accotnpanyi.t on tho
, and will accept a permanent attuatlon ou moderate Urim — Addreaa,
O. F. Mimical World Oflioc
TJERR EMIL BEHM, pupil of Drouet, begs to inform
I X bin frientia and the public that he la open for public nod prirate concert* ;
alao f<.r flute and acoowpftnytufr tcaaoua. M, Danbl4fU-«trv«rl, I'lraHeo, 8.W.
BIRMINGHAM TRIENNIAL MUSICAL FES-
TIVAL. Id aid of the Fund, of the GRKEKAL noSPITAl., on tbo Mat of
AuguA. and the l»t> 2nd, and 3rd. of "
DARTMOUTH
Proaideiil-The Earl of
TO PIANOFORTE MAKERS AND DEALERS. — A
TUN EU who can finlah. regulate, and repair, ditto will> lira harmonium,
baa bad SO year* extwrtence, beaido working tiro year* abroad. .peak* French
la. Little
Windmill
*lth belli** thorough mndctan. and con play the |4ano Iro
,L Recounncuilatloo. are ftrat claaa.-AdireM. B. Hollowa
■treet, Hayrnarkct, L» aidoo.
ST. JAMES'S HALL. — THE VOCAL ASSOCIATION.
— Conductor, M. Benedict.— Joachim and Hubinatetn on Wedncaday evening,
J i.i i.o 9th. — Joachim, Ruhlnnteln, Madaino Rudcndorfi*, Ma' tamo Hbcrriuirton
Lernreeoa, Mlaa Dolby, and Mia* Mtwaeut; Cl*rt--nct, Nr. 11. L\:mw THE
VOCAL ASSOCIATION of SIX) Voice* will perform ancne of tbeir moat popiiUr
Ticket*. 2a. «d. and i» each; Balcony Kulla, 7* ftl ;
A of all tho princiiiej. mueio-aellcr*.
TO LET, Exhibition Galleries of the Society of British
AiUnU. Buff .Ik street. Pall raid 1. Raw. To Int. rnily In October, after the
doae of tbo Bocdety* Exhibition, until tbo ond of February next, the extcnairo
jraDerica in Suffolk street, Pall*fnall Eaet, comprining five moraa. and oounal
mom, Ac. The principal room ia CO feet, by 40 leet, ami aluut S» feet high, and
U couaidered the beat lightod room In loooc.ii. either by day or night, fur exhibi-
tlona of art. lecture*, or tho aotrooa of literary, ecicotlttc. ox
The extent of the gallery ia 120 feet, by 40 foot For particular
to Mr. ChUcota, Society of Brttiah ArtUta. "
"yyiLLis's i
commencing at half paat tight
-Miss Macirone liaa the honour to
anuounc* tliat her Soiree Muaicalc will take place, Saturday. June Wth.
ndng at lialf piat eight nVnck. Vncnlimta: M.vleme t Uarn Novcllo. Mlaa
Dolby. Herr Fiachck, Mlaa Marian Mom, Mr. Fond, r, Mr Noi»in Krutth. and Mr
Wtuu, of tlie Vocal Union: llkstrutmntallata: Mies Macirvuc, and M. Paouc
The membera of the Vocal Union will perf.a-m port pon**, and Madame clam
Korallo, Htm Dolby, and Ilerr Plachek. ..titer now .-.miawltlnn* by Mlo* Macirone,
Conductor. Mr. Oearae Loder, K.,^rved Scatm. Hal/i-O.iiM.a : Huir^i Ticket..
Seyeo Shilling. ; Family Tlrkota. to admit f ..ur. 4 1 4». M^y lie had of ibe prUi-
opal Muaic SUn; and of Him Macirone. r.. Park VlUa.* We.t. Kwtit't t».r«.
TTERR ERNST PAUERS THIRD and LAST SOIREE
Ai MOHICALP. will bike place at the Haiiover ..piaic Ibioin-, on WKDNES-
DAY next. June ». to commence at h»lf-i«at »oVi*V. when lie -ill |«rform
Bant ti. Pare, ^tc|flich, and Ilanawir) Bectll"v. i,-a Qnliitrt f. r pion... ol. «,
ooet, and huaaoon ; with Mlaa lUcbarlaun. duot of Mendel uobn (Andanu In B
(with
clarl-
flat); with Sallibm, Juirhim, and Pnque, Srliuinann'a Qtiaito', Op. 47, for plai ....
\loltii, viola, and violoncello; with Sainton, Snnhr'a Pic- o do Salon for piano ami
v.obn ; unu Tarantella, Pauor — Alalia, lO* fVL ; tiekcta. 7a. ; m.iv bo bid of the
R W. OUivicr. IV. O! 1 Bond .treet ; nn.l' Hcrr Pauer, 9,
, Brorapb'ii.
MADLLE. 8PEYER begs to anuounce that she will yivo
aPIANOFOItrP. BKCITALtblemomirir. Saturdar. June :,th, at VRIhr.
Ibrnma. to commonee .1 three ..'clock, on which oc-^ialoii alio »i l bavo ihc h.«i«r
Of |icricTrninK Btelboven'a Sonata. In f.'aliarp minor. Op 27, nudCmajor. Op. .'.3 ;
he Grand ltolu-Huiu ar^i Fuifnu for tbo Organ in A minor; M. n.lel-aobna
■* — m in K minor. Op. 3*. and Capriecio in E ma>or. On, xt ; Chopin'*
s *uw^ nilnor, and Impromptu in A flat- To commence at Thrt^i ..'e ock.
: Mlaa Kemt.^e, U«rr Hock. Acoomfiak-tiatonr, Mr Harold Tlioma..
w r.iii!r'i-",T,ur",l half-.-i.minoa. TlckeU, 7a, to U obtained at
w. OlUviora lt>, 1 ibl Bond street ; at the principal muaic warehonac* - an I < f
r, a. Upper Rancuwh-etreet, Eaton-aquarr.
M
J<ut pubtlahed, lu 1 vole, with flno Portrait, SI*.
EM 0 IRS OF RACHEI Hurst and Blackett,
13. Oreat Marlborough-itrwt To bo bad of alll '
SIGNOR LUCCHESI, primo tenore from, the Italian
Opera, ParU. and of Her Majasty * Tlnatre and tlie Royal Italian Opart,
London, h i* the honour to announce that ho i. in Viwu for tbo 1 resent aooaon
Comniunicatloue roataMitbiK' pu'ili.- and private concert, and fini«hiuic Ictaou* In
.loirlng. may 1« addrcaaed to him at Meaera. Cramvr. rksilc, and Co '-,201, llevwit-
etreel.
ONE OF THE FINE8T 0ROAHS IN THE WORLD
TO BE SOLD,
svttahi.k ron a
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL.
Apply to the PublUher. of U10 " Mualenl Worid."
glUtn's JUustratcU Cainlogue
Of Porlmantcana, Deaiatcb B<'X<». Writing ami Droaaliig Caaua, Tra»clhn>r Ba^t
with aqiuru otaaillliT*. ."Old MK' olberartictea for trav.dlii.B:. l>>' po»t for twvatawnpa.
ALLEN'S PATENT SOLID LEATHER POBTMASTEAU. wiib f.tur Con^
inrttnenta
ALLEN'S PATENT DESPATCH BOX. with and without Drtattikg Caac
ALLEN'S PATENT TRAVELLING BAG, wiib K.uare opcuii i.-. Tiita. article*
are the bent oi the kind ret Invented.
J. W. and T. ALLEN, Manufacturer, of Portable Batr*ck-n..j
Military OutfilUra (aco H>|ntrat<i Catalorfito). 1k and 22, Stroud.
LADIES sliould visit this Wholesale and ReUil STAY,
BODICE, and PETTICOAT WAREHOUSE fr.r Cheap Fa«M, •ual.lo Good*.
a. d. .. d.
HolMoclnff patent froot raat. niug elaetic ttay* and bodice, 4 II to lo I
Family and nurunKatay*. wlf adjuaun^ ■ 0 .. 21 9
Pari, wove ataya, all aitee , A 11 ,. 11 0
For liall an I court dreasea, l ubes abould |>urcbiiao their Jn|<ina at William
Carter'., 22, Ludvato^treet. where every new atyle can bo oblalunl.
LADIES' VIGORNIA CRINOLINE, WATCH-
SPB1NO JTJPON. MUSLIN AND STEEL PETTICOAT WABEUOUSE
a. d. *. d.
Pariaian Eugtlniii hoop .keleion akirta 4 C to is 0
FiuU aiic Vigornia c rim line petticoate 7 * „ SI $
Fiench watchaprb g roi .lln jnjuna « » „ 10 «
Addrr*.. WILLIAM CARTER. 22 Lii.l(r.te-.treel, two door, from St. Paul'., E C.
Eu£r»Tin*p» of the al<ovc rive.
THE B0SI0,
THE MOST DISTINGUE OPERA CLOAK OF THE SEASON.
The form of this elcvrant OPERA CLOAK i* |:«cul>or!y recherche and
becoming ; it fall, round the flffure in graecful, coey fulneae, and, thmn/b an.ple lu
alae. hoa an air of lightucaa ; tbc hood la formed of a acorf bi caahnirr>> or lacc-
faateticd by a tie, aod ai> arran^td that It can t>c laom without cru.bing tlie 1 ead-
dreaaor injury totbelio.al.aiid la cjuiU' ftco rroiii tlie oldoci Inn Pi which tiieaeappen.
dago* are liable, vix_. that ol giving undue height to tlie abotildei. of Ibe MMK
THIS BEAUTIFUL OPERA CLOAK,
UK.IC.NKX> H
FARMER AND ROGERS
Can bo purchased only ut their
OREAT SHAWL AND CLOAK EMPORIUM
171, 173, and 175, Begent-etreot,
THE LONDON SEASON.
Tho exuberance of the f.nHnpa amid acenc. of taioty, Inriiicca tbc fair and
youthful to .hinc to a lvantngc un<!or tlie giaie of mauv frienda. atid, th.-re-fore. to
devote lucrcoaed atteidlou to the .!utW* 0) Die T. iWt, it la m tbcae evcuaionalhat
HOWi, A IV.. PERSONAI. REQUISITES
■biro pre-eminent in their op-eration* uposi the Hair, the Skill, an 1 tho Tca-th.
ROWLAND'S MACASSAR OIL "
1* a dcliglitf .lly fracmnl ai*l Iranaparenl prepimitioo r«r the Hair, and a. an
linlirorat r and bcautificr l*yund all preccloot.
ROWLAND'S XALYDOR,
for tbc Skin and Complcxbii, is i]'.ic*piatle.| for it* rare and IncatiTrinblc rpkalitica
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ROWLAND'S ODONTO,
or Pearl Dentifrice, for prvaerving and boautifying tbe Teeth, linparting to them
a fwori-liko wliltcn*"». etreiiKllicnlcg tbo tP'im., an l ftT rendering tho Bmlb
■wict and piuo.
by A. TIOWLAND and SONS, 30, Hatton Garden, 1
and by Chemist* and Perfumers
•." BEWABE OF SPCBI008 IMITATIONS.
Digitized by Google
Juke 5, 1858.]
THE MUSICAL WORLD.
355
Marc
REVIEWS.
1 Mabel," Mazurka ;
Mooxbsam," Bomance;
is Mil it aire," for the pianoforte, by Caarlei
" Silver Sprat
and "Graxdb
MoKorkol).
The " Maxche Militaire," which has the peculiarity of begin-
ning on the 6-5-4, is a short ami effective moiftau, with a rliythin
so strongly marked, and a melody so military in its character, as
entirely to bear out its title. Though short, it is by no means
trilling, and, while carefully written, requires, in an equal mea-
sure, care on the part of the executant, who otherwise is likely to
" come to grief," especially in the octane passages, which demand
a supple wrist and vigorous attack. The episode, or second sub-
ject, iu F (the " Marche" is in C) is extremely effective, and con-
vell with the principal. The pedal "point on the tonic,
end of the first
i by a
dotted
of
which follows the passages of triplets at the e
theme, is striking; and the whole is brought to a
f the origfnal^koy,
Spray" is much easier, and will probably find a
unber of players, although the first part in
vivace — exacts l»oth Hi
finger. The spisode, in the sabdomix
is both intrinsically graceful and a happy relief to what precedes
and follows it.
The " Moonbeam,'' in D, 6-8 measure, is perhaps the most
elf-pant of the four pieces, flere and there occurs a point both
of melody and harmony which shows that Mr. McKorkell,
without being a plagiarist, is at least an admirer of the pianoforte
music of Carl Maria von Weber, for which the lovers of real
art will by no means be likely to owe him a grudge. The
episode in B major, beginning at the foot of page 4, is both
melodious and well harmonised.
" Mabel" is a sprightly mazurka, which, with less pretensions
than any of its companion pieces, is quite as successful in attain-
ing tho point at which it aims.
" Tn an LliDEa onus Worts," for the pianoforte, by Charles Hargitt
Mr. Hargitt is evidently clever, evidently an enthusiast,
evidently a worshipper of Mendelssohn, and evidently an
admirer of Sterndalo Bennett. We want no further proof of
the above than the three little sketches before us, which bear
the strong and indelible imprint of having proceeded from an
ardent and inexperienced disciple, if not from an aspiring
tchulerinn, of one or both those eminent masters. Of the quali-
ties enumerated in the former of the above paragraphs, the first
(cleverness) is desirable and not dangerous ; the second (enthu-
siasm) desirable, but dangerous ; the third and fourth natural,
and even to one possessed of the first and second, almost
inevitable in the present time, but very dangerous. Mr. Hargitt
should for a period shut up his book of Mendelssohn, lock np
his volnme of Bennett, and study with great assiduity Bach and
Handel, Mozart and Clementi, Hummel and the art of com-
position. A year and a day thus devoted— like the interval of
restraint from bearing arras, imposed upon the vanquished
knights-errant, in the days of chivalry— would leave Mr. Hargitt
a more vigorous and self-supporting man, and the next three
sketches he sent us for review would, if not more interning,
be at least more his own, and bear some other title than "Lieder
ohne Worte," which, by the middle of the year, 1R5A, will have
become a little worn.
"' To-mobrow." Words by B. Scott Gowenlock. Mnm- by
Charlra J. Hnrsitt.
Mutalu mutanJit — the composer of " To-morrow" may read
with some advantage the advice given in a preceding notice to
tho composer of " Three Lieder ohne Worte" for the pianoforte —
which latter, by-the-way, instead of being dedicated to "his
master," Charles Hall6, should have been dedicated to his
"model," Bterndalc Bennett.
"Twkstt Ihtbrixdks," for tho Organ or Seraphinc.— " Twxltb
Sonatixas," for the Pianoforte, with an accompaniment for the
Flute or Violin.— "Srx. lira* Toss, two Charts, AJfn a
Doxology," for Four Voices.
The first series of pieces consists, as tho title-page ve:
records, of "Twenty Interludes," which we have n
would suit the organ and seraphine equally well.
doub
series is described, with less exactitude, as " Twelve
e we ha<
ve always been led to
sigblS a diminutive sonata ;
us bear the same
We say with less exactitude, i
understand that the word i
but as these sonatinas by no meansbcar the same relation in
form and development to souatas proper that even a Lilliputian
may be supjrosed to bear to a Brobdignag, we cannot help
thinking that the name "sonatina" is usurped. Nevertheless,
in revenge, "Sonatina" No. 7 is in the key of six sharps
major; while "Sonatina" No. 8 is not only in the key of seven
sharps major, but contains a canon on the nether octave, which
is pursued with great determination for four bars, and then
abandoned with equal firmness. As an extenuation to the
eager contrapuntist, we are ready to admit that, supposing a
canon is intended ad perptttuim, tha further yon get on
"with it" the more difficult it becomes.
The six hymn tunes, two chants, and doxology for four voices,
with an accompaniment for organ or pianoforte, consist of six
hymn tunes, two chants and doxology for four voices, with an
accompaniment for organ or pianoforte.
"Tib Bbt> Kiko's Stokb." Written by Mrs. Richard Valentine.
Music by Charles McKorkell.
The words of this song arc apparently founded on a legend, or
if not, they embody a very vigorous imitation of those early English
metrical ballads which have legends for their themes. The " Bed
King's Stone" is a memento of the death of an irreligious warrior
king, who despising the church bell and the monk's warning, will
hunt the red deer on a Sunday. The Bed King is killed in the
hunt, and a stone lies in the forest to commemorate it. This
little story is embodied by Mrs. Valentino in forcible and strongly
rhythmed metre, and has been set to music in a kindred spirit,
by Mr. McKorkell, whose bold and well-harmonised melody is
equally suited to a bass or contralto voice.
NEW PHILHARMONIC CONCERTS.
Thb fourth concert, and last bnt one, was less like a Phil-
harmonic concert, old or new, than any of its predecessors.
Instead of one symphony we had none. In revenge, however,
there was the ottct for wind instruments, capitally performed
by Messrs. Barret and Crozier (oboes), Lizarus and Maycoek
(clarionets), Hausser and Anderson (bassoons), C. Harper and
Standen (horns)— ono of Mozart's least elaborate but most
genuine compositions. The programme informs us of a woll-
known fact, namely, that the ottct was afterwards arranged as
a quintet for strings. It also reveals a fact, by no means so
well known, and the authenticity of which we are even disposed
to doubt— viz., that in its original form it has been rarely
heard in England. We believe, on tho contrary, that few of
Mozart's instrumental works are better known in this country
than the ottet in question, whether in its first shape, or in that
of a stringed quintet, or in that of a pianoforte
programme further tells us that "The finale called an allegro
might moro properly be named an air with variations." That
it is nn air with variations there can be no doubt, but why an
air with variations should not bo marked allegro we leave it
to the editor of the Now Philharmonic programmes to decide.
The first part of tho concert was wholly engrossed by Mozart ;
and a nobler specimen of his dramatic orchestral preludes could
hardly havo been presented than the overture to Llomeneo, which
was executed by the band (diminished by soiuo 30 1) under Dr.
Wylde, with point and vigour. The first part terminated as
strangely as it began auspiciously. The fiuest of all Mozart's
pianoforte coucertos, and one of the finest over composed, was
allotted to Herr ltubeusteiu, who executed the solo part in such
a manner as to surprise the initiated and to bewilder the
laity. Herr Rubinstein attacked the concerto much in tho
same manner, "mutatit mutandis," as the furious Peliasier,
in the Crimean war, may have rushed with his hosts upon
that devoted Malakoff of which he is now the titular Duke.
Tho Concerto of Mozart was the Malakoff of Marshal Bu-
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o
356
THE MUSICAL WORLD.
[June 5, 1858.
bimsteiu, ami his furious IiohU were his tin Augers — teu
" divisions'' as irresistible in their strength as in their impetuosity.
Hcrr Rubinstein rushed at the concerto, and "took" it even
quicker than tho French general took the Muscovite strong-
hold. Possibly Hcrr Rubinstein, being Russian born, and con-
sidering the task he liad in hand was that of overwhelming a
foe, rather than of caressing n friend, was determined to profit
by the example of tho Crimean campaign. Comparing the very
opposite results that ensued from the stealthy approach, the
deliberate groping, of his compatriots, up the sides of Inkcrinan
Hill, with the fierce charge or the Gallic " Coq " at the Malakoff
tower, ho perha|» determined to adopt tho tactics of his country's
enemies instead of thoseof her gallant defenders. Thus he besieged
and "carried" Moitart's concerto iu 11 minor, to the evident amaze-
ment of Field Martha! Wylde and Brigadier-General Willy,
who were about manoeuvring, with military regularity, but at a
snail's pace, the orchestral army which, " A leur i'iuu," Herr
Rubinstein led to tho assault. In tho course of capturing the
concerto, moreover, Herr Rubinstein, doubtless to perplex and
deceive the enemy, let off a scries of fierce cauonades in the
form of " cadenzas," which were wholly irrelevant, both to the
concerto and the capture thereof. Had Mozart been alive to
hear these "cadenzas" he would n'imporU. At the
end of the concerto, thus bombarded and sacked, the con-
queror, flushed with victory and intoxicated with the success
of his arms, was born in triumph on the shoulders of Dr. Wylde's
very (un) classical patrons (already stimulated by the inebriating
strains of tho Danse det Sutphes), and hailed " Duke"-
of
music
Jiaehek
sung by
of which
Sulpha),
Malakoff, but of "Thunder/
Tho rest of the first jiart consisted of vo<
Miss Louisa Pyne, Miss Messent, and Herr
wo have not breath enough left to speak.
In the second part there were some more vocal pieces,
by tho first and last named singers, among which may bo men-
tioned especially a melodious and expressive air, " For spirits
when they please," from Dr. Wylde's Parodies Lott, given with
the utmost feeling and correctness by Miss Louisa Pyne. There
was also a very long and very drenry violoncello concertino by
Kummer, the prolixity of which even the admirable execu-
tion, fine quality of tone, and thoroughly legitimate style,
of Mr. Horatio Chipp could not conceal. Moreover, Hen-
Rubinstein appeared a second time, and performed a prelude
and fugue ot his own composition, the chief object of which
appeared to us to prove that John Sebastian Bach's idea of fugut
was much more usvere (and much more musical) than that of
Herr liubinstein.
This decidedly original, but scarcely more than semi - in teres ting,
concert terminated with Beethoven's overture to PrometheuM,
to listen to which, after the prelude and fugue just mentioned,
was like issuiug forth into the open air and beholding tho
sun in the heavens after a week's detention iu the black hole of
Calcutta.
CRYSTAL PALACE CONCERTS.
Coxtraut to general ex|>cctation, another series of vocal and
instrumental concerts by the company of tho Royal Italian
Opera was announced to take place in tho Crystal Palace, and
to the great satisfaction of a vast number of persons the first
was actually given on Friday, the 28th ult. TTbcre was not so
gnat a crowd as might have been expected ; and this we attri-
bute to the arrangements for the performances being much less
favournbly adapted to the effect of music than were those of
Mr. (!ye last year, and still more remarkably the year previous.
Tho concert began with the overture to Fidelio (in E), ad-
mirably played by tho band. Then the mellow barytone of Sig.
Graziani was heard in "Bella siccome/'froin DonPasquale. ToSig.
Graziani succeeded Mdlle. Marai and Mad. Nantier Didie'e, with
the duet, " Quis est homo," the weakest number in Rossini's
Stahat Mater. The trio "Ti parli 1 'amove," for Rodrigo, Elmiro,
anil Desdemona, from the same master's Otcllo was afterwards
sung by Mad. (irisi, M. Tagliafico and Sig. Mario; but oven
these practised artists were unable to mako it effective in such
a place as the ," central transept." Pearsall's madrigal, "Who
shall win my lady fair 1" which ensued, is not ouc of his best.
But who could put good music to such silly words 1
"Who ahull win my lady fair,
When tlic leavea are green /
Who b«t I should tci» n<y laity fitii".
When the leaeti are qreen >
Say who? .Not you. Wlij to ? Xo.no,
The bravest man, that beat love can,
Shall wiu my lady fair.
Dandirty, daudirly, dandirly, Dan,
Ho »hsll marry her, lie's the man ;
ITe ihall marry my lady fair,
When the leave* are green.''
The old English lyric poetry offers but few instances of such
feeble trash as this. " Dandirly Dan," by the way, was some-
what " gingerly" sung by the chorus. Of " Bella udorata,"
from Mereadante's much-neglected Oiuramcnto, the eternal
" Tacca la uottc," from 11 Trovatore (by Mad. Grisi), and tho
oft-repeated "Blessing of the Swords" from the I I vqxienott (solos
by Signors Rossi, Pieriui, Snaythson, Soldi, and Polonini) we
have not a word to say that would not be denounced as flat,
■tale, and unprofitable. By the way, Sig. Soldi's voice, in tho
last named concerted inoreeau, pierced from one end of the
transept to the other, and could be heard distinctly (like Clara
Novello's B flat), by all but deaf persons, at the further extremity
of the gardens, close to the mammoths and pacJiydcrmati.
The second part opened chivalrously with Welx r's ovcrturo to
Oberon, famously played by the band. Then came the fascinat-
ing Mario, with bis favorite " Angiol d'amore," which, sung to
the highest degree of perfection, carried all before it, and was
repeated at the urgent and unanimous desire of tho audience.
Madame Didiee, with her favorite " Nobil Signor" (which she
sings so often tliat, " d maitUes reprises," we feel inclined to
ejaculate "No — no no no no no no" — which is simply the name
of the other song of Urbano in the Hwjuenots), was received
with infinite favour, and had the singer felt inclined the audience
would have been nothing loth to hear it again. The "trio of
masks" from Don Giovanni (Madame Orisi, Mdlle. Marai, ami
Signor Mark)) ; " Ernani involami" — another " eternal" (bore) ,
sung with rcmarkablo spirit by Mdlle. Pa repa; tho duct from
L'klisir dWmore, "Venti scudi" (by Signors Xcri-Baraldi ami
Graziani) ; and the preghitra (one more " eternal") from Mosi in
Egitto, in which all the " principals" were supposed to take part,
concluded this first concert, which cannot be greatly lauded for
whatever
the
its
the novelties contained in
claims to consideration.
Unqualified praise must be awarded to M. Sainton for tho
great ability with which ho undertook the place of Mr. Costa,
as conductor of the orchestra.
Yesterday afternoon there was a grand concert, in which Mad.
Viardot Garcia, Herr Pischek, Madame Sherrington, Hcrr
Reicbardt, and tho Vocal Association took part. A full account
will be given in <
AMATEUR MUSICAL SOCIETY.
Tub last concert of the season was given on Monday evening,
at the Hanover-square Rooms, to a very large aud fashionable
audience. The programme was as follows : —
1'abt la — Symphony, No. 11— Haydn. Song, "Adelaide," Mr. E.
Gordon Clcalhcr — Beethoven. Selection (Lea Huguenot*), solos for
oboe and eornet i piston, Mr. A. Pollock and Mr. II. E. Tathara
—Meyerbeer. Lied, " Griincr Friihlinf Kel<rcin," Mr. K. Gordon
Cleather— H. Ewer.
PlKT II. — Concerto, in G. minor, pianoforte, Angelina — Mendcli-
tohn. Rccit., "Ficr Tcatro di Morte;" aria, " Ritornu allc ritorte
Miai Palmer — Ran del. Overture (Don Giovanni) — Moxart. Song,
"The Three Fisher*," Mi«u Palmer— Hullah. Overture (Ucr Km-
achut *)— Weber.
Conductor, Mr. He: ry Leslie.
The symphony was excellently played, clearly showing that
the music of Haydn is that which is best suited to the amateur
orchestra. The selection was remarkable for the taste dis-
played by Mr. Graham Rrown, Mr. Alfred Pollock, aud Mr. H.
E Tathara in their execution of the several solos allotted to their
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June 5, 1858.]
THE MUSICAL WORLD.
357
respective instrument*. Mr. Pollock, in particular, merits more
than ordinary notice for the great feeling and expression with
which ho played.
The vocalists were Mis* Palmer, and Mr. Gordon Clcalher.
The lady saug Haudcl's song very finely, and was warmly
applauded. She also gave Mr. Hullah's "Thrco Fishers" with
much feeling. Mr. (.'leather possesses a fine natural tenor voice,
which apjH-ars to us to have received rather rough treatment
from its possessor. With a little care, very much might be
made of it, more especially as, in the singing of " Adelaida" and
the lied of Ksser, he displayed musicianship such as many pro
fessional gentlemen we could namo would be glad to have.
The star of the evening was the far-famed pianist, Angelina,
who, in her performance of Meudelssohu's concerto, proved hor
right to be styled something moro than " Queen of Amateurs." It
was, indeed, a very fine reading of the work, showing that mind
as well as fingers had been employed in its study. Moreover,
she was admirably accompanied by the band, who certainly, by
their exceedingly great care and attention, added very much to
the interest of the performance, and paid to the young lady the
greatest compliment that lay in their power.
The overtures went well, though in Der Freitchiitz the
violoncelli deserved a rebuke.
Thua ended the twelfth season of the Amateur Musical Society.
Let us now express our earnest hope, iu offering our sincere
congratulations, that every endeavour will be made by a Society
possessing so much social influence, to improve its |>erformances.
" Advancement" must be the watchword for the coming season.
That can ouly be achieved by great care and constant attendance
at rehearsals.
The annual general meeting of the Society will be held at the
Hauover-siiuaro Rooms, on Monday, July 5th, at five o'clock, at
which members are requested to attend.
Cohcebt of Miss Dolby akd Mr. Lixdsay Sloper.— The
second performance took place on Monday afternoon in Willis's
Rooms. The first piece in the programme was Haydn's trio in
O, for pianoforte, violin, and violoncello (recently revived by
Ilerr Pauer), performed in very effective style by Mr. Sloper,
Mr. Blagrove, and Sig. Piatti. Pnrcell's " Mad Bess " came
next, ana was well declaimed by Miss Dolby. This cantata has
the merit of being quite as long and quite as dull as " Mad
Tom," its companion. The prelude and fugue of Mendelssohn
in K minor, Op. 35, for piano alono, and a presto from the same
composer's Seven Cfiaracterittic Pieces, followed. The first,
though wonderfully clever, is not one of Mendelssohn's most
spontaneous productions ; tho second is just as much more
genial aa it is less elaborate. Both were perfectly executed by
Mr. Sloper. A manuscript song for contralto, with violoncello
obbligato, composed by Sig. Piatti, who accompanied Mia*
Dolby, and the DeuxHint Morftau de. .Salon of M. Vieuxtenips,
for violin, admirably given by Mr. Blagrove, ended the
first pari of tho concert. Tho second part began with one of
Beethoven's Bonatas for pianoforte and violoncello — No. 1, Op.
102— which, performed with irreproachabto excellence by Mr.
Lindsay Sloper and Signor Piatti, was the greatest musical treat
of the morning. These violoncello sonatas— we allude to Op.
102, Op. !> Iwing much more familiar— are too rarely brought for-
ward in public. There was not much applause at the conclusion,
but the unqualified satisfaction of the few connoisseurs present
must have been a sufficient reward to tho two performers.
If not, thoy are at liberty to add the entire approval of the
Matiral World. Me ndelssohn's Fruldiiuidied, though MS. in
" Miss Dolby's album," has long been included in the number of
his printed songs. It was sung with Miss Dolby's accustomed
taste. Tho pianoforte solos of Mr. Sloper — a notturno and an
allegro ic/terutndo entitled "Ariel"— are extremely pretty, and
written with a degree of finish only attainable by thorough
Musicianship. They were of course well played by the com-
poser. A new but not very striking ballad, sung by Miss
Dolby, and a violoncello solo — Tarantella— composed and per-
formed by Signor Piatti, brought the concert to a termination.
The accompanyiit at the pianoforte was Mr. George Russell.
Mr. H. Blaorovk's Quartet Cokcerts.— The fourth and
last of these excellent performance* took place on Tuesday
evening. The concert began with a quartet in C minor of Mr.
J. L. Ellerton (Op. 124), a work of very considerable merit. It
was admirably executed by Messrs. Blagrove, Isaac, R. Blagrove
and Aylward. The other quartet was the magnificent one in E
minor of Beethoven, from the " Rasumowsky set, the perform-
ance of which was such as to confer the very highest distinction
upon Mr. Blagrovo and his colleagues. Two movements from a
concertante duet by Rolla, for violin and viola, though very in-
ferior to similar compositions of Spohr, were played in so finished
a manner by Mr. Isaac (Mr. Blagrove 's favourite pupil) and Mr.
R. Blagrove as to afford unanimous satisfaction. The music of
Bach iB now becoming indispensable at every classical concert ;
and few of his works bettor deserve reviving than his sonatas
for pianoforte and violin. One of these (in A — No. 2 of book
1<») was introduced on the present occasion and played to such
perfection, by Miss Arabella Cloddard and Mr. Blagrove, that
wo would willingly have listened to it again, from one end to
tho other. It was warmly appreciated by the audience. Miss
Goddard also gave Mr. Thalberg's .Vataniello with unsurpassable
taste and brilliancy, but prudently declined to comply with the
demand for its repetition. Some well-selected vocal pieces— as
well sung, too, as selected— were contributed by Miss Mesnent
and Mr. Wilbye Cooper (accompanied by Mr. J. F. Ooodban); and
the concert terminated effectively with an Introduction and Rondo
for the violin, composed and performed by Mr. Blagrove himself.
MR AND MRS. T. G. REED.
Tub new act which Mr. Edmund Yates has contributed to
the " Popular Illustrations " of Mr. and Mrs. T.G.Reed upholds
in its high position one of the most elegant " entertainments
offered to the patronage of the public. Few " entertainers
bring with them such a perfect combination of the quali-
ties requisite for the practice of their art as the lady
whom the world will always continue to call Miss P. Horton.
Versatility in her case does not imply a mere mechanical dex-
terity in passing from one character to another, but a penetra-
tion "into various idiosyncrasies, and an ability to reproduce
them, that can belong alone to an histrionic artist of the
greatest refinement. Her vocal talent is not confined to a
mere facility in the execution of a popular song, in which
tho words an- more important thau the music, but the
choicest moHjcanx from the Italian repertory are introduced
as embellishments, ami the gems are not the less choice,
becauso they are encased in a comic framc-work._ Where people
simply expected to laugh, they sincerely admired. A third
justification is a familiarity with tho usages of the best society.
Mrs. T. Ci. Reed floats gracefully through a " Drawing-room
Entertainment" like one who is accustomed to inhale the at-
mosphere of real drawing-rooms, when the imitation has ceased.
Elegance is tho very purpose of tho " (iallery of Illustration, '
and this purpose has been well consulted by Mr. Edward Yates.
His sccno of action is the saloon devoted to a fashionable ball,
and the personages depicted, much as they vary from each other,
are all in the best taste and best <
•M. Chjahi.kb Hallo's Recitals.— The second took place on
Wednesday afternoon (the 27th ult.) at M. Halle's residence, and
the rooms were just as inconveniently crowded as at the lirst.
The programme was again one of the highest interest, com-
mencing, as before, with nu early sonata of Beethoven — the
second in Op. i, dedicated to Haydn at a time when the young
and vigorous giant was already restive under tho prim conser-
vatism of his master, the greatest of musical lories. This sonata
(in A major) is much too seldom heard. All the move-
ments were finely executed by M. Halle— the tcheno, especially,
being one of the neatest and most sparkling performances we can
call to mind. Not less eminently successful was Bach's very
interesting Partita in t i, which followed. M. Hall6 has Btudied
the works of this great master profoundly, and always intcrprot
him in the right spirit. Haydn's delicious little sonata in E minor
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358
THE MUSICAL WORLD.
[June 5, 1858.
ni a rare treat, and the more welcome siucc it has never before
been publicly given in our time. The great and poetical Op. 109
of Beethoven cannot be played too often. New beauties reveal
themselves at uach now hearing. We entirely coincide with
M. Hall6's conception of the scherzo; but we caunot help thiukiug
that the variations of the andante should be taken a little faster.
This, of course, is deferentially suggested, M. Hall6 being doubt'
leas able to defend his reading on classical grounds. Noa.
11, 14. and IB from M. Stephen Heller's NviU lilnnchet, the
aeoood of Mendelssohn's caprices Op. 33 (dedicated to M. Kliuge-
mann), the nocturne in F minor, and the/Jercew«,of Chopin, were
graceful
The pioc
things in the programme. Mendelssohn's Caprice, a
and exquisite composition, we prefer a little slower.
pieces of Heller and Chopin were rendered to perfection.
— of classical pianoforte music (and classical piano-
ill be pleased to know that M. Hallo has
ies of chamber-concerts in Willis's Rooms,
by Herr Joachim, M, Sainton, and Signor Piatti.
THE NIEDERRHEINISCITES MUSICAL FESTIVAL
AT COLOGNE
(Prom the yeiderrheinitthe Until Ztitutu/.)
Thb 36th Niederrhcinisches Musical Festival was celebrated
with great splendour in Whitsun week, on the 23rd, 24th, and
20th May, under the direction of Feidinand Hitler. The
various works were more imposingly and admirably successful,
on account of the number and excellence of the members of the
orchestra (amounting to GH2 persons) than they
n on any previous occasion, a result in a great
attributable to the place in which the Festival
hold, and which affords a depth and breadth for the
arrangement of the artists, such as is to be met with
nowhere else, besides leaving nothing to be desired in an
acoustical point of view. All present were, moreover, unanimous
in the opinion that it would bo impossible to rind such a chorus
anywhere elso ; in fact, it worked so steadily and with such
magnificent power in Hiller's Saul, Mendelssohn's WalpurgU
Nacht, and, more especially, in the "Credo" from J. S. Bach's
High Mass in B minor, that the entire audience wss seized with
a feeling of delight and astonishment, particularly when the
sopranos took up the themo and soared into the regions of the
two-lined / sharp, g, and a. The choruses, therefore, obtained
the loudest and most protracted applause. The next place is
due to the orchestra, for its magnificent performance of Beetho-
ven's Sinfonia Eroxca, every movement of which was received
with tumultuous applause ; nay, person* were not wanting who
declared that the execution of the symphony was the most per-
fect musical treat of all the three evenings.
The solo singers, Fritulein Krall (soprano), from Dresden;
Friiulein Jenny Meyer (mezxo-soprano), from Berlin; Herr
Schneider (tenor), from Frankfort-on-the-Maine ; nerr Stcpan
(bass), from Mannheim; and Herr Abiger (bass), from the
8tadtthcater, Cologne, were, on the whole, satisfactory, and, in
certain points, very deserving of applause, but in no wise distiu-
Klahed for virtuosity or Kuropean celebrity. Nay, it is not to
denied, that we possess in our immediate neighbourhood
artists, who, for instance, would, in Hitler's .Saul, have sung the
principal parts of Saul and Michael not only quite as well, but
incomparably better, aa they did in the month of December last
year.
Thus this Festival, at which no prominent and great vocal
artist, such as Jenny Lind, Jenny Ney, Roger, Formes, &c.,
shone, proved — by the enthusiasm of the public, which went on
increasing every evening, and, indeed, each succeeding day,
from the commencement to the end of the entertainment, and
the unanimous opinion of the musicians and directors present,
concerning the excellence of the execution— that the artistic per-
formance of the masses is the principal thing at a musical festival,
of the solo si]
and not the great names of the solo singers, for the results do
not always correspond to these names, especially in oratorios.
It is to be hoped that the success of this festival will open the
i of the committees of the Rhenish towna as to the advisability
[ after celebrities.
MR. TRUSTS HARP MATINEES.
Tun last performance of the scries took place on Wednesday,
as before, at Mr. Trust's private residence. The company was
numerous and fashionable. The first pieco in the programme
was Kalkbreuuer's duo for pianoforte and harp, with accompa-
niment for flute, violin, and violoncello. The players were
Miss L. Viola Trust, Mr. Trust, Herr Schmidt, Mr. Webb,
and Master H. T. Trust, The young pianiste, Miss L.
Viola Trust, gave indications of a refined talent, not only
in her performance, in Kalkbrenner'a duo, but in a duet
for two harps she subsequently performed with her father.
We would advise Miss Viola Trust, however, to make a
selection between the two instruments, and lay aside the other
altogether. There is an old saying " Between two stools," &c,
and no one yet, save extraordinarily endowed, ever achieved
renown following two distinct paths. The part of the pianist is
not that of tho harpist.
Parish Alvars' Grand Concerto (dedicated to Moliqne), for
harp, two violins, tenor, violoncello, double basa, flute, and oboe,
was finely executed by Messrs. Trust, Zerbini, Webb, jun.,
Pettit, Severn, Schmidt, and Nicholson. Among other noticeable
points in the performance we may mention Bochsa'a Nocturne
foroboeaud harp, by Messrs. Nicholson and Trust, and Oberthor's
Dno for pianoforte and harp, by Miss Marie Sakmann, and Mr.
Trust A solo on the violoncello, by Signor Piatti, as may be
imagine!, was one of the features of the concert.
The vocal music was not in excess. Mr. Montem Smith sang
Meyerbeer's " Near to thee," with violoncello Miyato by Mr.
Walter Pettit ; Miss Marian Prescott gave Wallace's " Scenes
that aro brightest ;" Miss Emily Gresham introduced the ro-
manzn, "Und ob die Wolke," from Der Freischutz, Mr. Pettit
again playing, and admirably, tho violoncello obligato. The
beautiful song from Weber's opera was charmingly sung, and
produced even a greater effect thaii when sung by the same lady
recently al the .Surrey Music Hall. Tho romanza is welt suited
to Miss' Gresham's clear high voice and very expressive style.
HEttKroRD. — A glance al th. outline of an incomplete programme
has put us in possession of some of the leading arrangements for
the sacred musical performances at our Cathedral in August next.
For the opening performance, on Tuesday morning, the scale of
prices of admission lias been graduated to so low a joint as one
shilling for the aislcs.and half-a-crowu for the western gallery, to
afford a "popular" opportunity of hearing classical sacred mnsic
performed with all the powerful adjuncts of the special occasion.
The service will include the overture to Spohr's Last Judgment ;
the Ikttingen Te Dtum (Handel); Festival "Jubilate"
(Towushend Smith) ; the 42nd Psalm (Mendelssohn) ; and an
Anthem by Sir A. G. Ouseley. — For Wednesday morning the
Elijah of Mendelssohn is selected; and for Thursday, the
work less known, of the same composer, called Athalie, will be
drawn upon, in conjunction with an English version of Rossini's
Stabat Slater, and parts one and two of Haydn's Creation. —
Friday morning's performance will be devoted to tho Jfesn'oA.
— The arrangements of the evening concerts must depend
upon tho engagement* — not yet, we believe, quite completed —
with the vocalists who will have to take part in them.
We have been shown a list of tho namos of twenty-five gentlemen,
of position and influence in this and the neighbouring county
of Salop, who have accepted the office of stewards, for what may
now bo definitely announced as tho forthcoming Musical Festival
The names are as follow : — The Right Hon. Sir O. C. Lewis.
Bart., M.1% the Hon. and Rev. O. Herbert, the Hon. and Rev,
A. Hanbury, Sir Baldwin Leighton, Bart., Sir Wm. Curtis, Bart..
George dive, Esq., M.P., the Venerable Archdeacon Waring,
Rev. John fiopton, John Hungcrford Arkwright, Esq. Wni,
Herrick, Esq. A. R. B. Knight, Esq., Rev. T. King, Rev. 1;
Stanhope. Richard Barton, Esq., Rev. T. Powell, Rev. IT. Blissett.
Rev. O. Ormerod, Rev. .las. Bullock, the Mayor of Hereford,
Thomas Dunne, Esq., Edward Griffiths, Esq., Stephen Allaway,,
Eeuy Bev^Dr. Sier^ Reynold* Peyton, Esq, J. M. Herbert, E*»q.
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June 5, 1856.]
THE MUSICAL WORLD.
359
MUSIC AT MILAN. '
(From our own Correspondent.)
Milan, 29th May, 1858.— Pending tho resumption of my ob-
servation* upon tho theatres of Italy, I send you a few lines on
present and past events.
I have first to notice the great success of tho tenor, Mongini,
in la Sonnambulo, during the short season of the Caunobbiana.
When he sang at the Scala for a few nights, at the end of the
Carnival season, his voice had evidently suffered through his
hasty journey from St. Petersburg during such an inclement
period as the last severe winter. He had also to contend with
the friends of tho rival tenor, Ncgrini. Italians are not only
jealous of foreigners, bat of each other.
I hsro other fleas that bite them."
But Mongini has recovered from his temporary illness, and his
Elvino was enthusiastically applauded from beginning to end ;
his voice and Htyle, it Is said, recalling Bubiui in his best
days.
The English artists hero are also obtaining " ovations," and
they owe it jointly to their talent and indomitable perseverance.
The Italians would crush them if they could. The English
tenor. Swift, is rapidly establishing a high Italian fame. After
creating a furore in Poliuto at Turin, he has been equally suc-
cessful at Rovcrcto, where, on the occasion of a visit from tho
Archduke Ludovich, the theatre was opened with a cartel first-
class comjiany. I hear that Swift is engaged by the impresario
Merelli, to sing leading tenor parts at a series of first-class
theatres during the next six months. Albert Lawrence, an
English baritoue, had courageously resolved to face a Milanese
audience, and was announced for tho part of Filippo in Bellini's
Beatrice di TetttUi, at tho Badegonda Theatre. As ho was
known to possess a magnificent voice, to be a zealous student of
tho Italian school, and quite an enthusiast, his appearance excited
much curiosity. Asa matter of course the "clique" mustered in
great force against him, on the first night occupying nearly the
wholo theatre. The greater the talent he displayed, the more
they seemed determined to run him down ; and so it continued
for several evenings, while the unprejudiced few perceived in
him all the elements to qualify as one of the finest baritone
singers of the day. In fine — Lawrence has gained the victory.
The fair-judging part of the public took up his cause, and ho
has only to " work" at other Italian theatres as Swift has done,
and a like favourable result must follow.
Before I conclude, I must not fail to pay homage to the
" liberals" of the Italian press, whose talent is at all times the
eBpecial object of my admiration. Thank you, gcutlonicu, for
your useful hints, uo doubt meant in tho greatest kindness to
English artists. Thank you for your kind information, that
Albertini, tho English artist, does not sing " Italian" — she sings
"Chinese" — aud that Lawrence, the now (and I venture to add,
successful) English baritone sings "TtirKish." How witty!
Doctor ! doctor ! Doctor Lnmpugnani ! you will be the death
of us ! Oh this "lingua" — this " bella-liugua" — (and beautiful
it undoubtedly is) what a pity, while it seems imperatively a
part, and parcel of tho art of singing, in the opinion of Italians,
it should be so inadequate to teach Italian artists and Italian
critics the difference between fair play and injnstico !
St. James's TnFATRE — (From a Corresponded). — A per-
formance took place at the above establishment on Monday
evening, the 31st ult., when the opera, Guy Mannering, aud the
farce of Oar Clerks were performed by a company of gentlemen
principally oom|>osed of the employis of the Bank of England,
to a crowded and highly fashionable audience. Tho music was
efficiently performed; and we cannot pass over the artistic
• in which Miss Isaacson rendered some of the well-known
airs of the opera. Our Clerks was undoubtedly the feature of
tho ovening, and the reception accorded to tho talented and
well-known amateur, Mr. Charles Wilkinson, was of the most
conlial description, while his acting, and that of Miss Ida Wilton
of a
MISS PAULINA CAHAN.
To the Editor of Ac Musical World.
Sib,— Hating seen my daughter's name in the
concert giten at tin- St. James's Hall, on May 26tb,'i
your pares "A Mo. el Concert," I beg you will in common justice
insert these line*, imtinctly disclaiming all connection with the affair.
Neither myself or daughter had say knowledge of the bet until reading
yotir just " Leader " on tho subject. Deforc concluding, 1 must strongly
protest againit audi proceeding* (and I hare no doubt you will agree
with me) that it i» not only an intuit and annoyance to s yonng lady to
here her name brought before the publie without any content being given,
but s decided imposition on the public, who are very tenacious at to
what they contidcr their rights.^
Alkambra Jlonse, St,
LA PRESSE DE LONDRES.
To the Editor of the Musical World.
91. Warwick-street, Uegeul street.
Tng Editor of La Press* lis Loudres presents hit compliment* to
the Kditor of the Musieal World, anil begt leate to communicate the
particulars about tho Artiatical Club he is going to ettsbliab, to the
readers of tho Musical World. At tho Sanaa tuno, ho begs to decline
the responsibility for the programme of tho concert he gate on the
26th of May last, and the management of which hu entirely entrusted
to Mr. St. Leger.
f About the " Artistical Club" we shall have something to say
next weck.-En. Af.W.]
Lkkdh Musical Festival— (From our Correspondent). — The
arrangements for this great musical event are fast approaching
completion, aud the committee are working most harmoniously
and asmduously for the accomplishment of one end and aim —
that of securing a Musical Festival surpassing, if possible, every-
thing that has taken place hitherto in the West Biding. In
Professor Sterndale Bennett as conductor, Leeds has secured an
accomplished English musician— one whose life and soul will be
freely devoted to the cause ho has undertaken ; aud whose
gentlemanly deportment, coiubinod with rigid principles, renders
him a welcome master wherever he goes. The list of patrons
to tho Festival is full of the nobility, and as a proof
of tho sanguine feeling existing as to the success of the
Festival, I may stale that the guarantee fund already
amounts to near st&flOQ. You will bo aware, ero this, that Her
Majesty has graciously consented to honour Leeds with a visit
at the cud of August. Many persons are of opinion that the
stirring event will detract from the presti'/e of tho Festival which
commences on tho 7th Sept., but tho committee are of adifferent
opinion. They intend, I am given to understand, that the inau-
guration of the Town Hall by the Queen shall form part and
parcel of the Festival. This is an excellent scheme, and likely
to prove successful. A stranger entering Leeds at the present
time cannot lint see that preparations are making for some grand
occurrence. Tradesmen are {minting and decorating their shops
— housekeejiers are refurnishing and cleaning their residence* —
numerous streets are iu process of being nagged and paved — ■
public buildings are being " touched up," and tho names of
streets ore now made plain. Excitement has commenced, and
until the Festival is over, it will gradually increase. At a
general committee-meeting held on Wednesday last, Mr. Fred.
Spark, of Leeds, was appointed secretary.
Mr. li. S. Burtov gave his fifth aud Inst Choral ami Orchestral
Concert on Monday. Amongst the pieces ]>erformed were
Beethoven's symphony in C minor (No. 5), overtures to J/ id-
summer Xight's Dream and Gutllaume Tell, finale to Fidetio, 4c.
The performance, in many instances, was excellent. At the
close of tho concert aliout fifty members of the orchestra
adjourned to the Griffin Hotel, where they presented Mr. Burton
with a handsome time-pieee, as a mark of esteem. Mr. O.
Alderson Smith, amateur bass at the parish church, occupied
tho chair, and in appropriate terms, on behalf of the subscribers,
presented the testimonial.
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360
THE MUSICAL WORLD.
•[June 5, 1858.
HER MAJESTY'S THEATRE— Titiens, Alboni,
OrtuUnl. Flecojotosul ; GlngUoi, Beneveutano, Vinlttti, Aldi^hlwi. and
Dclletti.
Tomorrow. M im1.iv. Jime 7. OK.VND MORNING PERFORMANCE. DON
GIOVANNI; Mil LA'HEINE DISS SONGES, with Madllc Maria Taglloul. The
.! <-r» at One, nud the Open ooai turuceti *t half-paHOnoo'clix-k. Ilexes, from
tUUS, Oil n> 4». : Fit Sta!l», ill. ; Tit an 5 Gilkry Stall*, 5*. ; Galii r>. S« <•!.
Mimunc .lre»« oniy li ntvewary.
Tue*lny, June 8. will bo prvducrJ, for the nrat time. Verdi'* Opera LU19A
MILLER. bvUaillle I'lccoloiDlnl aul Madame Alboui ; tilgnor Gmglini. Yia'otti.
Caatilli. an i n»«evoi.uIM>
Thunday, Juno 10. will La lepentod LUISA MILLER, f.* the BENEFIT of
M At) LLC riCCOLOMlNI Appiicntloui to be made »t the Box-olBoe at the
ROYAL PRINCESS'S THEATRE.
UNDER TI1K MANAGEMENT OK MR CUARLES KK.1N.
N Monday, Wednesday, and Thursday, MUSIC HATH
0
CHARMS. KINO I .EAR and SAMUEL IN SEARCH OF HIMSELF.
Tiicsdav, THE STOCK EXCHANGE: or. The drew nualncu, mi l (tart time)
FAUST AND MARGUERITE, and SAMUEL IN SEARCH OF HIMSELF.
Friday the tiieatre will he cluaed, in coaacque ice of a tiight rthaar*a] of THE
MERCHANT OF VENICE.
Satur.Uv (f.T ih.i BENEFIT ttt MR ami MRS CHARLES KEANX Shakatwroa
Play or THE MERCHANT OP VENICE will b* produced, preceded by SAMUEL
lN SEARCH OF HIMSELF.
ROYAL PRINCESS'S THEATRE— MR AND MRS.
CHARLES KEAN rcaprctfully iur<irm th« Public lb.it tl.«lr ANNUAL
UENEFIT will take place on SATURDAY nML JUNE 12th. upoo which oecMion
Sliak.paro'a Play «' THE MERCHANT OF VENICE will bo produced with tho
name accuracy of detail and hlatnrlcnJ corrcctnoj that hare mark, d tho provi-.iu
rtTtrn's at thla U.aatn). Id conwquoncc of thi« arrangement KINO LEAR will
be repealed THREE NIGHTS more, and ihcu withdrawn, to make room for
•rni: MERCHANT OF VENICE. KING I.KaII. Moi>-lay, Wednesday, and
Tnuraday- Oo Tuoaday neat (U«t time), FAUST AND MARGUERITE.
ROYAL OLYMPIC THEATRE— On Saturday evening
next. Junes, tho performance will commence with tho new comedietta,
A DOUBTFUL VICTORY After which DADDY IIARDACRF. To conclude
with anew farco, entitled TICKLISH TIMES Cwnmeoc* at lialr-paatT.
GREAT NATIONAL STANDARD THEATRE,
SHORKDITCH.— Proprietor. Nr. John 1>hit,u'».
Return of Mr. Phalpa for 8KVK.V SIGHTS, with Mr Hcry Maratou aid Visa
AIM— m. Oil Monday. MACRXTII. MncMli, Mr Pbalpa: Lady Macbeth.
Miaa Alkliuv.n Od Tuaaday. THE MAN OF THE WORLD. Sir Ferti.mi.
Mr Pbelpa. Wodnaaday ai d Saturday, KINU LEAR Kk.g Iaatr. Mr. I'beliw;
Bdirar. Mr. Henry Marctun. On Tlttrslay, THE STRANGER The Strawrrr,
Mr. Phelpa. On Friday. OTHELLO. Olbello. Mr Phclpa ; logo, Mr. Henry
Mruwton; Dcadcmota, Mra H. Homier; Amelia, Mil. Alkluaotl. Concluding
ererj- .Toning with THE BLIND BEGGAR OF RETHNAL CRESS. KoadfHkM
THE MUSICAL WORLD.
LONDON, SATURDAY, June 5th, 1808.
There is an evident and wc believe irunipcrablc antago-
nism between the modern style of pianoforte-playing, incul-
cated by the so-called " virtuosi (who might be more
appropriately denominated "vteiosi"), and that which still
enjoys tho very modest title of " legitimate." The difference
between the two ih so marked that no one can possibly over-
look it. It i« the difference between the Ambigu-Coinique and
the Theatrc-Frane-iis, the Trovatorc ruid Don Giovunni, Mr.
Disraeli and Mr. Thtveketlty, Mr. Hicks and Mr. Mucmtdy.
It is tho difference between tragedy and melodrama,
eommou sense and bombast, jwetry and rhodomontade.
The question, howovcr, is, can the two be reconcile*! I Cau
the professor of the one style either stoop or raise himself to
the level of the other ? Jn one respect we think not. We
are quite sure that Mr. Disraeli is utterly incapable of writ-
ing a book like Tlte Xeuxomex, and that Mr. Hicks could
never have made even a tolerable Hamlet ; but wc are
almost as certain that Mr. Mucready, if inclined to amuse
himself that way, could out-Hicks Hicks; while that
Mr. Thackeray, when in the vein, can beat Mr. Disraeli
on his own ground, is triumphantly shown in his Cod-
t spoke
liru/sby, which we have always regarded as the literary
masterpiece of the present Chancellor of the Exchequer.
The same argument applies to the opposite schools of
pianoforte-playing. The works of the fantiisni-uiougers are
by no means impracticable to the fingers (the mind having
nothing to say in the matter) of a pianist well " up " in tho
compositions of the classical masters. Rut rice verttl docs
not follow, as a matter of course. There have been 1
less proofs to tho contrary.
" Cette wusiqiic naive" — exclaimed M. — — — t,
over a prelude of Mendelssohn's — " cette m
tout, n est pas trap facile. Fichtre !" J
from his heart, and very soon suiting the action to the word,
abandoned tho prelude, together with his intention of
astonishing the English public after the special man-
ner of " virtuosi' generally. He returned to his fantasias,
and commended "cette musique naive" to the prince
of darkness. M. d do r, a very fire-eater
among "virtuori," being invited to a musical party at the
house of a distinguished amateur, since deccasci"
assigned, for his share in tho programme, one of the i
of Du8Mek.# Nevertheless, having laboured hard for more
than a week, he gave it up in despair. " This is not piano-
forte music " (" Celle-ci n'est pas ecrite pour le piano"*) —
ho insisted; and shutting up the book, was speedily
lost in arpeggios, chromatic scales ascending and de-
cending, showers of octaves, and crossings of bonds,
thumbing the while some unhappy opera-tune, which had to
make itself heard amidst all this smothering, smashing, and
belabouring.t " Voila un morceau veritablemcnt ecrit pour
piano !"— said the rt'rtuo«o, after a lust sweep from
extremity of tho key-board to the other, with both
in contrary directions. The " distinguished amateur," how-
ever, was of a different opinion. Ho resided in Queen's-
sqttare, and preferred Bach's pcrruque to M. Liszt's che-
vdttTfX — the head-dress of modern virtuosity, the first
duty of which is to ape tho highly gifted man from the least
healthy part of whoso idiosyncrasy it sprang. The " distin-
guished " amateur would not hear of anything being substi-
tuted for Dussok's sonata ; and Stcrndalo Bennett, or some
other i»n-inriiww, played it at sight.
There are those, however, among the " virtuosi" who are
more capable, if not more willing to play legitimate music
as it should bo played. Somebody asked Horr Castle — a
devoted worshipper of Staudigl the singer — whether Stau-
digl could speak Italian. ''T don't know, exactly" — replied
Herr Castle — " but he could if he would." So tho " -vir-
tuosi," to whom wc are now alluding, " could " if they
"would." But, alas! thoy won't. When they come across
real music they arc puzzled how to handle it. To bestow
any amount of study upon it would be to step from a pedes-
tal of their own imagining tlown to the standing point of
their (presumed) inferiors. At first, it appears so easy, that
they feel inclined to spread out the close harmonies into
vaporous arpeggios, to double the passages in the bass, and to
introduce subjects of their own — one for each thumb —
with an eye (or rather a thumb) to richness and variety.
A genuine "virtuoso" (a "lion" proper) cannot (or will
• Op. 01. Tht Blfffif ua th* cUatU of PHnet Ferdinand.
+ The drawing-room window ira* open. Mr. Thackeray ni moat
likely paasing near the Iioubp. At any rule, not Ions afU-r, wc read Ibo
famous description of "Such a getting iip»tair»," with Tariotion*.
X Let it not bo mppoaed that we include Friar I.iut among the
" virtuosi" proper. Heaven forbid wo should hold him in such light
Digitized by Google
June 5, 1858.]
THE MUSICAL WORLD.
361
not) understand twenty-four liars of pianoforte music in
which the entire key-board has not been once or twice
galloped over. The "jeu serri" — where all the fingers arc con-
stantly employed (as in the fugues of Bach) — is as unwelcome
to them as "terre A litre" dancing to the choregraph whose
vocation is to cut capers half-way between floor ami ceiling.
They cannot (or will not)kcep their fingers quiet To " virtuosi"
repose is nauseous — unless it be the repose indispensable to a
winded acroliat Thus they do injustice to their own executive
powers and to the music set before them— by obtruding the
former and caricaturing the latter.
A remarkable instance in illustration of the point in hand
occurred the other night, when a "virtuoso of the first
water had to do with a concerto of Mozart. We do not
mean Sig. Andreoli, but a " virtuoso" of such water that it
is unnecessary to designate him by name. A "lion" in the
most leonine sense of the term, he treated the concerto of
Mozart just as the monarch of the "forest, hungry and
truculent, is in the habit of treating the unlucky beast that
falls to his prey. He seized it, shook it, worried it, tore it
in pieces, and then devoured it, limb by limb. Long intervals
of roaring diversified his repast. These roarings were
"cadenzas." After having swallowed as much of the
concerto as extended to the point (Torque of the first move-
ment, his appetite being in some measure assuaged, the lion
roared vociferously, and so long, that many adverse to Mr.
Owen Jones's idea of acoustics, admitted that, at all events,
u "lion" could be heard from the "recess" in St. James's Hull.
Having thus roared, our "lion's"' appetite revived, and he ate
up the slow movement as if it had been the wiug of a par-
tridge. (Never did slow movement so suddenly vanish.)
Still ravenous, however, he pounced upon the finale —
which having stripped to tho queue ("coda"), ho re-roared,
as before. The queue was then disposed of, and nothing
left of the concerto.
We remember, many years past, wo used to go to
Exeter, Change, to see the lions fed, watching the movements
of those noble and voracious quadrupeds, and listening to
their roar with rapt attention. All our early impressions
were revived on tho present occasion ; and we made a
solemn vow to attend whenover and wherever tho same "lion"
should be advertised to devour another concerto. (He —
tho same "lion"— is to feed upon Weber's Concertstiick on
Monday, in the Hanover-square Rooms. — Printers Dtril.)
On the other hand this "lion," like Stoudigl the singer,
"could" speak Italian "if ho would" — in other words,
" roar you like any sucking-dove." But it goes against the
grain with him ; and we are sorry for it, since ho is no
ordinary " lion."
As a general rule, it may safely lie assorted that French
poetry is separated from all tho descendants of the Teutonic
stock, whether Germans or English, by a broad moat, which
is not only impassable, but is moreover so repelling in its
aspect, that the Teutons never so much as think of crossing
it When a land is of such a nature that nobody ever
-wants t» invade it, the perfection of safety is attained,
and in a position of comfort analogous to this is — with
one exception — every volume of French poetry, the con-
tents of which are not to bo comprised under the head
"Chanson." Proficiency in tho French language, or even
an enthusiastic love for French novels, no more implies
a knowledge of French poetry, or a desire to acquire such
knowledge, than the mere fact of uttering a line of English
implies a wish to study tho StUurday Ktvicw. At any
party he pleases, any Teuton may bawl out his hatred of
French poetry, and no one will reproach him for his want of
taste. He may, if he likes, add the confession that he never
read two verses of French poetry in his life. No one will
venture to tell him that his assertions are inconsistent with
each other, and that he is unreasonable in hating what he
knows nothing about. The bird that flies away from tho
first cat it has ever seen in its life, is not accused of absurd
prejudice, because it does not wait for tho experience of a
scratch, but is supposed to obey tho dictates of a natural
instinct ; and, in like manner, the Teuton is allowed to stop
his ears at the first twang of the Gallic lyre. When a lite-
rary Englishman learns German, it is chiefly for tho sake of
reading the poets ; the fame of the poets lures us to tho study
of Italian grammar ; if we penetrate into tho mysteries of
Gladwin's " Persian Moonshee " it is because we have
heard of Hafix. But so is it not with tho French
tongue, which everybody learns or hopes to learn, from
every possible motive, save one. One thinks French is
very usefiil for travelling; another adores Balzac and
Georges Sand j a third smirks at tho name of Paul de Kock ;
a fourth essays to make money by converting French vaude-
villes into English farces ; a fifth looks forward to some
future re-opening of the St. James's Theatre by Mr. Mitchell,
and hopes to have a stall ; but as for French poetry, we
should as soon think of French almanacs.
Sensitive as a Yankee in most respects, the Gaul is per-
fectly callous with regard to the non-appreciation of lus
poetry. He knows that it won't be likod on the other side
of the Channel or the frontier ; — that it is tho very reverse
of Port wine, liaving becu composed without thought of a
foreign market. He has oven made a merit of his un.
poetical character. "La France," says Michclet, "est le
pays do la prose," and then he shows us how far superior is
prow to poetry. " La prose est la domiere forme do la
peusco, co qu'il y a de plus eloignd do la vague et
inactive reverie, ce qu'il y a plus pres do Taction. Ijc
passage du symbolisme muet ii la pocsio, de hi pofeie a la
prose, est un progres vers 1'egalite' des lumieres." Ami no
on, and so on — M. Michelet infinitely delighting himself
throughout the course of his observations.
But, nevertheless, apart from the vast multitude of the
versifiers of
Pierre
a similar compliment; because we
a general exception in the case of
of British readers. We don't
whom everybody learns by heart; and we don't mean
Dupont, to whom everybody ought to pay
have already made
chansons." But we
mean Alfonso do lamartinc, whose Meditations Po<!tiquet,
published early in the present century, were read in every
country, und translated into every language,
sort of poetry with which even a Briton could
and when German critics write about him, they say that in
spirit ho is more a Briton than a Frenchman.
Now at this present moment Alfonso de Lamartinc is in
distress, and ]>crsons of the highest distinction are organising
a subscription for him in this country. Our political con-
temporaries point to his deeds amid the storms of 1848, and
the fascinations of his Histoire de* Oirondins, which, petrel-
like, immediately preceded the tempest must still be fresh
in tho minds of many of our readers. But there are other
French politicians — there are other French historians — with
whom Englishmen may sympathise — whereas there is only
one French poet. Fellow-countrymen, don't look with cold
indifference on the only French poet you ever road, or ever will.
Digitized by Google
362
THE MUSICAL WORLD.
[Junb 5, 1858.
" PERFUNCTORY."
" Madame Grisi acquitted hcnelf witli consummate skill in a part
ill which she must hare gamed n thousand triumph*. Every artistic
pose was perfect, every minute undulation of her stall marvellous
execution struck the tympanum of every car in the houtc. In the
• Com' i\ hello,' in the first act, in the 'quai si ti sfuggi un molo,"
in the finale she was the ' Diva,' the great and incomparable Oiulictta
Clrisi ; but we feel compelled to adhere to the opinion we advisedly
expressed on the occasion of the opening night of Corent Garden
Theatre. The voice of thit tchitom great artiste it not tehal it woe.
There are notes in it get beautiful. Madame (irisi's sostenuto it yet
unparalleled but the register of the wire it marred: one can no
longer run orer the keys of that atlonithing gamut, and there ie at
much cant at cruelty in maintaining that thit once deterring lady it
qualified to form part of a troupe for irhom excellence it loudly
otter ted."
[The above, from the Daily Telegraph's notice of Lttcrtzia
Borgia, presents a curious example of what is conventionally
termed " sub-editing." It is reported, we know not with what
truth, that the editor of Household Words used to make altera-
tions in the articles of Mr. O S , in order to accommodate
them to the general tone of the periodical. Compare the
sentences iu the above which are printed in roman type with
those we have ou me I vet italicised, anil something " perf'unctory"
will be detected. The two halves of the paragraph flatly con-
tradict each other. One of them at least should bo iierfricated.
— Ed. M. i) .]
PERFUNCTORY.
" The music of lho?art was sung by Madame Bo*io, with unimpeach-
able grace of expression, and with a brUiiancv and tlui.li peculiarly her
Seise of her cadenzas were examples of bold eocalitaliuu, h«t
I is the upper notes
an increasing tendency in her coice to tremulu
mars the effect of all those
requiring tltadiness if in-
that do not require
sort of lxaasages, friend
[Then, we presume, there
"steadiness of intonation."
Ofaerrvr .'—Ed. M. IF.]
FERFU XCTORY.
"The remark respecting the tremolo in Mndamo Bosio's voice applies
with yet more forco to Sig. llardoni'a. It is in his a radical delect, and
proceeds, as indeed it does in every case, from overtaxing the vocnl
organ, which, under this severe pressure, is made to vibrate excessively.
•The effect is most unpleasing."
(As there is not a " tremolo" on any note in the whole range of
g. Gardoui's voice, wo must consider tho above— also from the
lervcr— as coming under the head " perfunctory." Wo " thank
thee, Jew, for teaching us that word."— En. M. IF.]
IIER MAJESTY'S THEATRE.
Mozart's delightful Som di Figaro was, produced on
Saturday, aud although the execution was very unequal, manv
parts deserved high praise. Our contemporary, tho Morning
Advertiser even goes so far as to declare that "in the whole
performance there was nothing jrcr/utictory."
f3"1' eXvHA that neither Madame Alboni nor Signor
Giugliui was included in it, was as strong as the resources of the
establishment would allow. It might certainly have been made
nioro powerful ; but with t he policy of the management wo have
nothing to do. To begin with the ladies, and first with the least
of them (not least in talent but superficies)— Madlle. Ticcolomini.
Mauy things in her Susanna, in a histrionic sense, ploased us
greatly— although we agree with the Daily W*W that "she is
not the Susanna of Beaumarchais."*
on the other hand, is not the .Susanna of Beauinar-
cbau. The 'camaristc' of tho Coumes* is not an ordinary sDubrette.
Spintuelle, adroite, et ricuse,' as the dramatist dc»cribe» her, she is
the L "unless s friend and confidante. Sprightly and laughter-loving
a* she is, she has elegant manners, and dignity of character ; and her
noble attachment to her mistress make* her, too, an object of serious
intcreat. She belongs to the We eomedie ; and iu the days when
Kiyaro did its part in liastcning the faU of the Bourbon*, the character
if Soaanno was the chef-fa-ncre of Mademoiselle Contat. tho most
mpliahed actress of the age, Bat though the little prima rfosaa of
On the other liaud, some things, in a musical sense, pleased us
almost in an equal degree — although we do not agree with the
Daily Jfew* that " in this opera Madlle. Ficcolomini appears to
great advantage as a singer,' 4
To sum up — with a little more refinement, Madlle. Fiecolomuii,
brief as she is, might fully realise tho ideal of the French
satirist ; and with a great deal more study, if she could never,
owing to certain defects in her physical means, approach the
ideal of Mozart, she might, at least, materially improve on her
present performance. For instance, she might render " Venit©
inghinoechiatcvi" (which a contemporary print* " nigi nocebia-
teir") nearly perfect,if she would try to get the notes completely in
her head, since her acting of the situation is charming. Equally
might she improve "Deh vieni non tardar," if she would refrain
from transposing a certain passage an octave higher, and omit
HUndry changes further on which, although " riareate," are not
ornamental. Also, Madlle. Ficcolomini should make herself
more familiar with the concerted music, and finally ondeavour
to sing " Sub" aria" in the right time, taking the high B flat
with leas hesitation. There is so much else of really good and
really intelligent in her Susanna, that it is worth while labouring
to attain the rest. Madlle. Ortolani is a nice-looking page (that
is if the audienco may be allowed to suppose the page to be of
tho female gender), and displays a certain amount of mn
which might ue made more of. But she must not sing the two
airs of Cherubino ("Voi che aapete" especially — wo doubt if
she ciin givo tho other in the right tempo) so slowly.
Mdlle. Titiens, as the Countess Alma viva, was not very far
off ]>erfectiou, and has it iu her power to reach that goal. Her
" Forgi amor," though a little too slow, was exquisite ; while her
"Dove souo," though a great deal too slow was full of beauties of
a high order. When she i» encored again, however, in the I
which she doubtless will be on every repetition of the open
must either womanfully decline the honour, or manfully repeat
the whole — at least of tho second movement. Proh pudorl —
a German artist, and treat Mozart with so little ceremony !
Wo cannot abide " Sull' aria " in the time of an adagio ; aud
here again is a point for the consideration of Mdlle. Titiens.
Signor Bolletti's Figaro is much better than his Figaro. In
other words, the Figaro of Mozart is tn ore suited to him than the
Figaro of Itosaini. His execution of the music is masterly —
Won piu andrai," the other two airs, concerted music and all.
He has to act less than in tho Oarbiert; and, as he is little of an
actor, the less he nets the better. Wo were more titan satisfied
with his entire performance. Signor Belart siugs BaaUio's air
admirably ; and the subordinate parts of Marcel Una, Barbarina,
Don Cnrzio, Antonio, and Bartolo, are all carefully done by their
resjiective representatives, Millies Ghioni and Sondina, Signors
Mercuriali, Castclli, and Rossi. Signor Rossi, it is true, is be-
neath "La vendetta," but he does his beat to get up to it. Some
of the concerted music went well — some indifferently — some ill.
The first finale (the fiuale of finales) went best of all — which, since
it is the most difficult, shows that still more might be done with
the resources at hand than is always effected at Her Majesty's
Theatre. Sig. Arditi conducted— a fact giving additional sig-
nificance to the following pauegvric, which appeared (somewhat
perfunctorily 1) in the Morning Advertiser;—
" A WCrd of passing compliment to Signor Bonetti, the conductor,
may bo allowed j Ins great gravity not degenerating into dulaees, hi.
unwinking vigilance, his control,' and tho obedience which instantly
follows the movement of his baton, were obvious on Saturday night." "
After the opera, Madlle. Marie Taglioni made her first ap-
]>earance in a ballet divertissement, contrived by M. Massot, and
set to music by M. Nadaud. The title of this piice iToccasion
il La Heine des Songci; and Madlle. Taglioni is the Reine des
Songes. The following account of the plot is recorded by one
contemporary : —
tbollaymarket is not the Susanna of the play (her being little is of
itself in some degree a disqualification), yet she make* the part, in her
own way, exceedingly pleasant, looking very pretty, and acting with
vivacity and archness." — Daily News, May 81.
t "She ha* evidently studied the music of Susanna, as well as that of
Zcrlina, with great care, and sing* it with the purity an
which Motart himself would havo desired.*'— Ibid.
Digitized by Google
Junk 5, 1858.]
THE MUSICAL WORLD.
"The Queen of Dreams has haunted an unhappy knight, named
Feroand, and inspired him with an ideal passion which be i* never
destined to gratify. Being a coquette, her shadowy majesty causes
Fernand to be conveyed to the realm the inhabit;, and after a aeries of
temptations, just as ho imagines himself about to enter on possession,
twits him with his mortality, and insinuates that the perfection he ie«k»
it not to be found on earth but in the skies -,"
and tho following by another :—
« La Stint dtt &»s?«-sueh is its title— lias the advantage of telling
hi story with a degree of clearness not very common with entertain-
ment* of the tame class. The scene on which tho curtain rites it the
realm of dreamt, and the Quean who twayt the visions of tleeping
mortals is discovered with her attendant spirits, the chief of whom are
Fortune, Flaitir, and Let Amours. To these imaginative regiuns, under
the influence of the Queen of Dreams, a number of mortals arc intro-
duced, and each it gratified with the special object of hit detiret. The
miser hat his colfcrs filled with the fascinating metal, the peasant girl
it made happy in the assurance Qf her lover's fidelity, 4c. Finally a
young nobleman, of aspiring imagination and tentitive temperament,
u ushered into the tame region of hope and fancy. He i» possessed
with a passion for tome vague ideal being, and after running the
gauntlet through the varioui beautiet who present themtelves to his
gate, finds his "mistress and hit fancy's queen" in tho Seine dea
Songet herself.''
Tho reader mast reconcile the two. Meanwhile, Madlle
Taglioni was received with great warmth, and danced and
miincd her very best. We liave lotit the talent (if we ever had
it) of describing tho manifestations of the terpsichorean art, and
ar»- therefore tempted to quote the words of a fourth contempo-
rary of the fourtn eatate — more especially since in the entire
paragraph "thoro is nothing perfunctory"— nothing that stands
in need of perfricating : —
" if dllo. Taglioni's appearance on the stage was tho signal for an
outburst of enthusiastic applause. From tho youthful creature, whose
clurrn was almost all due to tho unadorned freshness and naivtli of
girlhood, tho lias grown into the graceful and fully-developed woman
and tho accomplished mistreat of hor art. To an extraordinary degreo
of agility, which gives her an easy mastery over the most arduous feats
of mere strength and dexterity, the unites an amount of graceful olaa-
don which calls to mind her renowned relative, and a peculiar finish and
neatness of execution never deserting her for an instant, and which it
peculiarly her own. Through all the phatet of her elaborate evolution!
in her various pat, whether alone or accompanied by M. Durand, never
for an instant did her limbs asjumo an attitude otherwise than graceful.
Poised in tho arms of her lover, or bounding through the air to alight
on the extromest point of her feet, a photographic instrument might
have seised her image at any moment, and a thoroughly graceful figure
perfectly and artistically balanced would have beeu the result."
Bref— Madlle. Taglioni is as clover as engaging, and as great
a favourite with the audience as ever — and this, notwithstanding
" pToperty"-wroatbs and bouquets from tho pigeon-holes.
On Tuesday the Huguenot* was j;iveu with the Heine det
Songet, for Madlle. Mario Taglioni's second appearance ; and on
Thursday, Lt AVw* di Figaro, with Calitto, for Madlle. Pocchini.
Tho second performance of Mozart's opera would have been a
decided improvement ou the first, but that Sig. Beneventano
was labouring under the effects of a cold, and some of the music
had to be omitted. Encores wore awarded U> Madlle. Ortolani
in"Nonsopiacosa;" to Sig. Bellotti in "Nou piit andrai ;"
and to Madlles. Titien* and Piccolomini in "Sull 'aria," which
aster than on the first night, but still too slow. In
ballet. Madlle. Pocchini created tho moat enthusiastic
tation she baa yet done, i i one of her pat. The moat tumul-
tous applauses assailed her from all parts of tho theatre, and a
repetition of tho dance was inevitable. The second performance
■was received with oven more vociferous cheers than the first,
and the absence of all floral presentations incontestably proved
the legitimacy of Madlle. Pocchini's success.
On Tuesday Verdi's Zuita JIUlar will be presented for the
first time in this country, with the following cast : — Luiaa —
Madlle. Piccolomini; the Duchess — Mad. Alboni; Count de
"Walter— Sig. Beneventano; Kodolpho— Sig. Oiuglini ; and
Miller-Sig. Vialetti.
ROYAL ITALIAN OPERA.
The first night of Luereiia Borgia is always an event at the
Royal Italian Opera. The appearance of Grisi and Mario, as
Lucre** and Gennaro. with Tambunni or Roncont as Duke,
was alone enough to excite public juterest. On Thursday, how-
ever the opera was given without Mario, the jwrt of Gennaro
being assigned to Sig. Neri-Baraldi. If anything could reconcile
us to the loss of Mario in this instance, it would be tho fact that
he is to resume tho part of Conte Almaviva in the Barbiare on
Saturday, his performance of which is one of the most con-
summate' ever witnessed. Grisi, as usual, feeling she had
to do double duty, sang and acted with a magnificence
worthy her best days. In Lucrezia, indeed, we see little
difference between the Griai of 1848 and the Griai of 1858.
The actress is still in the zenith of her powers, while of
the singer— all the force and much of the beauty of the voice
being preserved— more than sufficient remains to render full
justice to Donizetti's music. Of an impersonation so well
known little need be said. It is grand in every sense of the word.
The Gennaro of the evening would have found greater favour,
but for unavoidable reminiscences. Signor Neri-Baraldi has a
very capable voice, sings like an artist, and acta with inMh-
gence. The part of Gennaro, however, is too exacting for his
means, whether vocal or histrionic.
Roneoni made his first appearance this season in Don Alfonso,
and was welcomed with loud and long-continued applause.
Alluding to the character of the Duke of Ferrara, the Dadg
Semi and Daily Tdegraph. have fallen into an error in staling
that Lablache was tho original representative of the part at Her
Majesty's Theatre. Tamburini sustained the character from the
first night of the production of Lucrma Borgia until his seces-
sion, when Lablache assumed it. Tho performance of Tambunni
w:is'in every rc*|>cct far superior to that of Lablache, who was
by no means the " matchless tragedian" that one of our contem-
poraries proclaims him. ltonconi was not in good voice on
Thursday night, while his teudeucy to Bing out of tune at the
commencement of the evening was more apparent than ever.
His masterly acting in the scene in the ducal palace, however, was
quite enough to disarm criticism. As a portrayal of concentrated
passion and cool malignity, this could not probably be surpassed.
Mad. Nantier Didiee is admirablo as Maffeo Orsini, the ouly
objection we can make applying to tho overstrained manner in
which she terminates tho Irindisi. All else is excellent. Good
looks, good singing, ami good acting make up a most agreeable
sura total. The brinditi, notwithstanding the little defect we
have noted, obtained the only encore of tho evening.
The minor characters— Gubetta, Astolfo, Rastighcllo, and
Gazella— wore carefully sustained bySignorsTagliafico, Soldi and
Polonini, and M. Zelger. The set-nary, painted by Messrs. Grievo
and Telbiu (not Mr. Beverley) was beautiful, and the dresses
rich and appropriate.
After tho opera, the balltt divertitscmott, La Bretuicitnt, ori-
ginally produced at the Lyceum Theatre a season ago, introduced
Madlle. Ziua— more properly, Ziua Richard— to the London
public. ThU lady achieved her first great success last autumn
he Grand-Opera of Paris, in Aubor'* Clieral de Bronx, when
she supplied the placo ofMad. Amalia Ferraris, and was at <
admitted by tho distinguished connoisseurs of the Academic
Imperiale into tho first rank of chorcgraphic artists. Madlle.
Zina is a danteute of eminont ability. She appears to belong to
the school of Fanny Cerito, and has much of the bounding
grace and joyaucy of her accomplished predecessor.
Tho initiatory pat of Madlle. Ziua passed off without a hand.
In the second scene, however, tho novelty of her steps and the
beauty of her potet created a decided impression, and woke up
the " Lords of the Creation" from their apathy. The divcrtitte-
ment, La Bretilienne is hardly important enough for a dancer of
high pretensions. We are satisfied, nevertheless, that Madlle.
Ziua is no unworthy successor to Madlle. Cerito, whom, never-
theless, we are just as sorry to lose. There was also another
new dancer, Madlle. Zilia Michelet (also from the Grand-Opera),
of whom we shall have something to say next week.
To-night the Barbiere will be given, with Mi
Mario, Ronconi and TagUanco, and M. Zelger.
Digitized by LaOOQle
364
THE MUSICAL WORLD.
[Junk 5, 1858.
ITALIAN OPERA AT DRURY LANE.
Mb. E T. Smith is alive to the necessity of procuring novelty
for his patrons. Not satisfied with his two first tenors, Messrs.
Charles Braham and O. Perrcn, who did him good service in tho
Trtiriala and Li Soiiitnmbula, he has engaged ft real Italian
tenore rolntito — to use his own words, " from all tho principal
theatres of Italy" — who made his first appearance on
Wednesday as the Duke in Rigolttto. We, who are
accustomed to draw our notions of tho character from
Mario's performance, may labour under some hallucination
as to how the part should bo acted and sung. Certainly
n new light in thrown on tho performance by Sig. N&udtn, who
tikes quite a different view of the music and the acting, and dis-
plays undeniable originality in his conception of both. We
prefer ad vising our roadors to go and hear Mr. E. T. Smith's new
robust tenor, than endeavour to fulfil the task of portraying his
peculiar eccentricities. Signor Naudin, to his Duke in Rigolttto,
added the performance of Kdgardo in Lucia last night. He was
tumultnously received by tho audience.
Mr. Balfe's Benbtit.— A real English audience filled Drury-
lane Theatro on Friday evening, the 28th inst., on tho occasion
of the benefit of Mr. Balfe. The performance consisted of The
Rom of Cattille, and the farce of A Pair of Pigeon*. The opera
was represented with the original cast, and Mr. Balfe conducted.
The entertainment was greatly relished, by the audience.
THE LAST YEARS oFilOBERT SCHUMANN.
(From th* Biography of (t'atieleicthy.)
Tue symptoms of disease which had shown themselves already
in the year I 852, were augmented by additional ones in 1853.
Especially was it the so-called moving of the tables which put
Schumann in real ecstacies, and in tho full sense of the word
moved his senses.* He wrote about it to Ferdinand Hiller,
April 2.0th. 1853:—
u Yesterday, for tho first time, we have been moving tables.
A strange power ! Imagiao : I asked him, how the rhythm was
of the two first measures of the Symphony in C minor (Beet-
hoven's T). He hesitated with the answer longer than usual ;
but at last lie began :
M to f* I II
i J J J I J I
but first a little slowly. But when I told him that the tempo
was quicker, he hastened to beat the right time. I also asked
him whether he could tell me the number of which T thought 1
no said, quite right, ' Three '.' All of us were filled with aston-
ishment." And also, uuder April 29th : " Wo have repeated
our experiments ; nothing but wonders !"
At this time ho suffered also occasionally from delusions of
hearing, by saying that he heard a certain tone, which in reality
nobody but he could hear. One of his acquaintances meeting
him in a public place one night, at Dusseldorff, saw him putting
down the newspaper, exclaiming—" I cannot read any longer ;
T hear continually, A." However, as these symptoms went ofT
again, no particular notice was taken of them.
That Schumann suffered constantly may be seen from a loiter
ho wrote in July, 1853. in which he said; " I have uot got back
my full strength, and have to avoid all greater works of a
fatiguing character." It was for this reason that he could only
partly share tho conducting the musical festival at Duaseldortf,
1853, by leading only the first concert (in which he had once
more a decided triumph with his Symphony in D minor) and
two numbers on tho third day.
The end of the year 1853 brought for Schumann two events
• When I visited him in May, 1853, I found him lying on the sofa>
raiding a book. Asking him what it war, bo answered with cmpha>ii:
" Don't you know shout the spiritual manifestation* ? " " Well, well,"
I said, smilingly. Put then his eyes, usually half closed, became large
and ghastly, and with a mysterious expression, he almost whispered, in
a slow manner .- '* Tne tables know cTcrythimj." When I taw this
fearful seriousness, I acquiesced in his strange opinion. Then hs called
iu his second daughter, and commenced to experiment with Iter, upon
n small table. The whole scene frightened mo very much.— Avthor of
the Biography.
of joy, the last he had in his life. The first refers to bis
acquaintance with Johannes Brahms, whom he introduced in
tho coluius of his former newspaper, jVerwe Zetitcftrift fiir ilutik,
as the musical Messiah of tho coming age ; aud the second waa
his journey with his wife through Holland, which according to
all the statements in the papers, as well as of eye-witnesses, was
like a " triumphal procession."
At tho end of December, Schumann returned from this journey
to Dusaeldorf, 1853, where that fearful event soon happened
which took him for ever away from the world and from art.
With exception of a short excursion to Hanover, Schumann
lived very retired in the months of January end February, 1854,
the last time which he spent with his family. Besides the
inditing of the GetammeUe SJiriften, which he prepared for
publication, he occupied himself with a literary work, which he
called "Garden of Poets." The leading idea was to collect
everything which had been said by the principal nocls of all
ages about music He had contemplated this work in former
years, and for this purpose also collected the sayings of Jean
Paul and Shakspere. He was about to continue the work with
regard to the Bible, and the Greek and LAtin classics, when the
old symptoms of his disease appeared with renewed vehemence,
and rose to such a height as to darken his intellect for ever.
First the old delusions of hearing came back. Schumann
thought a tone waa pursuing him constantly, and which developed
itself by and by into harmonics and entire compositions. At
last ho heard also voices of spirits, which spoko to him some-
times mildly, occasionally in a tone of reproach, and which,
during tho last fortnight of his stay at Dusscldorf, took every
night's rest from him. One night he suddenly left his bed, and
asked for a light, snying that Schubert and Mendelssohn had
sent him a theme, which he had to write down immediately ;
which he did, in spite of all the remonstrances of his wife.
Upon this theme he even composed five variations for piano-
forte, during his last sickness. Then suddenly he wanted to go
to a medical asylum, to be entirely with a doctor; for "I cannot
get cured at home," he said, with full conviction. In such a
moment he ordered a carriage, arranged his papers, his composi-
tions, and made himself ready to leave. He saw quite clearly
what was the matter with him ; and especially when he felt ap-
proaching scenes of excitement, he begged to stay away from them.
His wife tried constantly to draw away his mind from the
phantoms of his imagination ; but as soon as sho succeeded to
do so with one, another made its apjtearance. He also re-
peatedly exclaimed that he was a sinner, and did not deserve
the love of the people. And so it went on until at hut the
anguish of his soul drove him to despair.
It was Febrnary 27th, 1854, when about noon Schumann
received tho visit of his doctor, Mr. Haseuclever, and his brother
artist Albert Dietrich. They sat down together. During the
conversation Schumann left the room without sayiug a word.
They thought he would return ; but when a long time had
elapsed, his wife went to look for him. He could not be found
in the house. The friends hurried into the street to find him—
iu vain. He had quietly, without his hat, gone to the bridge of
the Rhine, and tried, through a plunge into the river, to free
himself from his life of torment. Some boatmen present rowod
after him, and took him out of tho water. They said afterwards,
that Schumann begged them earnestly to let him die, and that
he made a second trial to plunge into the water. His life waa
savad, but what a life ! Passers-by recognised the master, and
took care of his removal to his home. His wife, herself greatly
suffering, waa fortunately prevented from seeing him. A second
medical attendant was called, for his case became so dangerous
that he had to be constantly watched.
Thon at last he was removed near Bonn, to the care of Dr.
Richara, at Knderick. Here he stayed until the latter part of
July, 1856. During this time he received, with the consent of
his doctor, the visits of Bettina, Arnim, Joachim, and Baahnta,
which, however, had to bo avoided at last, because they were
always followed by a state of great excitement, With his wife
he was for some time in correspondence ; she did not see hint
except just before his death, which was about four o'clock iu tne
afternoon of July 29th, 1850.— ATew Tort Jfmcal Review.
Digitized by Google
June 5, 1858.] THE MUSICAL WORLD.
365
RECOLLECTIONS OF CALIFORNIA Jfc AUSTRALIA.
DT A MUSICIAN.
(Continued from fa$t 348.)
Amu a month's heaving and tossing in a hot and greasy
steamer, it quite gave you a feeling of home to wake calmly in
the early morning, without having been tumbled out of your
berth, and to find yourself in a comfortable bed with nice
sheets, your window comfortably curtained, and with lots of
water and clean towels. I did miss my baby's morning kiss, and
the thousand and one little proofs of affection that should so
endear one to home, but still the change was grateful, and I felt
comparatively happy. And so this was California, this quiet
well-ordered hotel, with its civil waiters, and gentlemanlike
host, its nice breakfast-table, with happy-looking wives and
husbands around, its delicious eggs and toast, and tea and coffee,
I could scarcely believe that the scenes of the previous night
could have existed in the same hemisphere with this abode of
calm content ; and the appearance of the streets as we strolled
to church after breakfast, gave us ample evidence that the
beneficent presence of woman was exerting its huiuanimug
influence, for they were filled with well-dressed families
all wending heavenward. The gambling had ceased, and in
place of obscene oaths and drunken laughter was heard the toll
of the church bells, while the extreme quiet was remarkable,
all the streets being paired (to use an Hibemicism) with wood.
We went to the Presbyterian church in Stockton-street, an un-
pretending building of wood, where II and I left our good
Dominie (he being of that persuasion), and we proceeded farther
to Grace Church, the Episcopal establishment then under the
charge of Doctor Ver Mehr and his amiable wife (and be assured
that a clever, active, clergyman's wife is of no small importance
in a young community like this), where we assisted at our
glorious old service. The choir was excellent, and the preacher
unpretending and sensible, while the church (although built of
wood) was extremely beautiful, the beams of the roof being left
unceited and varnished, and the pews well cushioned and
carpeted. Leaving church to rejoin the Dominie, we heard
the sound of a drum and bugle, and presently came across
a cavalcade, headed by a Spanish clown who made idiotic
grins, and imagined himself uncommonly fuuny. This was an
invitation to a bull and bear fight (no allusion to stock broking)
at the Mission Dolores to which we wcut with a friend, being
anxious to sco all that was to be seen. The road to the Mission
was planked, and well filled with carriage* and their gaily
dressed occupants, and tho distance being but about four miles,
and the road abounding in villas and cottages, our transit seemed
rapid, while the effect of tho old Mission snugly sheltered from
the sea broeze by a fine mountain, was very beautiful. A few
minutes brought us in front of the ecclesiastical buildings, and
having an hour to spare we insjiected the old church, which w ith
a few dark rooms for tho residence of the clergyman, a dilapi-
dated court-yard, and the cemetery, are all that are left to this
most deserving and self-sacrificing body of men, owing to the
rapacity of the Mexican Government, and the no less criminal
neglect of their present rulers. I speak with sincere feeling,
and with perfect truth, when I declare that tthe world owes a
deep debt of gratitude to those bold men whose " high emprise"
was peaceably, and at their personal risk, to carry the human-
ising influence of the gospel among the wild tribes of this
unknown coast, and while labouring for their spiritual welfare, to
teach them the arts of civilisation, and from mere earth-grubbers,
feeders upon acorns and grasshoppers, metamorphose them into
practical far triors nnd decent citizens. All this good work is
over, the poor natives are gradually disappearing before the
white man's path, and nothing is left but the picturesque old
church to tell of tho labours of those good men who went forth
without staff or scrip to do their master's bidding. All the
buildings wero of adobes or sun-dried bricks formed of the soil,
well mixed, and laid and cemented hy the same material. The
walls consequently have to be very thick and the roo&to project
considerably, in order to keep tho material quite dry, or otherwise
it would soon all dissolve like a ltimp of sugar. These roofs
of the crooked red tiles, and the beams being
tied together with strips of hide (to prevent the destroying
effect of earthquakes) give a strange and primitive appearance
to the whole. All the other buildings have been appropriated
as drinking shops (one was kept by an English prize-fighter,
named Bill Carpenter) and dirty little Spanish fiendas and
panaderias, while the front of tho church projxr is ornamented
with clumsy mud pillars, with two belfries, in which hung the
blessed bells that years gone by had greeted the cars of the
muleteers in the far off Calabrian mountains. We entered tho
church, and were at once struck with tho wonderfully artistic
beauty that these poor earnest creatures had produced. Tho
whole church was simply a paralellogr&m of about two hundred
feet in length, by sixty in breadth, and tho walls hung with
pictures of saints and odd votive offerings of the worshippers ;
out the roof was exquisite, and Mr. Kuskiu's heart wolud
have leaped with delight to see it. And what made it beautiful (
The evidences of truthfulness, and a feeling of certainty that the
workmen had expended every power of decoration that their
limited means and knowledge permitted ; for the beams of wood
were dressed simply by the hatchet, the joins were made of
bands of hide, and the whole was covered with pigments made
of the different coloured earths at their command, in a kind of
Saracenic ornament of zigzag and geometrical figures But then
there was the great length compared with the breadth, and the
gradual diminishing of the figures, and commingling of the
colours as they approached the grand altar at tho end, which
with its mass of saintly figures, both full statues and alto relievo,
and its profusion of gilding upon coloured marble, made a general
effect that was most beautiful, and far in advance of the apparent
poverty of the materials, and waut of scientific knowledge of
the rules of art of tho builders, Mai* revenotu a not moutont—
no not our muttons, our beeves, or rather our bulls.
That gentleman who has been honestly earning his five
dollars, in an attempt to break in the head of a drum, is becoming
more and more frantic as the time for the (Iran Fnncion ap-
proaches; and we reverently leave the quiet church, and press
through the crowd of blackguards, male and female, to a seat in
the amphitheatre, or bull-ring.
This edifice was composed of three tiers of seats, and capable
of accommodating about three thousand people ; but 1 v.n
happy to observe that, although formerly this Funcion de Toros
was the great attraction of the week, it had so fallen into general
disgrace that the plaoe was not a quart* r full, and of the spec-
tators the majority were" Greasers " (Anglic*, Mexicans). Tho
women were all gaily dressed in flounced muslin dresses, and
their heads were enveloped in a dingy, dark, grayish scarf,
called a " Beboso ;" which said scarf, although not so delicato
as the coquettish lace mantilla, is uied by tho femininos
with great grace and archness. They were all smoking cigarettes,
and, tquatted en their hunkien (as the regular Yankees call tho
position), they waited with exemplary patience the entrance of
the light comedian Senor Toro, whose bellow from his pen hard
by could ever and anon be heard as he was poked up by enthu-
siastic amateurs. The gentleman who did tho " heavy business"
was already (in theatrical parlance) discovered chained by the
leg in the centre of the arena. It was the first time I had ever
seen the real monarch of the Rocky Mountains — tho grizzly bear ;
and a most formidable beast he was, his weight being over eight
hundred pounds. The colour of his skin was well denominated
grizzly, being very thick of fur, and as he swayed his huge oatcass
to and fro, he looked with the most malignant expression upon tho
surrounding people, and when treated now and then with u gentle
refresher in the shape of a bucket of water, resented the prof-
fered kindness in tho most ungrateful manner. IIo had already
killed three fine bulls who had been opposed to his prowess, aid
was evidently waiting with impatience an opportunity for a
fresh meal of beefsteak, which opportunity was soon accorded
A slide in the circle wns lifted, an 1 there bounded into the
a magnificent bull, his bonis enormously long, and
his curly hair between them hanging in ringlets over his large
wicked eyes. Shouts of " Bravo, Toro !" greeted his entrance,
at which he snorted, bellowed, and began a series of saltatory
exercises around the riug ; but approaching nearer to Mr. G.
Bear, who growled a sound that was anything but a wel-
Digitized by Google
THE MUSICAL WORLD.
[Junk 5, 1858.
come, ho towed his bead once in the air, and with the
speed of lightning diirted at his adversary and bnriud his
horn in his breast. Poor Bruin was not quick enough
for his agilo foe, and it waa pitiablo to set- tho
wonnded! wretch take up pawfuls of the wet earth, and try-
to ataunch the blood which streamed in torrents from him. Tha
bull again essayed another cbnrge, not having revived a scratch ;
but as he rushed upon the bear, poor Grizzly, with his cuorwous
strength, broke his chain, and in an instant all was confusion ;
the women shrieked ; the men ran away like monkeys ; revolvers
were pulled out; while Toro was dancing about tho rinu', and
digging up the earth with his bonis, iu a seeming ecstacy of
frantic delight. Poor Bruin had escaped to his den mortally
wounded, aud Mr. Toro was at last secured and wound up like
a ball, by the employment of several lassos; and this wo* really
an interesting sight, as the unerring certainty with which he
waa caught over the horns, by the legs, and gradually enveloped
in a network of twisted or plaited hide, was really pleasant to
witness, after the brutal exhibition of a few minutes previous.
I ant happy to say that this was the lost of tho bull
aud bear fVfit*. Public opinion, that omnipotent personage, had
aet himself against them, aud they died a natural death ; and
this is only one among the many instances I shall take occasion
to notice in the course of these sketches of tho adaptability of
the people for self government. Thrown together, natives of
all climes, all incu of energy, and full of hope, what wonder that
boy-like, released from the school trammels of tho elder world,
they for awhile revelled in a liberty that too often degenerated
into license ? Still it waa but for a-while, for soon the sober second
thought, aided by the arrival of wives and families, metamorphosed
this hordo of unruly gamin* into steady citizens ; aud even in the
wildest times, if subscriptions were wanted for the erection of
schools, hospitals, or churches, the projectors could always depend
upon the most liberal gratuities from the professional gamblers.
Those half demoniac donkeys who in 1H49 danced a frantic
round in honour of an old bonnet, and who put up a lady's
shoe to auction, anil gave the proceeds (about four hundred
dollars) to a hospital, are now to be seen, either at their place
of business, or with their families, as demure as any old buffer
who goes out to his villa at Brixton or some such metropolitan
paradise, to enjoy himself among tulips and ranunculuses.
Pardon this digression, I will try not to offend again. " I am
not often thus jocose," and will oudeavour for tho future to
emulate Dan in the comedy of John Bull, who, when Peregrine
asks him "if ho never deviates," replica, "Noa,but I sometimes
whistles." So — Ph-c-cw— here we are back into the city again.
It is evening, tho church services are closed, and the theatres
are open ; there is never gambling on the Sabbath, and as a
goodly number of the inhabitants patronise the drama, this
night is always quiet and orderly, thanks to the players. Don't
be shocked, my friend, in the sacerdotal garotte ; it's a fact, and
facts are stubborn things.
(To ft* contittHtd.)
St. James's JIall— (CotninunicalcJ). — Herr Rubinstein and
Hcrr Joachim will appear at tho performance of the Vocal
Association, at St. James's Hall, on Wednesday evening next,
June 9. The Vocal Association, of rsoo voices, will also perform
l part-songs, for the first time, composed expressly for the
Ticklino the British Jackass's Ears — (From Punch).— At
the St. James's Hall, last week, waa given a concert, n portion
of which was a song, of nigger character, and the following was
its burden : — " Flip up in do scidimadinck, jubc up in de jubin
iube." It was rapturously applaud. •>!. We only regret our
inability to add that this was not one of tho performances
humanely got up to please the unfortunate patients of lunatic
asylums, and in which eouccrttthe artists are also lunatics.
Ocstav ScnKURMAfis'x New Mcaic Tite. — A patent has been
secured by Mr. Guxtav Scheurmann, of Newgate-street, for
printing music by a process entirely different from the common
mode of printing in typo. Among the advantages affirmed ••• be
gained by the new method, ace a saving of seventy-tive per ce nt
in the expense of composition i
of typo and less expense in its manufacture ; transposition of key's
easy of effecting, with but slight alteration in tho type ; facility
for ornamental music printing ; and greater beauty, clearness
and sharpness in the impressions. There aro also other advan-
tages, too technical for our readers, to which we might point.
Enough to state, that a now method for printing music was
sadly wanted, ana that it has been discovered, and with such
advantages as cannot fail to recommend it to
printer and publisher.
ITS.
FREDERICK DENT,
Chronometer, Watch, and Chick Maker
TO THE QUEEN AND PRINCE CONSORT,
Id fEUkti of the 0rrat Clark for tht ftousrs of
81, Stmnd, &t.d 34 And S»5, Royal
G
REY HAIR RESTORED TO ITS ORIGINAL
V-l COLOtJH.— NcurrUgta, Nottuti* Hwulncli*. Rheumatism, and Hull JomU
cured bv P. M. H&RRIWH PATKNT MAGXBTIC OOMHS, II A1H AND FLESH
HKU3HKJ1 Tho j require no prvfrtj-auon, *rtt aJwaya ruody for um» and cannot
gut out of order. Bn.*h«n, KM. and 1'*. ; Oral-* frucn 2* 6d. to 20a. (irxy hair
mi J b;il !i,um* | rrvi n'od I t P. M. H n PMMl FsWMMUtc Uruah, ia;r. xs. i '
Office*. 34, IfcutnghaU-atroctt london. llhutrmted paniphkiU "Why Hair
become* Grey, aud iu Remedy," gratia, or by float for tour utiimju. Sold by all
clivroUt* and i>erfumora of repute.
SCENES OF HOME. — New Ballad by Balfe. Booscy
*0 and Soiia, flol-na-atnif-t
"VJ ORDM ANN'S PIANOFORTE MUSIC— The Tower
1^1 Hcooo, fiom II luirttn, Ha. Tho Nun'a Prayer, third edition, St. Tl»e
Oho*t Souue, Hxatiil edition, U, II Boko, 3a. Ah, che U morto. St. 6d L»
Cuito. 3«. Inlwllc, 2«. «d. Oroak Pirato'a Cbonia, fourth edition, 2a. Le,
Dmiao ilea Feea. Sa — Booacy »nd Hona' MuetcnJ Library, Hotlee-etreet
MENDELSSOHN'S SONGS WITHOUT WORDS —
The nix booka complete, with profile*, by J. W. Davi«"fl. price 6* cloth.
Tie Verdi album, eonga in Italian and Ki glit.li, ta. Luurrnl'a album of Danes
Mil..', 10 quadrille*, val»e», pnlkaa, tc 6a. All poet-frce. Booacy and Sona,
Hutlee-elreet
BOOSEV AND SONS' POPULAR DANCE MUSIC,
aa ncKuroKxl at o«ry place of public amueemenU— Laurent', Maud Valse
(third edition) ia Laurent a Argyll Galop, 8a Lamotte'* Adelaide Vatoe, 4a.
Lamottc'a Trariata Galop, 2a. Lanreiit'e Rnmonofl Value, 4a. LAurent'a Mar
£Ui-ritc Polka, 3a. Moutivne'e Travtat* Valan. 4a Mclloa's laahella Valee. 4a
D'Albcrt'a Linda Quadrille, 3a. Ouglieliao'n Oalnp KuriouK, te. Laurent'a
Mat of lAiinar • Qamlrtllo, 3*. BalTe'a Saruaade QumlriUc, Is. Ths above are ml I pub-
llttm I li>r fitelic»tr» Mn. 61. eac'i, ami for aeptett, ta. ol. each. Any one, poet (re*.
Bouwy anil B-'Ui' Muncal Library, llollea.«treet.
l^ASY MUSIC FOR CONCERTINA AND PIANO. —
J J 1'-' nnmlirra, i-nce la. each. Popular Becrmtiona. arranged by George data.
(Each cnni«lii« ' ortl paces.) 1, Ricx'lrUu: " L« dorma e mobile, and "Qiiasta
«>!' I'llv" i. II Troratnffe: "II ImUii," and "Abl the la mortu" (TroiduJoor'a
!k»ng) ?, LAicith di Lamiiiennoor: " rYu i-ocoamt,'' aji-I "Tu cho fllo aaxwe^aati."
4, Stnnambula: "A I la loat now," and "Mil to ireiitly." i. Norma: " D«h!
non te." el, 8c|f.tu.i> or the mnat nnpuUr Valaca. by D'Albert 7, rolkai
"l.-RnfanL" by IfAlUrt. 8, Val*v (aui>K by Madame Qaaaicrl V«nr*no. ».
rVeucii Alia: ••I'artaut iw,ur U Syrle.- "Ia llancillaiae," and "ilounr pour U
lairlo." in. Irlab Air- i "Tho Harp that once through Tara'a Halla." "81
Patrick'* Day." and •"The ln»t Roae of oummer - II, Scotch Alra: " Bonnia
Dasatos," "Blue Btl^ of Scotland. " •• Annie UurK" and "Oomin- thru' the
rj^^li AmOTem. A^ra:^M,i>nU,.» •• 0 d Polka ;.l Home." and "Nelly BIy."
EW WORK FOR FLUTE AND PIANO BY
11 S I'llATTEN — In M lo-ml*-™. piioe One Shilling each, R. H. PratUn'*
T.-iiiMim Ujt Flute and PUmo. ContcnU : 1, Boliert, M que )'alme, Ro*«rt le
lliiiMc. 1', (juind je quit tela, ditto, a, Nobll aigmr. llugueneta, 4, No caw
i i:u tl, ilitto. i, Va i*n»lcro, N.»bn««. fl, Ktumii ln»oUml, Eni^nl. I, Tntto e
•prczco. ditto. S, Ia nils letltln, Looibardi. 0, ta dnnna e mobile, Itltfoletto.
lo. E il «,| dell' anlnia, ilitto, II. tjueste o quells, ditto 12. BclU ugiia, ditto.
U, Introdui Uoo and Galop Kigotelto. ditto 14, Miaercre— Ahl obo la morVo.
Troiatore. 15. 11 bakn del n'lo, ditto Id, Kl la ataiiclieaxa, ditt" 17, Herri.
Jenaea amira. Lea Veprea StcilMnnea. IS, Ami. te omur d'H4ieiM, ditto W, Jotu-
d'iereue, ultto. 20, Ubiamo, BrtndtiU, TratlaU. O, PsrM, o oara, ditto. SS, D«
ditbj. a. Ah, fora' * K,k. diUo. S4, Rempre Ubera. ditto. ik>^ey and
Digitized by Google
June 5, 1858.]
THE MUSICAL WORLD.
367
MESSRS. DUNCAN DAVISON & CO.'S PUBLICATIONS.
PIANOFORTE.
" BACHIANA, Select Piece* (Prelude* and Fugue.) from the miscellaneous Pianoforte Work* of Join? SkbaBTTAX BlCTi, not included
in the " Clavier liien temperc," or " 48 Prelude* and Fugues "
No. 1. — KUOA SCHERZANDO in A minor, a* performed in public by Miss Arabella Goddard ... ... ... ... ... 2 0
ELISE, Romance, by E. A. Goittox .. ... ... ... ... ... ... ... ... ,., 2 0
BELLA FIGLIA (Rigolctto) by Jruts Brissac ... ... ... ... ... ... ... ... ... 2 6
" Anions tlie many nUnoforte amui^omrnta of fllgner Verdi'a very popular qu-irtet, w. have not a*en on. mere unprotaaidlnc and at the ume time room
complete thmi Una. The compawr'i idtna are reaneeted, while tbe diaplsy and the cociveuU-uce oX the pUniat are couaoited ; and tbu cult In a piece of moderate
difficulty. attractive in more m'tuM than one/'— j/tta.oi/ tt'nrlit.
Q™NT>0 LE SERE (Lni«a Miller^by Jtrtis Hrjssac 8 0
I Mohiot ... ... ... ,,„ (M ,., ... ... ... 3 0
not muaicnl trifle, we have met with for * loop Umc. M. Moniot cvldcmly |
oaition."— iirerj*. -■ '
\^ I A.11/\r «J1 J L-f Id Itlf \ lJ MIM HA llitl (, l.'l ill L«3 I
A SUMMER'S DAY, Romance, bv EtTSfen Moi
" 'A Summer'a Day ' U one of tho neatest «oil mo
letting, wi Ich ho haa very oleccrly liifuaed into tin.
THREE LIEDER OnNE WORTE, by C. J. Hargitt 3 0
PAULINE. Nocturne, by O. A. Osbohsk ... ... ... ... ... ... ... ... ... .„ 3 0
LA JOYEUSE, Souvenir des Champ* Elyseea, C. McKoBKMJ. 3 0
In the Preit.
PIANO SOLO.
CAPRICE BOHEME. by R. Lmdlev 4 0
SUNSET GLOW, by Ekaxctsl Aotrtuut 3 0
PIANO DUET.
HON FAfQUALE, introducing tho favourite Serenade, " Com' e gentil," by RicauiK) Listsu „
MEYERBEER'S NEW VOCAL COMPOSITIONS.
THE LORD'S PRAYER, for fonr voice, (soprano, alto, tenor, and boss) with EnitlU.li and Latin text, orpin ad lib., in score 3 0
Separate vocal part, to the nl*n, ... ... ... ... ... ... ... ... ... ... each 0 G
•We kM met with few devotional aoce« of Uto ycara » calculated to become wide)/ ,«,«)». Tl.c melody i. .,uit« Hwidelk. and Die harawmtao are
armnuo-l with Hie mat maabsrly ekiU ; while tha ml.Jcct. being one which involve. n» .piotioo ordoclritj.il ur noelurtaii .ItBcrvnee, comine»<U lUelf to all
maausrly ekil .
•who pro Tea* and cull them*?! res Cliriatian".'"— HritM Mmury.
NEAR TO THEE (Ncl>eii Dir), for voice, piano, and violoncello. (Sung bv Herr Reiehardt) ... ... ... ... ... 4 0
HERE, HERE ON THE MOUNTAIN RECLINING (Dc* ScbifiV. Lied), for voice, piano, and clarionet, or harmonium ... 4 0
FAe alajr* two fftftj* are eminently calculated for public concert:
•
THIS HOUSE TO LOVE IS HOLY, Serenade for eight voice. (2 soprano*, 2 contralto., 2 tenors, and 2 bases), without |
in vocal score. (Sung by Mr. Ren, diet's Vocal A«oriatinn nf 300 voices) ... ... ... ... ... ... 3 6
Seiatrate via-al i«irt» to the above •-• ••• •*• m. ... Wl* il v D
" W« hat. rwelv.d an Eatrlla). verafcrn, by John Oxenford. B*i„ of Meyerbeer1., hymeneal grenade, TH» Ifooao to love ii holy.' It I* com,***! ror eifht
voioaa, or. rather, to «l*ht parU. ainc* mwA part may be aimiKtbea-d by any number of v..lco«.
•In onler to atUln c'aameaa. he cmutlltotm hia two choire of difleroit marrrUla— «i* rWr c. uaiata of/oniir votcoa. Brat and aecuod nryrnni, f.rrt and
aeeondldti; tbe oti.er choir oooaiaU of nnlt voii'ca. firat and aeeood telf n. Hr-l and ■mind baaat The fttat Terao ia comineocol by the ma-'o criolr. and la
afUrwarda taken up by the tanide The umc uuxlcau ttit>)«'t la then divldol Into piiraaea of two ur throe hart, aod (fivcu to tbo cboira ultcrnatejy. Thirdly,
h> 'til eholra cotnblne.
"Wliile he Oipw'a ilw Old Maatera in tho caniise of tho volcwa, in the purity of wiltlna, and pruureaajon ot lli« |i»rt«, tio ba« lmp*H»l a rh irm of inoWly
to wb'ch tlioir i«i)titi» and nig'iea novir atUiuod and ha« vlded a rkhueaa of mr»inliKloii which waa unknown to tlwm. We would partlodarly inatanco
froni U flat to A natural (enharmonic for double 11 lUtX m-i back mrain to II flnt. Ttis Engliali worda alas are flttinajiy wedded to
NEW VOCAL MUSIC.
.. d.
" Qnick ariae, Maiden mine," Air Stjrien, by J. DssnArKR ... 2 0
"Lord hear u»" (I)ieu que ma voin), prayer, in F, from "La
Jnivc," by llAXfevTr ... ... ... ... 2 0
" He will bt here" (II vn venir), romance, in C. from "La Jnive,"
" Tile old Willow Tree," liallad, hy S. J. Sr. Lsora 2 0 by Haievt 2 0
" The Troubadour'. Lament," by Lofha Ya«xoij> 2 0 "To-morrow," BalUd, by C. J. Haboitt • 2 6
Fa<p-rita, " I love when the »nn ia «t," by G. A. MaCfaBRKN, compoaed fur and aniiff by La Si|inoni Fumagallt
'* PKRSEVERK," or. Die Omar of lUvelock, oimpntuNl mnl txun^ hy Mr. CUrU?« Rmlmm
' 4 Thon art «o far, «nd yet bo near," composed anil tang l>y Herr Reiehardt ... ... ... ... ... ... ... 3 0
,. i
"The *cry MMtil wce}>, <lear" (Tremiuiur mid Wieikn ereitiijfun)!;),
Sonff, bv Mozart 3 0
" Swwt little Jennv," Ballad, by M. Exd.bMOUK 2 0
1 My Mary" * ditto <btto 2 0
"MART A."
Tbe copyright of the new Italian and French veraion. of M. FlotowV opera of " Marta," performed with the gn-ate«t uici-eaii i t the Italian
Opera, Parish and lo be produced this se»«"ii at the Roval Italian Opera, it vested, under the International C'ipj right Act, in MM. llBANura A!»n
DrroPK, of Paria. M.«rs. D. D«tilM and Co. have tho complete opera in octavo (Italian or French wonla), aa well as the Bernrato vocal piece,
in Italian, on Kile.
IX1NDON:
DUNCAN DAVISON AND CO.,
DfcPOT GfiNfiRAL DE LA MAISON BRANDU3, DE PARIS,
244 lUWENT-STREET, CORNER OF LITTLE ARGYLL-STREET.
Digitized by Google
384
THE MUSICAL WOULD.
[June 12, 1858
V.
R.
vKDia Till! orrrtaauiuiKD rjn.js.uu or
HER MOST GRACIOUS MAJESTY THE QUEEN,
n.B.H. THE PRINCE CONSORT,
AXD iiaxt or TBI;
NOB1UTT, CLERGY. AND DISTINGUISHED FAMILIES OF
PRELIMINARY ANNOUNCEMENT
ir a
NEW MUSICAL INSTITUTION,
Aiiorr to he
ESTABLISHED IN MANCHESTER
BY DR. MARK.
rPHE very flattering reception |5»veiUo Dr. Mark wherever
RAN D Of 111 IX E* M E N |
GREAT NATIONAL ENTERPRISE
Of llllltainwill lo ImiiruTe tiro social condition by Urc cultivation of ■ taite for
music aawiiiir trio
JUVENILE POPULATION OF THE KINGDOM;
The favourable opiui''li ptvuoMiiexel by many i I the hitrbe'st member* of lite
inualord profcaaion, and other competent judge*, on the merit* of his
NEW SYSTEM OF MUSICAL INSTRUCTION;
Also the cordial approval by the (.* tUll<: t^nor-ally of the principles advanced, nud
tlic means i«ronc*>L for crTcctilij? tin' threat objects ho ha* in view, wherever he
baa bird M opportunity rf c-.uneiitiritf his dcsijiu; and the very ifencrally
cxprc^^i do-In- lor ih.- e«\-.bli-h<ncut of Can*eiY*u.lro» of Mmlc on Hie prin-
ciple* adtoraAut by Mm, lk»vc induced rind emboldened Dr. li*rk to opcu a
NEW MUSICAL INSTITUTION
(or the futtber development «r bis plan*.
In ord r tb.it tbi Iuttitution way brnvuln », widoiy available m poasiUe, tho moat
— a iMUructloB. boUi In
aire lUTuurgmenU will bo audi to giro i
PUBLIC AND PRIVATE CLASS,
•Jl. To tbU cud, be
for i
instruction accessible to
propone* to organise a
NATIONAL COLLEGE OF MUSIC,
npartlng to STUDENTS a knowledge of lif-» riystani. and for qonllfylng them
for ti c aiinrrlntendonco of Conservatoire* of Music in any part at tho kliacdoiu.
Intu this dcpartiuMit ho also propose* to admit a limited number or PK1VATK
POARDKRS, wbo wUl icceivu instruction in tho tliecrv arid prrKtice of music,
cvmbiued with a moat careful and sound ENGLISH EDUCATION, founded upon
the hlv-hett Christian principle*.
Another leading and lu.p»ttant failure or the institution will bo tbo
cslabliahtneut of a
MANCHESTER CONSERVATOIRE OF MUSIC,
ix which
TWO HUNDRED MANCHESTER CHILDREN WILL RECEIVE
INSTRUCTION
IN VOCAL AND INSTRUMENTAL MUSIC.
ubacri
In Evening Clnasra. cither on payment ..
of their service-. Uiua gtmi. if nrpiirud
t:i'. attlstauce or vol
a moderate »,
■y Dr Mark . or in free elaaaes, tbiough
luutary contribution*.
In selecting M mcliuiter fir tho lcotioti ol his oilabhshnMiut. Dr. Mark is
liifliuiirod by it« porition and I.y Ihu iinmlvr. intcll-jten/co. and liberal apir.t of it«
Inhabitant*, ari l t'ieir tvaditi*'ri at all times to pn inr to nnd help forward any
effort wbk-n may Un.l to Improve the ra"ral and aocii: c jndltiou of ft* Industrious
citizen*. He has also a 1 vcly rcmcmt.-raiioo of, and deep sense of gratiteide for.
tbo great q»ii> -nra_-etno it and frsnerous lerting evinced, kiotb toward* himself and
hi* "Litti* Men." on hi" sevend viai'.a to Maiwhc*ti-r ; and ins fervent d< sire is,
by iuitiiting hi, pr jceti m that city, t . make hlouclf Uf-eTuI to it* lurejo and
liniiortvi.t comin unity.
For the purpose, or carrjiug ou' Hie ol.je.tl* contc i plated in tbealoveannounoo-
maant. Dr. Mark la now negotintiiirf lor the cnrjii-xincnt of EFFICIENT
ASSISTANTS in tho several .icpirtmei.t- of iho institutlcu. He h*» »!*• tho
i to aiiiKKine* tn*t be Ium mococdod in i.m»UtJC with I
11.0 i«lr|~*w» .rf Hi" esUMurbroeut, a. d lint he Ira.
Icaie tho l;mi»e no r occupied as
THE LONDON HOTEL,
HRIDGESTRKET,
An I tlo.t l,c intcn U o,»- .intf U« in tilulion in October r» \t.
FurtlKT |»rt.cuUia will 1« duly pnbi jl.wl ; if, however. In th.r mennUme,
lutorinatK.ii t» rajurcd. It w,p U prompt y u'v. n. by apiJy.nr: by let-
»B MARK, addre»,<a „. ■„>,» a; tl,c aljovo Uoul ; to w"
any HAiiictvr candidate a who may wls'i lo beeoino
Hi. in.titid.ju
,ny
r lo
aiao in.iy b? rent
or pupils ij
BOOSEY AND SONS'
^ew r»UBLiC-A.Tioisrs;
1.
"LUISA MILLER,"
COMPLETE EDITION FOR PIANOFORTE SOLO,
AMUNQtD BT
RUDOLF NORDMANN,
With description of the pl d and music by DESMOND RTAN*. formiDg tin new
- - of Dooaey and Sou*' •ork* of r
Price 5*., t'n c/o/4.
2.
HARMONIUM MUSEUM,
In ojk rt>/„ cloti (166 }>ojtt), price 7*. 6rf.
THE
One Hundred Favourite Subjects of a i
rstaECTKD FROM TltC WORKA ft THE MOST
CELEBRATED COMPOSERS,
me asujunoeu ran tur bsrhoihusi dt
RUDOLF NORDMANN.
Preceded by a descriptive? noHre of the clutractcr and rapabililica of Ih*
instrument l>y HENRY SMART.
Tho ooniprchoneivo natnro or thi* workfeombiniDir Uio usefulinas of an inetiuc-
tion book with the reaourceo of a mimical library) renders it badUpsnsabl* to every
pcraou who poaae**c* an Harmonlunv
3.
LUISA MILLER QUADRILLE,
LUISA MILLER VALSE,
BY
HENRI LALHRENT.
Pnc« 8*. each /or pianoforte; 3*. 6d. for orekettm and S#. 6rf.
for irpM.
4.
R. S. PRATTEN'S
ONE HUNDRED OPERATIC AIRS FOR
THE FLUTE.
Price 1'. 6r/.
ONE
3.
GEORGE CASE'S
HUNDRED SACRED MELODIES
FOR THE CONCERTINA.
Price U <W.
HOOSEY AND SONS, 28, HOLLES STREBT, OXFORD-STREET.
rubllshe.t bv Joiix Uousbv. t>i Distlebar-bilL. in tbo pa'Uh of Ealing, in the
County of Middlesex, at Hie olBce or lloocirv A Sims, IS, Iloilna-xtreet. Sold
also bv Ucrjj. la. Jolni'Streot, Hrcat Fortland^trect ; Au-Riv. Warwick -
lane; VirKria, U"lyv.cl[.»ticet ; Keith, Pnov.ir, At c_^> , ,s OMn|ieide ;
O. hmiuH*«a>, r>«; Ncwir-atc-sirBiit ; Joait Murrimib. Ner»satc-»tr«l ;
HaRBT M»r. 11. llo.L«n-bar.. Aj,-nit* for SaaUiunl. raTtiuvu-. A "
EdinlurKh and OUagow j for Ireland, U. Drasci-t, Dublin; and aU I
ethers.
PnnUil by Wll.lluM Sri.:
lane, in Hie Parish of
... Jo!I*«jx. •■N*«Niu!1tcamrr*«i.." (0. BL MarlH|•^
St. Martiu.in-U.<: Field*, in the County of Middlesex.—
, June IS, IMS.
uiyuizeo
by Google
'TBM WOBTH Of Ail WfllU MOST I* Ml'SIC, BISCK IT BKQCIBSg 180 MATKltlAI., SO SV IIJ K i • MA TTKK, WHOS« KIFICT MPST
It is whollv roux and powie, and it HAist-a and ennobi.m wiiatev*» it
:— Stamped for Postage, 20s, per anntun— Payable in advance, by Cash or Post
to B008EY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 25.
SATURDAY, JUNE 19, 1858.
» PRICE 4d.
I STAMPED Sd.
AURENT*8 ROYAL QUADRILLE BAND. — New
BIRMINGHAM TRIENNIAL MUSICAL EES
TIVAL. In aid of the Fund, of the OSNERAL HOSPITAL, on the 31s* of
Auiu*. and the l.t, tnd, and 3rd of September ucxL President-Tlte Earl of
DARTMOUTH.
M
Thursday, awl Satunluy a/temoncui at
E^fyptiao-hait, daily, bet wren U and 4, without any extra charge.
R ALBERT SMITH'S MONT
Pompeii, and VoetlTins every night (except Sat r in
"i 3. Ftacee caus be hc
BLANC, Naples,
lay) =.1 8; and Tuesday,
ecured at the Box-office,
M
R. AND MRS. GERMAN REED'S NEW ENTER-
TA1NMRKT — The n*w Serlca of lUuatratlona by Mr. and Mi». Rsed (late
Mi.* V
Bat
ext
CnuTier. Bcale, and C
• P. H»rtoo) will b« repeated eve>y evening (except Saturday) at Eight
urdiir AfteniKMiatTtirM. Admlawnii. la . 2a, and S*. . Stalls ei-curcd without
r» chares at the Royal Gallery of I. lustration. II, Regent-atroct, and al
'a, SOI, Begcnt-srtroet.
MR. CHARLES DICKENS will read, at St Martins
Hall, on Wednesday afternoon, lune J3rd, at Thiee o'clock. the Story
of "LITTLE DOM UEY,J'*od on Thursday Kvenlrnf. June -Nth, at Ki>[ht o clock,
hi* ' CHRISTMAS CAROL"
Hrall. (numbered and roaervodX 5*. ; Area at d Gallcrio*. la. 6i ; Uurc.orve.1
Best*, la. Ticket* to bo bad at Mown. Chapman and HaU'a, publisher*. IV], Plee*-
il-l ; , and at St. Martina Hill, Lootf. acre.
MI8S ARABELLA GODDARD begs to announce a
performance of CLASSICAL PIANOPORTK MUSIC, at Willi*'* Room*,
on Bat 'mix j afternoon, June 36. to commence at Tirve o'clock . Mis* Ooddara
will be assisted by Herr Joseph Joachim and Blgnor Pistil. Among other nice**, the
programme will include : Duaack'a Pianoforte Qu.rtet in E flat ; Schubert's
sonata (planolott* aohia) In A minor; Joachims "Theme Vari/,'* for pUnof.rte
and viola ; J. 8 Becu'a Fantasia con Fng* in C minor ; and Bocthovm'a Grand
Sonata, dedicated tu Kreiucr. to be performed by Mlaa AruUll* Gnddard and
Herr Joachim.
V Poll particular, will be ahortly announced.
MADAME SZARVADY (Wilhelmina Clauss) will have
the honour of giving her THIRD and LAST MATINEE MU8ICALE. on
Friday, JuoeSS, attha
Piattl, violoncello.
and numbered seats, Ida 6<L ; unreserved «c*ta, Ta.
Royal Library, S3. Old Bond street
ftxime, aa*i>ttd by Uerr MnJique, vi.-lin,
neoce at Three o'c/mk precdsol y. Reserved
To tie obtained at Mr Mitchells
and the principal llbraiic* and mu»c-'«ll*r»
M
ASTER C. A. DREW DEAN, aged Ten year*, who
haa had tie honour of perforin log » Solo on the Patent Diatonic Flute, by
fcsccaxna, at Buckingham Palace b.-fom Her Meet Gracious M«>o-ty. the Prlnco
Iier Majesty and Court cxi'roa*.
Cwiaort
lev then
ouncerta.
id the Court circle, wiLh great
«l>ecUI approval, la e.pen to receive engx,emen;a at i
Address, IS, Oompton^treet, Brunam-ickequare, Lundt
irirate or public
:oo.
MISS KEMBLK has the honour to announce that, by the
kind parnuaakm of the Right Hon. the Count* na of El'ceinere, her
MORNING CONCERT will take place in the Gallery of Brldgawater Houae on
Wedueaday, Juihj 30. on which occaaioii ahe will be aaatated by the f A to* It z eml
nentartiata: — Madame VUrdot QarcU. Mr. Santlay, minor Mario fhia oitly ap-
pearance at any concert Una eaaaonk Mr. Chae. Haile% and Uerr Joachim. Ttrketa,
j Mlfnoc
Hi, and Herr Joacl.
to be obtained at' Mr MRcl.ctr* It >;.! Library, 93. OW Bot,d
HERR REICHARDT begs respectfully to announce
that be will (die a MATINEE MUSICALE, under the patronage of
HUH the Ducheaa of Cambridge, the Counteaa AMpoxyt, Count* ae BernatoriT,
ency Baron Brunow. the Ducheaa of Wellington, the Ducheaa of
tin- Marclticneaa of Doanahire. the Countear of Jeney, the Counteaa
and the Bui of WeatmoreUnd.
^^"rXV^'wcal
Ti.ket. to be had at the rcaldenoe of Herr
25
QHRISTYS MINSTRELS, St Jomc«^ Hall.— Monday
which
D •ora
Victuall.
at Half-|W«t Two. On which
il will be | reacut. Ticket*,
of the Ucenaed
[.rogreminea. and particular* at
air. amc' eii* tv yai uorary. », vita BoMi-eveet. and at the Hall dally, from
11 till 4 Stall* au l HaloMiy. 5». ; Arua, S* ; Unre»arr«d SeaU. I*. ; and GalUrke,
One Shilling
'JUTIENS, PICC0L0MINI, AND ALBONI ;
and Bel*rt, Bencvenlanoan l Roeal, vialettl, Aldighiwt. and BclletU ; Herr Plachck,
Rubonflt^tn, Moliqiia, Maurer, Deichooann, UUu roTo, V. Collin*, and Joachim will
all ap|w*r at Mr. lienediet'* Auunal Grand Ccinivrt, at Hor Miijuary** Thaatrr, on
Mouttay morning, June 71. The full Program ma ta now ready. Early application
for the few remaining Boxen and StaUa in reancctfully aoljcitcl. at the wlndpal
Ijhrartea and Mu*ic^Warchou»M ; tlw Boa (ifllce of Her Majeety'i Theatre ; and
MADAME BASSANO AND HERR WILHELM
KUHE. hare the hon. ur to announce that their ORAND ANNUAL
MORNING CONCERT will Uli* plat* at ttto HanoyeT*|uar« Kmjma, on Tlmraday,
June Hth. 18*8, to commence al Two o'clock predaely Vocalist! : Madame Viardot,
Madame Letnm, n» Shcmii«too, Madame Baaaano ; Herr Piachek, M. Jules Lefort,
Mr. Cl arle* Chaple, and Mr. Sim* ll»-ve-< [natrnmcntaltau : Violin, M. Sainton ;
Vwloucelhv Slgnor Piaitl; HuiDMuun., Hcit En^el ; runo^irte, Herr Kube.
Conductor*. MM. Benodtctand V Brrger Numbered Sulla, lu* each; Tickets,
Ilia 6d. .*ch, to l« ha.1 o( M.Mh.mo BaasaRO, 7. Old Vfucfw-atreet. Portmau-
atiuarr, W. ; of Herr Kuhe, 12, Beuliuck-ttreet, Maucbenttr-equara, W. ; and of
all ttie princiiial muaio-aellera.
GERMANY. — DR HEYDEN,
la d< m rot** of r*t»*actnp a few KogHah Ponlta at
EDUCATION IN
Ki :vi. k lor ton tl-'vilala, ia a< niroiL* of rvfMactDs a __
Imart'-r- at Ma o*n tablo. 8o*iud *«tuc*.kiii and libera] in*, rtiotkaa En^lt-h
divine tervico. (Wod rofcrii.o.t from txuetiU Terms aotleralfi Further parti-
JSS^rVt^
V.
tTitDBit rn* patbonaoe or
HER MOST GRACIOUS MAJESTY THE QUEEN,
B an THE PRINCE CONSORT,
THE ROTAL FAMILY.
Vu. Mark. Lo^a nn»«t ren|rtctfully to announce that l-o tu open to aian^ftiLient*
with hia lilgfaly approrod, .otercaitliiK, phailxifc, and .nali^sOUvo
MUSICAL ENTERTAINMENT,
DK. MARK AND HIS LITTLE MEN,
JUVENILE ORCHESTRA.
FVSKD OS
Liltlc Knfrli*b. Inab, and Scotch tKiya. frr>m five to aixtcoo years of age, who play
operatic aelectiona, aoies, dueta, quartet*, quadrfilee, marcliea, and polka* ; and
aing a'tig*. choruses. Ac . in a m<«t eoTective manner, and to whom be give* a
gratiilu-ii* irmeral and muafesj education in order to llluatiate ht* highly approved
ayatcm of tnuelcal educatieti, and with whom he travel* about the country to
excite an tntereat for and help to eetabllah muaicul Institution* called "Coo-
..f Mualc" for little children in erery town, city, sod village of this
e.
All letter* addreaa, please, Free Trade Hall, Manchester.
Mark and hi* Little Men will perform, M n lay, June 31, at C
Mark and hi* Little Mm v.ill nerform. In -day, June L'2. at Sb
Mark and hia Little Men will p> rftjnn, Wedueaday, June '.3. at
Dr. Mark .
I and Si, «t Crewe.
t ChelUnbam.
and hi* Little M.u will porfomi. June 24 i
Di M»ik at..l hi. Llttio Men will i*«.*d. June J«. to Maoeheetor. and prlorin
•o Dr. Mark • Gran I JuUlee, Mood.). Jut» :% T«««day, Jut.,, sv. and Weutiesday,
June 30th.
Digitized by Google
\
THE MUSICAL WORLD.
[June 19, 1838.
TO LET, Exhibition Gallerim of the Society of British
Artiita, 8uff illc «lroct, MIimIH Khzl To b t. early in October. aTcr the
cJom or the Bociety * Exhibition, until tho end of February next, the exteuaive
irallerio. In 8«ift'u'k-»tnKt. Pull-mall Kaat, i-ompriaing five moan, nnd crwirfl
The pr oclpal room 1> 40 feet, by 40 fix, nnl about SO M«t high, »nd
td the best lighted mim in Looocu. either by day or uiffht, Tor cxhlbl-
h Of art, lectuie., or the anna?, of literary, ecioutifie, or musical encietaa)
lot thegnlhrr),!* MVAM^ by « fcfdk'tVt^P Idi^l Iui.U ^ "
room, Ac.
IE '
to Mr.
pRYSTAL PALACE.— ROYAL ITALIAN OPERA
\J CONCKRTS— The Third Concert of the eerie* will ta«c place on Triday next,
June llth. to commence at Three o'clock. These CvuccrU nre supported hy the
following unrivalled artutc* :
KvUme GRISI, Mvdllo. MAHAL
M tdlle. PARKPA, Madame TAOLIAFICO, Madame B0810,
M*daa>c DIDIKF.,
r MARIO, Surnor ROSSL Hitrner SOLDI,
I HAH.U.DI. Slgnor OATtDONL Sutnur TAMT1ERLIK.
rltONCONI. Mnnejeur ZF.U1KU, Blgnor T AO LI \ PICO,
Bignor POLOMNI and Blgnor GrlAZIARI.
OjTuttany.
Door»ni«i at One o'clock. AdmUnioo. T». od. each; OhlMren tinder twelve.
3e. UL; Rcaerved Seat*. St. «d extra. Ticket* fir tbe eerie* (not tr.intfenl.te1,
t . - i-ii. Ti I i Men, Hail ,niiim.a •• »y I. nW«lt.til at '
all ; or at the. Bea-oHlec of the Royal |iali.vu On
One Guinea :
CttiUJ PeWe ( at :
Exeter-h"
rietfton Ticket* may notr be had,
Children trader twelve, Half-a-Guinea,
i-otllce of the Royal lali.au Oprta.
the Sttli April, 1BW, One Guinea:
CRYSTAL PALACE.— TONIC SOL-FA ASSOCIA-
TION.— A prrf.»n>nn« ef V eal Mn*1c. Kaered and Seonlet. by J M>0 children
awl SW adults, ln«(nicte-l in the Toole !«ol-F« m. thod. will be given in the centre
tranwpt of the Crystal Palace, on Wednesday, the Hid of June. The Ouneert of
ibla Aeeotfation last year attracted St.tittO person*.
PROOHAMMK — ■llBnvin.ir, (n lieaUle ua' (t'lioraleX Reclr. llermol.kw ; "Old
Hngland" (Air. " BrKlah Onuwllcr'1, Knglilh Hong ; " Holla ringing" (Air, 'Cdltr
lWrrlmT"i Bctdih Sone;; "ll<»w IxunUlul U|e n the mountain*. R. A. Smith ;
••Mar Mla aud the flower*," Mendeleeohn ; ' Hail ! All ball l" Weber | "God Ik
thanked- (Morning HyronX Ocrebteh : "Our natlre land" ( 'Olorleua Apollo' k
Wetvbej " Mark the merry elvcn. Calk 'It ; "Quail enp," Gertlxch ; " The echo, ''
Kah; ''Hall, ■tolling mom," fltoflotih; "Acddhaug eyne," Scotch Bong; "Tbe
ChrieUan child," Bradbury; ' The May time," Genbaek : "The niartirt" (Air.
" Hcott wb* ha>" \ b*"iiteU Sona; ; "Hail Ju'lea, happy land !" Uanilel ; Vy and
away," Gcr^tawK ; "Wild wnod.Howcra ;" "Tbo«« ereninar btiltv" Iloet; "Plc-nic
ftf," Otte | " A-tdrea* to Prince ol Waltm." Weiah March ; " Kationid Anthem . "
Hit il'.im will open at Ten, and the rwrformaace commcnee at Two. Mlaa
.11 |
KUzabtth Burling \
tlae \xi«afatv will p
A^mlaalou, One
lalnv
i iTat S,
rf mi at luterra
i usual till duak,
ng ; Clilidrcti
The win>l latud '.if
BtaTaVCrtiwn ellns wbli h may be acuiu-nt on aud alter Mt
~ Kjtetcr-haU.
tervod Beat.,
June, at the
By order.
SEOBOE GROVE
crttary.
ONE OF THE FINEST ORGANS IN THE WORLD
TO BE SOLD,
si tTibLt roe a
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL
Apply to ll.o Nbtlahen of the " Jliiaical World."
jailtn's HllustmtrlJ Catalogue
xe.ua. Drajatcli Uixn. WrltiiiK and Urvwing Cnave,
' P IvT Kn\'1B OLID0'!! l^ATII KB ^ 1l^ k'tM A NTlaAlLt^a
Or pi^liuarn
with mm in-
AI.I.KSS
purtmeute.
Al.tBJt'S PATENT DESI'ATCII DO.T. with and
AM*?CS PATENT TRAVELLING DAG,
arv tho b**t M tbe kind y« Invented
J w/aaiT ■
Mi'.iUryt uaflt
Cuave, Ti-a»rflin„' Btge
f .r twoeta>ii|*.
T. ALLEN, Manulacuirer. ol Portable B*
Btuta aeparate CataUiijuo!. H and 12. 1
LATEST PUBLICATIONS
or
SCHOTT AND CO.,
169, REGENT STREET, W.
FLUTE 8OL08 W*T
n»iM 4 jfca 0/Vi»e tor
,>\,uh.L.J>^': .
r.hwoi>r >*wtuA-»\
XlMPA
'La Tra
ilMEXT FOR PIANO
iata." Op. 86 ..
Jt. 31
a d
A 0
4 •
< 0
2 <
Til ACCOMPANIMENT FuR PIANO
.. a .. ..
New ready. In i telk, with Pino Porlrta*, It* ,
MEMOIRS OF RACHEL.
• A book wire to attract public attention, and well meriting IL**-C(oo<.
'A nintt alila and uiteroallnif V«k 1% ran icfc
" The deep liitjcrcet iclt in the life of to tf*»J^(Jd^,^,c>l «*"'"»•
Uur»t ood Ulackttt, PubUihem, U. Groat Muxlborough-atrcct.
Juat Publtaned, Plico 5*.
fTHE PEOPLE IN CHURCH : their rights and duties in
J. coniMKtiiw with the Poetry and Mixta of the Book of Common Prayer, by
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Bdl and Delby. 194, Plret^troct
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'' Mian Arabella God.lard enchiitited t!i» ,au lieo« by her brlllUnt, tattoful, and
fin lebcd elocution of Mr. Vinceot Wallaeo'a pianoforte fautaala on Robin Adair,
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A BVAN8. Inreirtur of the R. sllth Harmonlii»a(oxhlb,l«d In Loudo. la 1M4\
call, attention b> the impruTvuicota he hi. lately tnade In thlt metre meet. The
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freni enilucut profcaiora : —
M V*L«. Kino'. RolK I
Menu IMh, MM,
Dkar Bib,— I hare much, pleawnre In giving low ray opinion upon your
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Yourt rery truly.
To Mr. W. E. Kran*. ALFRED StKLLOH.
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Addrcaa, WILLIAM CART^R^Sl ^iilp^tr^tieet twodooie Iron St. FeuTa, B C.
THE LONDON SEASON.
The cxnheraniw of the fxlln.ra amid mine of gaiety, indoee* the Bur aad
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BEWARK OF BPDniOVS IMITATIONS.
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Jonb 19, 1858.]
THE MUSICAL WORLD.
387
NEW PHILHARMONIC CONCERTS.
The fifth and last concert for the season, on Monday night,
in St James's Hall, fM just as good as it* immediate pre-
decessor was indifferent The director owed reparation to his
subscribers, and it is agreeable to record that they obtained it.
The thirty sheep that strayed from the orchestra on May 31st
— * date for ever to be remembered, as the date of a concert
(a philharmonic— ftstc-phUharmonlc concert) without a symphony
— bad returned to their folds in the "recess," and Sheepherd
Wylde once more held them in hand. But to leave bucolic-
metaphor, the following was the programme : —
J- AM I. j
Overlure'fMedcii), ... ... ... Cherubim. •
Concerto No. 6, pianoforte. Miss Arabella
Goddard ... ... ... ... Dutsek.
Sonata. Ho. 6, viohq, Horr Joaehira
Symphony Eroica
?ABT ii.
Overture (Oberon) ... ... ... Weber.
Hurt, "Scboiitl M.Mcbeo," Madame
and Herr IWchardt
i in V, violin, Herr Joachim . . .
i (Buy Bias)
Conductor— Dr. Wylde.
gloomy, somewhat monotonous, but still very
grand overture to Medea should bo heard oftener. It requires
a certain familiarity to be appreciated, and this can hardly be
obtained if it is only brought forth from the library ouce in five
years. The Eroica has always been a great favourite with the
audiences at the New Philharmonic, and was never enjoyed
more thoroughly than ou the present occasion; nor indeed was
it ever more carefully played under Dr. Wyldc's direction. The
overtures to Oberon and Ruy Blot both went with spirit and
" entrain."
The music of Bach was, perhaps, never so much iu vogue as
now, and the prodigious talent of Herr Joseph Joachim has given
an additional impetus to the influence it is rapidly acquiring
over the public mind— we say over the public mind, since over
the artistic mind it has always reigned supreme. The sonatas for
violin tolut are among tho most extraordinary efforts of Bach's
inventive ingenuity, and Herr Joachim is one of the very few
whose mechanical proficiency is equal to the task of executing
The one he selected on Monday night contains the mag-
t fugue which begins as follows :—
and which is afterwards treated " at riwto " (by inversion) :—
m
r l
A more masterly performance has rarely been heard, or one
more enthusiastically appreciated, notwithstanding the obstacles
in the way of such music being made effective, which arc ine-
vitable to the peculiar construction of the St. James's Hall
orchestra. In the gracaful romance of Beethoven, with orches-
tral accompaniments, Herr Joachim was no less successful.
Dussok's concerto in G minor was a grateful novelty. The
revival of such works as this and others from the same and
contemporary pons (and there are not too many of them) is
moat opportune now that pianists, foreign and native, are, by
their frequent performances, good, bad, aud indifferent of the
concertos of Beethoven snd Mendelssohn, rendering those immor-
tal masterpieces somewhat too common. Miss Arabella Qoddard
has played Keethoveu and Mendelssohn right through, to say
nothing of Mozart ; aud the change was no doubt as agreeable
to herself aa it was refreshing to the audience. Our pianist-
readers must not imagino that the concerto in G minor, because
it is Duasek's, belong to the Mrs. Chinnery style of musie. On
the contrary, it i» vary difficult to execute— which may easily be
seen by reference to a copy (supposing there is a copy to be had).
It is, In ehorta grand concerto, in the strictest acceptation of the
term, and a fine concerto in ths bargain, extremely sffoctive for
ths pianist bat just as solid aa it ia showy. Ths proportions of
ths first allegro are largely developed, while it* style ia alter-
nataly brilliant aud expressive ; the slow movement in £ Bat is
one of its composer's most graceful and mslodious inspirations ;
the finale, a rondo (in O minor, like tha allegro), is one of
the most quaint characteristic, and thoroughly genial examples of
a form of movement in the production of which Dussek excelled
all his contemporaries. Tha performance of the concerto was,
from beginning to ond, what Miss Arabella Goddard has entitled
connoisseurs to expaet from her, in unfamiliar just as much as
in familiar music— perfection ; and this perfection is not ths
unaided result of natural genius for tha instrument but of
natural genius combined with diligent application and well
regulated study. There is never a cars leas poiut ia Miss
Goddard's playing-never anything unfinished or "i
tory." Hence ono of it* abiding charms. The
unanimous satisfaction, and, no doubt will soon be heard I
The solitary vocal piece attorned out of place ; it was, however,
very wall sang by Madame ituderadorff and Herr xUieherdi
Dr. Wylde, in announcing tha resumption of the concerts
next year, adds a note which is worth citing t-i
" llis director trust*, before lour, the remonstrances lis has addressed
to the Hall Company about the construction of the ueuhcslra will ebssS
with attentioa. It cannot be denied that tho dim* or hat bed te
eODtsud with unusual diiBcullies ia ths arreusesanat of ths forces ha
directs, sad ha trusts last every shareholder will »u
exertions to get lb* necseary alterations affected."
Wa trust with Dr. Wylde— but fear ho will encounter
impediments. Mr. Howard Glover's Comala waa unaae
postponed— not, however, wa are glad to say, tine du.*
CRYHTAL PAL A^K^IONOERTO.
Tub second Royal Italian Opera Concert took place yesterday
week. The attraction was greater than at the first concert,
Mad. Bosio's uamo being added ou this occasion, aud Mr. Costa
conducting. Again the programme was made up of operatic
shreds, and comprised no novelty. Nevertheless, as the eldest
pieces appeared to please most, we have nothiug to say. Toe
band ex acute J the overtures to Oberon and La Uozm
Ladra, both splvudidly. The finales war* from Luemia
Borym and 1/W — the eternal " Mi uiauca la voce,"
which, by the way, btands sadly in need of Taxu-
berliks ringing upper tones. The pieces most applauded
were the aria, " ( 'aro nome," from AigoUttO. by Mad. Boiuo
(encored) ; the Sen-node, with chorus, " Com' e gvntil," by Sig.
Mario (encored); the rumauza, " Di I'rovwiza," from La Tra-
viaitt, by Sig. Giaziani (encored): the grand air from Tatiendi,
"Tu die acceuJi," by Mm!. Nanticr DiTice ; and the duet from
ths 1'rv/ita, " Delia Mosa," by Madtle. Maroi aud Mad. Nanticr
Didiue. Tho chorus, in addition to their share iu the two finales,
sang Mendelssohn.'* part-song, * O hills, O vales 1 "
Tl- attendance was, ou the whole, much larger than at the
first concert.
• "ArouKiv.— The Uireolor regrets to aououuco that ho has beau
obliged to withdraw the New Work, entitled Comala, promised for
this evening's performance, iu oomcquencu of the copyut having failed
to complete tho ncccssarr copies. The work will be performed ut an
early (
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388
THE MUSICAL WORLD.
[June 19, 1858.
ST. MARTIN'S HALL.
Mr. Hullah gave an interesting concert of vocal and instru-
mental music, with organ and pianoforte accompaniments, on
Wednesday evening, which we were sorry did not attract a larger
audience. The heat, however, was intense enough to render it
a matter of surprise that there should be any one present. The
concert began with the solemn and pathetic motet in F minor,
" I wrestle and pray." * for two choirs— which, in the act of
Betting down to J. S. Bach, Mr. Hullah should have stated
had been variously attributed to Bach's uncle, Christopher,
and to Bach's son, KmanueL All we can say is, whoever did
write it was a very clever fellow. Miss Palmer then sang
two sacred songs of Beethoven, which showed that Beethoven
could at times be dull. Dr. Crotch's motet, " Mcthinks I
hear the full celestial choir" (Mr. Santley and chorus, un-
accompanied) was remarkably woll given ; nevertheless, the com-
position itself is little better than twaddle. After this came
Miss Freeth, with Beethoven's solo sonata in K, Op. 109, the
performance of which showed that the young lady had greatly
over-estimated her powers. The late sonatas of Beethoven are
not to be approached without reverence. Better leave them
untouched than play them imperfectly. Any pianist who has faith
ambition enough, and perseverance enough, to master
is entitled to the highest consideration; but to come
d in public, with one of these sonatas, so inefficiently
prepared that, on arriving at the more difficult passages
(such as the prestissimo, and the 3rd, 4th, Sth, and 6th
variations), the clearness of Beethoven disappears with the
self-possession of the performer, betokens a certain want of
veneration for great things quite at variance with the sincerely
artistic nature. We are inclined to think well of Miss Freeth,
and for this reason arc the more anxious to impress upon her
that what came from the very heart of Beethoven must not be
treated as commonplace. M cndclssohn 's convent motet, " Laudato
Pueri" (Misses Banks, Fanny Rowland, and Palmer, with
fomale chorus), and the gloomy but splendid psalm of the same I
composer, " Why rage fiercely the heathen t" were both in-
cluded in the first part; and both suffered much from the I
occasionally false intonation of ao me of tho singers. M. Gounod's
Christmas song, " Nazareth," for Mr. Santley and cho rua, was
capitally executed ; but we havo seldom listened to anything
lees attractive. Mr. Hullah conducted, and Mr. Hopkins
presided at the organ.
At the end of the first part we
What we lost may be seen below :—
Past II.— Madrigal, "Die not, fond man, before thy day"- Ward.
Duet, "The Starlioga." Miee Funny Rowland and M Palroer-
Hullah. German toogi, " Anf Flilgdn del Gcaangcs" and " Durcb
den Wald." Madlle. Maria de Villsr— Mendelseobn. Part song, " Song
should breathe of eccnta and flowers" — Hullah. Capriccio, pianoforte,
Miss Freeth — Clement i. New song, "The wind is fair, good bye,"
Mi,s Banks — Hullah. Part song, " Where tbo beo soeka" — Arne and
Jsckvoa.
Mr. Hullah will doubtless continue this kind of entertain-
ment— which, by the way, is not only very agreeable in itself, but
may prove of some service to his " first upper singing class," the
members _ being in want of a little of that refinement which
nothing is better calculated to inspire than tho practice of
sterling part music.
to leave.
The Sovnui.no Post or thb Violin. — In reference to a
recent paper read before the Academy of Sciences at Paris, on
this subject, a musical correspondent of the Leith Herald says
that he has tried the experiment of substituting a glass tube
sounding post in the violin for a wooden one. He has tried the
experiment with several instruments. The glass post does not
differ in shape or thickness from the usual sounding post ; but it
is hollow. It gives a clear, rich tone ; and by this new device
very ordinary violins may acquire properties of sound only to be
met with in instruments of the first order.
MR HENRY LESLIE'S CHOIR
The eighth concert (at St. Martin's Hall, Friday evening, Juno
11th) was, without exception, the best yet given by this newly-
fledged choir of singing birds, under tho* direction of Bullfinch
Leslie. Tho programme (to leave figure) was first-rate, including
some extremely difficult madrigals — such, for instance, as "Sweet
honey-sucking bees" (Wilbye's finest), which created a furore;
and Morley's "My bonny lass, she smilctb," sung to per-
fection, and enthusiastically encored. In Elliot's clever glee,
"Come see what pleasures" (also encored), Miss Annie Cox
attracted particular notice by the charming way in which she
sang the soprano part — Messrs. A. Lester, Taylor, Harries,
and Stroud,makingnp the quintet There was again an encore for
a new part-song by Mr. S. Reay, which, though not to be compared
for an instant to such specimens as the above, is nevertheless
clear and spirited. It was capitally sung; as was Mr. Henry
Smart's "Spring Song," a piece of vocal part-writing quite
worthy to rank with his "Shepherds' Farewell ana "Ave
Maria," already produced by this choir. A motet by Herr
nauptmann, of Leipsic (" Evening Prayer") ; Marenzio's
madrigal, " Fair May Queen ;" Mr. Macfarren's part-song,
" Orpheus with his lute ;" a madrigal, by Paleatrina, " April,
sweet month, is come," (not bad music for three centuries and
eight years ago) ; John Benet's " All creatures now are merry
minded ;" two part-songs for male voices by Mr. J. L. Hatton ;
and glees by Battwhill and W. Beale were also per-
formed. There was but one instrumental display, to
with all this singing — viz., the grand duet
• The F.ngliah reraion of the
Society.
eipresely for tho
Weber's » Gipsy's March" JPreciosa) for two pianofortes, com-
posed in conjunction by Mendelssohn and Moscheles, who used
to play it together, but always with orchestral accompaniments.
MissoB Cazaly and Hemming (two of Mr. Leslie's principal
songstresses) played it on the present occasion, and witn a great
deal of spirit ; but, no orchestra being at hand, there wore no
orchestral accompaniments. Where were your "classics,"
Henry Leslie, Esq.t
The programme of tho ninth concert, which took place Last
night, offered infinitely more variety, for — in addition to the
madrigals, glees, and part-songs by Edwardes, Stevens, Wilbye,
Morley, Elliot, Hatton (J. L ), W. Reay, and Henries Smart ana
Leslie — it comprised Mendelssohn's lovely anthem, " Hear
my prayer " (Miss Hemming again soloist), repeated by (very
reasonable) desire ; tho Kreutzer sonata of Beethoven, performed
by M Halle and Herr Joachim, on the pianoforte and violin ;
piano solos of Mendelssohn, Heller, and Chopin, played by
M. Hall6 ; and a romance for violin, composed by Joachim and
executed by Herr Joachim— the whole concluding with Henry
Leslie's Dr. Arne's " Rule Britannia."
What a capital place for sound is the large room of St.
Martin's Hall. The committee of St. James's Hall should send
a deputation of Doctora, learned in the theories of auscultation,
to inquire into the secret of its construction.
Leeds Musical Festival — [From our Correspondent). — At a
meeting of the Town Council on Wednesday, a letter was read
from the Festival Committee, containing a resolution adopted by
them, asking the Council to grant admission to the Town Hall,
on the day of the Queen's visit, to holders of serial festival
tickets. The letter was referred to the Town Hall Committee,
and the request was acceded to for a number not exceeding a
thousand It is contemplated making the serial tickets trans-
ferable, and five guineas each. Already numerous applications
for tickets have been made, and now that tho inauguration by
the Queen is made part of the Festival, pecuniary success is
certain. I understand that tho Town Hall Committee are
urging the organ contractors to the completion of their work,
and many members of the corporation are disappointed at not
seeing a portion of the organ alresdy erected, as was contem-
plated. The guarantee fund amounts to about £.\B00. On
Monday evening next the first rehearsal by the Leeds Festival
Chorus will take place, and the Huddersfield, Halifax, Bradford,
and other
towns in the
will be called together in their respective)
of the week.
Digitized
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June 19, 1858.]
THE MUSICAL WORLD.
389
DucHMAMiTa Concert. — The morning concert, at
Willia'a Boom*, of this rising violinist vai well Attended. Tbc
programme was interesting, and gave several opportunities for
Herr Deichmann to distinguish himself. Mendelsohn's quartet,
No. 1, Op 44 (in D), in which Herr Hies, Mr. Well, and
M. Paque, took part, was a capital performance. Schumann's
three Siucie in Volition (Op. 103), for violin solus, belong to a
school with which the less Herr Deichmann meddles the better.
The trio in B flat of Herr Rubinstein (performed by the com-
poser, Herr Deichmann, and M. Paque) belongs to no school at
all ; and yet it is numbered Op. 52. Herr Rubinstein's execu-
tion of the pianoforte part was just aa extraordinary as his
composition — only from a different point of view. Beethoven's
"Kreutzer" sonata, performed by Hcrren Rubinstein and
Deichmann, would nave been more satisfactory bad the
first and last movements been taken at a tempo sufficiently
moderate to allow of Herr Deichmann's accurate definition of
the passages. Herr Rubinstein ought to bear in mind that
duet-play should be fair-play, and not employ his great strength
and mechanical facility to the detriment of his associate. Never-
theless, compared with Mozart's concerto in D minor, and
Weber's Concerttluck (at the " Philharmonics,") this was a saber
exhibition, and we congratulate Herr Rubinstein. Herr Deich-
mann broke a string, but exchanged fiddles with wonderful
rapidity, and caught up the Russian tcitntU-zug in the twinkling
of an eye. No. 6 of the album Kamenoi Ostrow (which we have
also seen in an album of the Messrs. Ewer), and an Elude in C
major, were the solos of Herr Rubinstein — the first a very
expressive and unaffected performance, the last a prodi-
gious display of manual dexterity. The singers were Madame
Novello and Herr Reichardt Among other things the lady
gave two beautiful songs by Professor Sterndale Bennett ; Herr
Reichardt sang his own very popular " Du bist mir nah und
doch so fern;" and the two joined together in Mendelssohn's
" Zulelka und Hassan." At the end of the concert Herr Deich-
mann was to play Vieuxtetnpa' Chawe, He deserves credit for
Jamba's Concert— Herr Jansa'B annual concert is
always worth attending by those who seek for novelty ; and on
Monday afternoon its reputation was fully borne out at the
Hanover-square Rooms. The entertainment began with a
stringed quartet in F sharp minor, composed for the " Quartet
Production Society " at Vienna ; and the first part of the con-
cert terminated with a Concert-etiick, for solo quartet and full
orchestral accompaniments. HerrJnnsa,M Sainton, M.Schreurs,
and Sig. Piatti, performed the quartet ; and in the Concert-stuck
Herr Joachim took the viola {vice M. Schreurs), M. Sainton
being first fiddle, Herr Jansa second, and Sig. Piatti violoncello.
Both compositions have great merit, and snow the hand of an
experienced musician ; while both (as may be guessed from the
names of the artists— to Bay nothing of the orchestra, led by
Mr. Willy and conducted by Mr. Alfred Mellon, which officiated
iu the second piece) were played to perfection. The " Maria
Mater," " Agnus Dei," and " Dona nobis," from a mass in C,
(soloists Mad. Borchardt, Miss Lascellea, Mr. Gayuor, and Hen-
Deck) were also included in the sj>ccimeus of Herr J ansa's pro-
ductive genius ; and, lastly, a very effective violin solo—" Air
Russe" — composed for the occasion, and performed by Herr
Jansa with the greatest success. Some interesting points
remain to be noticed, and, not the least interesting was
Beethoven's sonata in E flat, Op. 12. for violin and piano,
s> more chaste reading of which than that of Miss
Arabella Uoddard and Herr Jansa was probably never heard ;
the execution, too, was just as faultless aa the style was pure.
The same accomplished young lady also gave the tuite de piiee*
of Handel, in E major, concluding with the well-known variations
(" Harmonious Blacksmith ") in the same refined and admirable
manner. There were also some vocal solos, and among the rest
" La Fauvette," from Gretry's Zemin et Azor, sung by Madame
Borchardt, flute obbliaalo, M. Remusat Herr Deck, too, sang
the " Wanderer " of Schubert in a very impressive manner.
Mr. Aguilar and Herr Wilhelm Ganz were the accompanists.
Herr Jansa must have been gratified to see his
first to last affording such unequivocal satisfaction.
BARCROFT AND WIIEELY.
To the Editor of the Mutieal World.
Sib,— In a book of words of anthems I observe the names of
Barcroft and Wheely, but I have failed in my endeavour to
ascertain some particulars as to the period when they lived. It
any of your readers could furnish any data respecting them,
they would much oblige, Sir, your obedient servant,
B. J.
MAD. CASTELLAN, NOT MAD. NOVELLO.
To tie Editor of tie Mmeieal World.
Mr. Editor,— Permit me to set you right in a littlo matter
connected with the report yon gave in your number of June 12,
of the recent performance of Eli at Exeter Hall, in which yon
state that the " soprano and tenor were in the original
Now the fact is, that Mad. Castellan sang the soprano at
minghnm when Eli was brought out No doubt the part was
intended for Madame Novello, but she was not
Bradford, June loth.
[" Amadis" is right, and our reporter was
remember the performance well. — Ed. M. Jr.]
We
Christy's Minstrels. — The success of the reeent performance
at St. James's Hall by the Christy Minstrels has led to another,
on Monday next, whon nearly the same programme will be
given.
Madlle. Tin ess — (Communicated). — Until within the last day
or two it was hoped that Madllo. Titiens' engagement, which
expires on Saturday, 26th June, might be prolonged. However,
the direction of the Imperial Theatre, with which Madlle. Titiens
has an engagement of long standing, refuses to dispense with
her services for a single day after the 26th June. Her last per-
formance will therefore take place on Saturday 26th June.
Madlle. Titiens wiU appear on Tuesday, Thursday and Saturday
next.
Aix-la-Chapellx. — The Whitsuntide committee has just
presented Dr. Franz Liszt with a silver medallion portrait of
himself, as a memento of his direction of last year'B Whit-
suntide concert. The artiBt, to whose chisel we owe the
jiortrait, is Mohr, the sculptor, in Cologne, who has really pro-
duced a masterpiece, aa far as regard* characteristic resemblance,
s]ieaking expression, and delicacy of modelling.
Mr. E. T. Smith a National Benefactor. — On Saturday
night, Donizetti's opera of Lucia di Lammermoor was performed
by the Italian troupe lately engaged by Mr. E T. Smith, and
which completes the trio of foreign companies at present delug-
ing the cars of London with a threefold stream of Italian music.
There can be no mistake about the levelling tendences of the
age, when scarcely a luxury once exclusively enjoyed by the
rich and high-born, but is placed within the reach of the hum-
blest member of the community. The aristocratic pine no
longer reserves it* luscious and blended savours to rouse the
cloyed palate of tho lordling, but evokes equally tho unexercised
sensibilities of the proletarian swallow ; the ice-cream, once
special refrigerator of well-to-do throats, now melts in cool
runlets about the oesophagus of any little ragamuffin who can
rattle two halfpennies in the pockets of his corduroys. Last
and highest conquest of the people over tho privileged Indul-
gences of the great, a place in the sixpenny gallery of Drury-
lane Theatre will secure to the begrimed artisan a participa-
tion in that paradise of modish foppery and aspiring gentility —
the Italian opera. Tom, Dick, and Harry, the well-known
interlocutors in that familar and unreserved exchange of senti-
ments which occurs in the upper regions of an English theatre
previous to the performance, may now, bound by no tyrannous
etiquette, abandon themselves, without even the restraint of a
coat, to the exuberant graces of Italian vocalisation and the
obscure intimations of Italian libretti. If the emollient ex-
periences of a dilettante will add anything by way of improve-
ment to the character of the English artisan, the nation will owe
a debt of gratitude to Mr. E. T. Smith.— Morning Herald.
uiyiuzeo
by Googl
390
THE MUSICAL WOULD.
MOZAItTS
(From the
"COaf FAN TUTTE."
Hkrrhrinuche MmtOfZeUang.)
BMtgnrdi, VStk May, 1988.
* pause of thirty rear*, Mozart's on); bmffo opera has re-
[ Upon our stage, tad is, consequently, almost to bo regarded
u*» novelty for the present generation. To aay one word on the high
musical worth of thia work Would be totally superfluous j the pianoforte
arrangement of it speakt eloquently enough, and, even without any
knowledge of that arrangement, we should necessarily expect one of
the moat perfect creations of art from the very period of its production
(the period between Do» J<—m and Die ZavhrrjlMe). Sinoe, however,
there ha* never been a doubt a* to its worth, it aught appear unintelli-
gible why thia opera has, for ao long > time been absent from tin- stage, aid
we not know that Motartfe music m originalW connected with a roput-
tire libretto, intuiting to cur feeling! and good taite. An altered plot
was, therefore, generallytubttltuted at former performance* of the work
in German thetitei. There exist nuraberleaa Tvnioni of it (the opera
baring been given, for instance, in Stuttgardt, tinder four different
forma saeeetaively). Unfortanately, three were either worse than the
Italian libretto, or not intimately connected with the music. A
paragraph in the Morgemblatt, of the 27th January, 18043, gave notice
that a new Torsion would be produced, and it is thia version which
■arret as a foundation for the present performance. According to the
paragraph in question, the version " has treated Moiart'a musical lan-
guage with the moat conscientious reverence. And, therefore, in all
the rariou* pieces (of course, with the eiception of the 'Seeeo- Recita-
tive ') kept as near at possible to the Italian text, but, at the aama
time, effected a material alteration in the atory, by which the piece —
originally a coarse, clumsy, farce — ia brought nearer the sphere of deli-
cate comedy, to which Mozart's music itself points." In order, how-
ever, to perceive the necessity of any alteration at all, we roust give
our readers a short sketch of the plot of the Italian librrtto. Two licen-
tious officer* are prevailed nnon, by an "old philosopher" (Alfonso), to
test the 8*s*ty of their mietreeeee. Alfonso lays a wager that it may be
e*a**w ia He remnt v/Uat tame day. The officers pretext a journey,
bat return i mated Utely, in dispone, after bavins; taken leave. They
are at first violent and then whining, enrk, sawreoesr, roerfiny (A* either t
mittrtu. Hy repeated threats of suicide, they prevail on the two young
Mica, who appear m a tolerably dubious light, to surrender completely
before craning, lite deceived lover*, as long as they are without wit-
nesses, now abandon tliectaelraa to
by oi
•fe ana* am j wav wisawit wtiL-
•st* of fury, aad designate
shirh oould only be eug-
1 by the moat profound contempt, and talk of murdering or, at
' ring them. The "philosophical" Alfonso, however, repre-
gested .
least, leaving
aents to them that all girls are the same, (oar) ./ha faff*), and, if they do
not wish to renounce female society for aver, the wisest thing they can
do tt to take back their former loves. This advice is approved. The
faithless ones are merely frightened a little, and then everything it
brought to a merry conclusion. There is plenty of fun in the whole piece,
but it is neatly a farcical, wi rises kind of merriment. The two grand
" sntone are admirablv worked out by theantbor, and full of genuine
It is wonderful how, under Moxart 's hands, this patchwork,
sa tosto of the messes, is ennobled. All the
of the pieee are, as far as the author ia concerned, mere
The two a Ulcers are oat accurately after the tame
pattern, and so are Use twb girls. Not only lias Moxart en-
dowed the pappete with souls, but, aleo, differently characterised
the various personages, so that toe one pair of lovers it not
merely a vapid echo of the other; and, because the beings of
lioxart'i oreation feel truly aad deeply, a more earnest element is
interwoven in the opera, an expression of warm feeling, where the
libretto endeavours to produce laughter by the glaring caricature of
assumed sentiment. By this, the joyous ground-tone of the whole
ia only brought forward more effectively. The paragraph we quoted
above tells us that the talk of the arranger is to introduce into the
librrtto the dramatit permit as Moxart created them, and so to torn
the course of the plot that the separate situations of the piece shall depend
upon more satisfactory motives, without suffering any change in their spe-
cific character. The paragraph mentions the means employed to solve
the difficulty but we will here give only the most important points. Each
of the two officers selects Ass esen mistress ae the object of hi. seductive
powers, tad when the young lady, attracted by a secret charm, a sym-
rwtnT *ot amounting to consciousness, at last surrenders, a recon-
ciliation ia possible. This idea certainly appears very natural, and the
original plot of the piece renders it easy of execution. In other
respect* thia last vaeaion Introduces nothing actually new. With the
what is
confined to interweaving little touches suggested by the leading idea
we have mentioned. The really comic or dramatically effective points
of the Italian libretto are everywhere turned to account, but transferred
into a somewhat purer atmosphere. The management of the Theatre
Royal, which, at a rule, is alwayt desirous of producing I
high style of art, hie, by the revival of this work, so rich i
attraction*, assuredly gained the thank* of Moaart'a admirers.
Bind lit trnl (Are they true ?) is the title of the fresh version. We
havo now to tea whether the opera in thia now form ean, at last, reach
the goal wbioh the various versions attempted on almost all stage*, in
former times, were to little capable of attaining. The '""'tug idea of
the new version was to remove the action from the domain of vulgar
farce to the sphere of delicate comedy ! to make the psychological mo-
tives of the characters agree with truth, and to fit the poetic diction,
in the most harmonious manner, to the music. In order to be able
to effect this, It wtt necessary not only to clear away what was acci-
dentally repulsive or materially improper, but to elevate and artistically
ennoble the whole bearing of the action and tb* whole moral of the
atory ; but it was always a great evil that such a course would never be
possible with Cos) torn txtte, if we remained true to the original ten-
dency of the opera. However funny the wager may be of itself, snd how-
ever appropriate for the subject of a cotsiieopera, derision, nay, degradation
of lb* female sex it the principal basis of the whole, and that is a theme
which suits no age, and least of all our own. Mfgan aad Darn •Arms
are certain) v founded on an idea in which reduction plays the principal
part, bat this is represented in both opens in the person of on*
individual, and ia tampered aad counterbalanced by many opposite
characters. In Ooti/tm Ml*, the whole action it concentrated, with-
out a single exception, or any sort of compensating parallel, on the
weakness of woman. Were Leonora and DoraUelia inroJou* personages,
they could never be set up as type* of female neakneae, and the ten-
dency of the piece would not be one we ought to reject. But they are
noble beings, who, on the sudden departure of their lovers, mamfwt
the warmest love, and promise eternal trutb. The new version seeks
to render this nobler trait predominant throughout the whole plot.
It makes the ladies undergo a long struggle, introducing between the first
and second act a certain period of time, in which they in Vain wilt for
letters, and represents Fernando and Ougkelmo, not, as is the original
text, courting each other's mistress respectively, but, at we have already
said, their own. Thus the already existing sympathy of the different
persons towards] cat* another it made the principle motive of the change,
and the weufcneat of the weanen referred to psychological motives At
aay rate, the new version it preferable to all ethers, from the fact of ita
placing tht opart in to noble and pure a light, that avan young |
may And amusement in it, aad, at the music is mrsJcped in • I
garb, the opera may again be the aetxtmon property of the
nation. The text is, too, so admirable in its diotioa, ao fall of clsver
point*, and vigorous, fresh language, that it may be looked upon at a
model sVaVeffe. It is to be hoped, therefore, that the example act by
our theatre in again introducing such a masterpiece of dramatic music
into its repertory will soon be imitated throughout Germany.
With regard to th* performance itself, every oae engaged in it strove
to attain perfection. The mi*e-e»-ec*tie wee admirable, free from any-
thing like obtrusive caricature, or absurd comicality. The only thing that
might be blamed was the costume in which the disguised lovers appear.
To obtain the love of two beautiful ladies belonging to the upper ranks,
they should not appear as ugly Wallachians, but rather in a handsome
oriental costume. Another fault waa that the curtain did not
rise on the second act immediately the music began. The
orchestral introduction to the duct : " Want, ihr leieht beschwinrten
Lflltc," is not an introduction to the act itself, but to the serenade
on the stage, and must be presented as such to the public With
these exceptions everything was admirable, and our wai
lodgments are doe to Dr. Lewald for the trouble he hat I
tame manner, til the artist s engaged merit the moat unqualified appro-
bation of all lovers of music. Mad. Icismger had in 1 .Conors oae) of
the parts beat suited to her, and her noble, glowing acting, which,
despite the heroic colouring of the music, never wandered into tragedy,
and her touching execution, especially in the air, " Unbewagt in
Mccrcswogen," called forth tumultuous applause. A theatre that poe-
tettet such a dramatic singer ought, now-a-days, to consider itself
fortunate ; let us hope the will remain for many years the ornament of
our opera !
Fraulein Mayerhdfer, tt Dora bells, was also invariably noble, and
her joyousnesa never degenerated into frivolity. She worked well, too,
musically speaking, and in the concerted piece* was a living part of the
whole.
Fraulein Harachalk, as Despina, triumphed by her arch,
like action i by the MirrtV of her vocal execution | by the _
Digitized by G
oogle
Junu 19, 1858.]
THE MUSICAL WORLD.
391
of her trarettie j end by Ibo active share the conttantiy took in the
general busincee. Tiifit, as the Notary, she tang in the lower octave,
fu in accordance with the with of the adapter, ami formed a good
contrast to her ai the Doctor. Herr Pitcbok, aa Alfonio, wet
admirable. Ha played tha joyous, woman-acorning philotopher
with uuotuoua humour, and,' although tha character haa no
gleet air* to sing, it ia, iu a oertaio degree, tho mainstay of the
whole j and, for tin* reaaon, requires an artiat auch aa Vischck. llcrr
Franz J tiger, aa Ferrando, waa in Tory good voice, lie anng
eoftly and flowing!/, aud remained true to the ttyle of Mozart.
Unfoetuaatele hU principal air had to be omitted, in order that
the piece might not be too long. Uerr Hcbfittky aa Qugh'elmo, looked
very imposing and warlike, but afaould be rather more moderate in hia
Wallachian disguise, for, by no doing, be would render the character
more attractive. The orcbcitra played admirably. IT err Kiicken
had taken immense paina to hare the vocal piecea accompanied with
delicacy and discretion, while, in tha concerted pieces, there waa
■ dull which doea all Honour to hia taste. If there it one thing we
eould deelre. it u that DorabelU'a air 4 " Ein acliUuer Di»b iat Amor,"
ahould not be taken too quickly, aince it ia only an aUtgrtita, The
ehorua waa Tcry fine. In a word, the whole performance waa
worthy of Moaert. 3. M.
Frawkfokt-ox-tiie-Maike*— (May 20th). — Yesterday, the
CMcilien-Yerein brought its regular meetings for practice to a
close, with a little extempore concert for its passive members and
subscribers, in a highly satisfactory manner. The work* selected
war*, partly, sueh aa bad not been auug for several years, and
were perfectly new to no inconsiderable portion of the younger
members, Ia spite of this, the elocution of them waa very
creditable and pleasiug. Ouly a few of tho mora difficult
choruses were repeated, for the sake of greater finish. We bad
the choruses of Mozart's Jtequiem, at least as many as are un-
doubtedly his, a grand "Crucifixua" for eight voices, by Lottl,
Mendelssohn's wonderfully fervent "Ave Maria," Hauptmann's
Car. '-'•««!••«<•, so rich in harmony, and Mendelssohn's fresh
and dramatically effective first Walpurgitnackt. Bach evenings,
when smaller works, which have not been given for a conside-
rable time, are sung at sight, arc, leaving out of consideration
the gratification they afford the singers and their audience, of
the greatest use, especially to the singers, since the latter are
exercised in singing at sight, and made acquainted with the rich
stores of classical music pouseased by the Vereiu. Unfortunately,
they can seldom occur, on account of the rehearsals and practice
requisite for the grand public concerts. The Cacilien-Verein
gave all iu four concerts with a full band for the first time this
winter. The pecuuiary sacrifice involved was by no means in-
considerable, and it is reported that, in tho opinion of the
members, the experiment will scarcely become a permanent
fact, principally owing to the want of accommodation. A cheering
prospect of an interest being taken in such concerts bv tho
general public is afforded by the hope of the society's building a
concert- room of its own. The Mozartstiftuug, set on foot here
by the Liederkranz, at the vocal festival of 11*38, has taken the
initiative. It has come forward with its funds, amounting to
38,000 florins, and founded a new society, called the Mozart-
Verein. The sale of the shares has begun during the last few
days, and been so brisk, that we can no longer entertain any
doubt as to the realisation of the phut. A very large plot of
ground, conveniently situated opposite the old Burger-Ycroin,
has been obtained, and there is every chance of the new edifice
being one worthy of our city, and fully adapted for ita purpose.
At too first public concert the High Mam of J. 8. Bach, which
has already been noticed in these columns, was performed. This
was followed, on the SWth January, by Mendelssohn's '.rah
Psalm, Mozart's " Ave verum," and Cherubini's Ileouiem, for
Wixed voieea. The selection waa extremely good. The psalm,
though not one of the composer's greatest works, contains
sum* magnificent choruses ; the " Ave verum," with its heavenly
clearness, and the grand JUqvitm, with its moving magnificence
and loftiness, are too well known for ua to say a single word
about them in a paper destined for persons acquainted with
• From the Kitderr\e\»itcXt iIntii-ZrU»»f.
serious music. The performance was, in every respect, admi-
rable. While, in Mozart's prayer, the chorus of 17.1 male and
female voices, swelled in flowing gentleness and died away in
the softest strains, it rose, especially in the introduction to tho
" Dies Irte " to overpoweriug graudour. Many persons were
inclined to blame the employment of the gong in the latter
piece, but if the employment of this instrument can be justified
auywhere, it is certainly in this instance, where it is used once
u nI v, at the announcement of the Last Judgment,
On tho 2nd April (Good Friday) followed, as on tho preceding
year, a performance of J. S. (inch's grand " Fassion-Musik,
according to St. Matthew, in the German Reformed Church.
The organ again supported the chorales and grand choruses.
Tho recitatives, on the other hand, were accompanied by the
piano, gaining considerably and manifestly in quiet effect
thereby. The solos were very well cast ; Herr Carl Schneider
sang the part of the Evangelist entirely according to the original
version with a degree of perfection we never heard before. The
chorus of nearly two hundred persons was supported in the
Cantui firmut of the opening, and, also, in the grand chorales,
by one hundred and fifty pupils, male and female, of the Muster-
achule. This produced au unparalleled effect in a building
so well adapted for the purpose as the church is. We oan joy-
fully assert that, owing to this combination, the performance of
the Pawion waa ono of the greatest musical treats we ever had,
and a real consecration of tho religious festival for very many
persons.
Tho last concert, on the 14th May, introduced to us Handel'')
Jtphta, for tho first timo with a full baud. Thin last oratorio of
tho above master, which is sung scarcely anywhere in Germany,
was incorporated by Mcsser, as early as Ifrll, in the repertory
of the Cacilien-Verein, but executed only once since, in 1814,
end on both occasions with a pianoforte accompaniment. We
have already severely criticised, in these columns, Von Moscl's
orchestration, which, it cannot be denied, ia not totally in keep-
ing with tho spirit of Handel's music. Nor can tho violence
with which choruses from Deborah are introduced in it, aud
material portions of tho work itself omitted, be at all justified.
But Herr Mesaer, who is thoroughly acquainted with Handel,
has changed and simplified a great deal of the instrumentation.
He has, also, restored, with instrumentation of his own, Jephta'a
aria iu G major, in the third part, " Sohwebt, ihr Kngel," as
being one of the finest pieces, and quite indispensable for the
connection of tho whole. This piece, sung in a masterly man-
ner by Herr Carl4 Schneider, produced a profound impression.
Both on account of its admirable and highly-poetical subject,
which, by its strong contrasts, was excellently adapted for the
composer, as well as on account of tho freshness and great
animation of the composition, expressing the most varied feeling,
from the softest and gentlest to the most elevated, in the won-
derful recitatives and mighty choruses, we place Jgphia side by
side with J.- i n Muccixhiiut, Sainton, and Itrael in
Mmptm. Tho chorus in the second part, " YerhUllt,
O Herr!" with its four motives, is, perhaps, one of
tho greatest choruses Handel ever wrote. Besides Herr
C. Schneider and Mad. Nissen-Saloman, who, with highly,
laudable readiness, undertook, on the day of the concert
itself, the part of Ipsia, with which she was totally unacquainted,
in the place of r ratih-in Veith, suddenly taken ill, the members
of the Association sang the other parts exceedingly well ; aud
this performance, also, despite the oppressive heat ol tho densely
crowded room, was )>erfectly successful. Tho Cacilien-Verein
now possesses in iu re|*rtory all the oratorios of Handel known
in Germany, except fiaJta-.ar and Deborah. We truat the
Handel-Gesellschaft will shortly enable the Association to study
his other oratorios. The summer vacation will now commence ;
after that, Bach's Weihnachu-Oratoriuni will be put in rehearsal.
It will be performed at Christmas, ami will, no doubt, take aa
firm root among us as the Sf<Ulhait*-Pauion. N. tf.
South Kexsihgtox Museum. — During the week ending June
12, Im -, tho visitors have been as follows: — On Monday, Tues-
day, and ItSaturday, free, 5,017; on the throe students' days
(admission to the public ttd.), WO ; total, B,W7.
Digitized by Google
392
THE MUSICAL WORLD.
[Junk 19, 1858.
H
ER MAJESTY'S THEATUE.-Ma.Ule. TITIENS,
LAST APPEARANCES —T o liopcnii Theatre. Vi
grant my eiteoalon of her oonac'. it i% n»i'«"uL1)r »»"' *' !- *
tannot mijjcux after Saturday, Judo 1**
^ ^^^V^r^TmuU.. TttUssf iMl
The following arnuigornenw have been made :—
Turadar. June tt-ft TBOVATORB
Thur*iay. June 34 (
vnnet but one)
a,>aauu^%"3''ne*ir4— A favourite Opera in which MalUe lMbS*
ibc-iiw her 1**1 appearand). 1— .
^^lay.Juao^Verl.ioiwal.UI
0
ROYAL PRINCESS'S THEATRE.
UNDER TUB MANAGEMENT OF Ha CHARLES EE AN.
N Monday, and daring the week,
will
be presented
nakapera-a play oTtHK MERCHANT OK VENICE, Bhylook. Mr. C.
nS70 Kean Preoolod by MUSIC HATH CHARMS.
ROYAL OLYMPIC THEATRE— On Saturday oveni
next. June l», the performance will ootunwmee with a now and orjr'
«io^iia^,rratKE7UAD To
with A CA 111 NIT
ROYAL SURREY THEATRE — Thin evening, June 19,
the ADELPHI COMPANY will iwrf.rra THE GREEN BOSHES, To
conclude wit'i OUR FRENCH LADY'S MAID.
DIED
0» th« 12th trial., si Ksueington GraTel Pitt, William Horslcy, Eaq.,
. Oxon., Aged 84.
THE MUSICAL WORLD.
LOUDON, SATURDAY. Jr/xi l&ni, 1858.
There are certain
believe can find a
tly
of musical progress which we
in no other art. The Bach mania,
pervaded all classes of the musical
more in this country than in
Germany— is one of thorn. On the 30th of July, 1750,
in the 66th year of his age, died the very greatest of
" absolute musicians ;" and now more thau a century later
we are beginning to estimate properly his worth.
Hcrr Richard Wagner, though jierliapa the least musical
in temperament of all men who have endeavoured, through
the medium of music, to express outwardly what inwardly
moved them, has admirably marked the distinction be-
tween the musician per it, and the musician compelled to
invite extraneous influences, as aids in the cultivation and
promulgation of his art. The author of the Kunstvoerk der
Ztikut\fl pronounces Mozart to be the greatest ■ absolute
musician; and here, as in many other places, allows how little
he comprehended music in the abstract A thousand forces
acted upon the plastic nature of Mozart, just as a million did
upon the still more plastic nature of Beethoven. With
Bach it was otherwise : music was his whole being ; ho
revealed himself invariably in music, no matter what he had
to say, simple or elaborate, trivial or sublime. Even the
orchestral symphonies of Beethoven cannot be compared to
the preludes and fugues of Bach, as exemplifications of art
wholly independent of other resources than its own. The
world of imagination and of dreams suggested endless
ideas to Beethoven, to which music gave expres-
sion. Like Mozart, he was not only a musician,
but a philosopher, a man of the world, and a poet. Not so
Bach. Bach was a musician, and nothing more. Whatever
impressions ho may have received from the cxhaustless
phenomena of nature were subservient to the art which was
his only language. Had it occurred to Bach to writ* a pat-
Oral i>/mphony, how differently would he have accomplished
his task I The song of the nightingale would have formed
the principal subject of a fugue, to which the cry of the
quail might have made one episode, and the notes of the
cuckoo another. These pastoral objects would liave been sub-
mitted without mercy to every device of counterpoint ; while
some ingeniously contrived "*/re«o," towards the end, would
have brought the throe voices as cloee together as Beethoven
has brought them in the second movement of his immortal
symphony. With Bach, however, the nightingale, the quail,
and the cuckoo would have been made to etberiaUse music —
instead of, as in the case of Beethoven, music etherialiaing
the cuckoo, tho quail, and the nightingale. Thus Bach was
a musician absolutely, for beyond music to him there was
nothing; while Beethoveu was a musician relatively, since all
things in nature ministered to his invention, and helped him
in the development of his art Beethoven might perhaps
have been a great sculptor, or a great painter ; but Bach could
only have been a musician ; and for this reason, though pro-
founder men than he have shed glory on music, Bach was still
the first of miasicians. Listen to the G minor Symphony of
Mozart; aud then, immediately after, to one of the most finished
instrumental piecesof Bach — for example, the violin solo sonata
in C. performed with such extraordinary effect by Herr J oseph
Joachim, at the last New Philharmonic Concert Compare
the two. The exclamation after each, in one respect, will be
much to the same purport. "What a splendid pieoe of
music!" — you will say of one; and idem of the other. And
yet they are as wide apart as the poles. Mozart's symphony
is a poem in music, of which passion and love are the
elements. Bach's sonata is simply music — magnificent music,
bilt music without auy relation whatever to tho outside world,
and therefore music which can never possibly have a chance of
penetrating to the inmost heart of the crowd that constitutes
nine-tenths of humanity.
On the 30th of July, 1750, died the very greatest of
" alwolute musicians;" and now, on the 19th of June, 1858,
we are congratulating our readers on the progressing taste for
his works ! Wliat there is in Bach's music to have staved
off general appreciation for a century, and yet, at the end of
that century, to put to tho blush all those who had failed to
appreciate it, we cannot protend to say; but it is quite true
that the glowing encomiums and unbridled enthusiasm of
the initiated were impotent, as years went by, to persuade
the majority of the transcendent merits of the Patriarch
of liarmony. " Patriarch, as much as you please" — was the
prevalent
'but spare us
Now
thitigs have changed ; and, what is most consoling, Bach goes
" up" without Handel and the rest going " down." Now, more
than over, the Leipsic Cantor is hailed ■ Patriarch ;" while no
one wishes to be spared " the infliction."
The last six months have been especially marked by a
continually growing appreciation of Bach's music. The
youngest and most gifted of our established pianists — Miss
Arabella Goddard — has been playing his fugues, not merely
to select circles, but to multitudes, and always with success.
Tho /Won of St. Matthew, backed by the influence and
true devotion of Professor Bennett, has obtained its first
emphatic recognition in London ; and since then, M. Halle,
with " suites" and "partitas," Herr Joseph Joachim, with
solo violin-sonatas, and vocal music at Mr. Hullah's concerts
or elsewhere, have, step by step, advanced the cause.
Decidedly the music of John Sebastian Bach is becoming
popular — which, if popularity be its just due, is not a
Digitized by Google
Junk 19, 1858.}
THE MUSICAL WORLD.
393
bit too early, seeing that the
one hundred years and ten.*
has been dead
far
Had the assertion, made respecting Conrad in the Cortair,
that "he cursed that ran" become isolated from all the rest
of the poem, so that we were compelled to read it like a
choice bit from Corinna or Simonides iu a collection of the
Porta Greci Minores, we should at once conclude that
a theatrical manager, and that he uttered the
i in a hot June. We should like to see the man
in the course of the past week would have dared
tell any manager, from the St. James's to the National
Standard that the sun was a source of blessings. We should
like to see the manager who, in the course of the past week,
would have bronght out Pizarro without insisting on such
an alteration as should turn all the interest on the side of the
Spaniards. Who would sympathise, just now, with a set of
wretches who worshipped the sun, — that odious luminary
that melts down audiences like icicles? Mango Copac
came of old to the Peruviana, and persuaded them
that he was the "Son of the Sun," whereupon
they respected him greatly. If he had told us such a
story, and guaranteed its troth, we should have waited
till the weather was a little cooler, and then tossed him in a
blanket, on account of his detestable parent. We believe
the same Peruvians offered human sacrifices to the sun, and
if such was the case, we have not the slightest doubt that
the victims were theatrical managers.
Jnpiter Pluvius, whom we address as an
what a woek we have had ! Managers, actors,
actresses, box-book-keepers, box-openers, money-takers,
cloaks and bonnets, all meet us with one common wail,
" This hot weather is killing us."
We bear in mind the fact that the patron of dramatic art
is not Apollo, but Bacchus, else we should wonder why the
same deity who rules poetry, should also adopt the sun as
part of his domain, and, with the aid of this potent instru-
ment, drive all the world away from the theatres.
The Merchant of Venice is the most perfectly artistical
thing that Mr. Charles Kean has yet done; he puts all
Venice on his stage, without in the slightest degree encum-
the drama He plays Shylock himself, while
Kean plays Portia, gondolas float over mimic
and the whole piece is such a glory of mana-
enterprise, that the house ought to be crowded
to the ceiling, and boxes ought to be secured a fort-
night beforehand. But the powerful attraction offered
in Oxford -street is counteracted by the vast allowance of
caloric which Phcebus is pouring upon our heads. Lot the
weather get cooler, and you shall hear such an enthusiasm
about the Merchant of Venice as was never heard of before ;
but, in the meanwhile, people who want to be always drink-
ing cannot do justice to painted waters, even when called into
being by Messrs. Grieve and Telbin.
Mr. Tom Taylors piece at the Olympic, entitled Going
to the Bad, has, we confess, this advantage, that although it
is professedly laid amid modern life, it soars into an ethereal
region, that belongs neither to the earth of the present genera-
tion nor to any other. Hence, by following it in its ascent, we
fancy we may resemble mountain-travellers in warm countries,
• Bach died eight years
met, although they
before Handel. The two great musicians
and presently come to snow. Moreover one moral is proposed,
and another is worked out, and the vague being associated
with the shadowy, and the shadowy with the shady, and the
shady with the cool, wo may, by a small expenditure of
sophistry argue out for ourselves something like refreshment.
Again, Mr. Robson's character is far less efficient than most
with which ho has been entrusted, and unemployed genius
gives a notion of the "dolce fa niente," which is by no means
despicable in sultry weather. Alas, this verbiage won't do.
There's nothing cool about Going to the Bad, except the
announcement that it is a comedy. Call it a clever force, and
we will give it welcome —that is to say, when Fahrenheit
is not quite so high.
As for Madame Ristori. who came out at the St. James's
on Wednesday last, slie never in her life had such a fine
opportunity of studyiug the internal architecture of u theatre.
Benches and boxes stood fully revealed to the view, uncon-
cealed by human obstacle. We were reminded of the " good
time coming " contemplated by an enthusiastic admirer of
ecclesiastical art, who honed that Catholics would cease to
go to church, and allow Protestant-connoisseurs to look all
day at altar-pieces, without impediment Whether when
" Macbetto " was alone on the stage he actually saw a
dagger before him, we cannot say, but we are positively
certain he saw nothing else. Often had we heard of the
rarefying power of heat, but we did not know that it could
produce so very thin an audience.
Iu Homeric days, when the sun was inconveniently power-
ful, something could be done by offering a hecatomb. Shall
we try the plan again, and immolate a monster concert in
favour of more endurable weather 1
At all events the sun is guilty of a vast dereliction of duty.
It is written that "seasons'" arc entrusted to his care. Why
then should he make such a hash of the London Season I
Why should he be so excessively partial to Mr. Simpson as
to make all the world go to Cremorne and nowhere else I
There are people who want to see Jessica at the Princess's
eloping with Lorenzo in a gondola, and to hear the wild mirth
of the Carnival roysterers, fully equal to that of the Dionysiac
revellers. There are people who would find delight in follow-
ing out tho mazy plot of Going to the Bad, and who, if they did
not think much of the moral logic of Mr. Potts, would
take delight in the fire-eating major, played by Mr. Addison
— (for some of Mr. Tom Taylor's details are good, though
his plot is indifferent)— and who would applaud in crowds
the Phedre of Mad. Ristori, if only because tho play
awakened in them a reminiscence of Rachel. But what
can anybody do in this hot weather 1
We ourselves are personally aggrieved in the matter. We
had in our heads three as nice critical articles on the prin-
cipal theatrical novelties of the day, as any one would wish
to see; but lo! they are all melted away into an unseemly
shapeless leader, tliat may be compared to the ugly mass
into which a jelly resolves itself in an over-crowded ball-
room.
Why should wo be subject to these material influences 1
Why can't we write what we please— how wc please— when
we please i This sort of thing may be all very well at
Calcutta ; but it is an innovation on the freedom of Britons.
The tendency of the English mind towards cider-cup,
champagne-cup, sherry-cobler, and gin-sling, that must
infallibly be created by this hot weather, will end in a grand
national degeneracy — Fuimut Troes.
Digitized by Google
394
THE MUSICAL WORLD.
[Jumb 19, 1858.
PROFESSOR BENNETT AND THE ROYAL
ACADEMY OF MU8I0.
It » said that Professor Sterndale Bennett has seceded from
his position in tho Royal Academy of Music — and further, that
he has requested his name may bo withdrawn from the list
of Honorary Associates.
HERR FORMFK ~
Mast friends of Ilerr Formes are anxious to know
whether there Is any prospect of his appearing this season
at th* Boyal Italian Opera, and whether he is really engaged.
Although the prospectus laid so much stress upon the pro-
duction of H Don Giovanni, Herr Formes being cast for
Leporello, fears are entertained that, uuless the Oerman
basso returns from America, Mozart's opera may not be given.
We cannot affirm that Herr Form is will positively arrive in
England in time to take part in Don Giovanni, nor indeed that
he will pay London a visit this year ; bnt we have seen a letter
from him to a friend, explaining his reasons for not having
joined the Covent Garden company at the opening of the new
theatre, and "showing cause" why ho maybe exonerated from
blame, even should bo fail to "put In an appearance." From
this letter we have been permitted to transcribe all that bears
upon the question.
"Academy of Mutic, Wm Tori, Mag 11, 185S.
"Mr bias , — I tbink it my duty to write to you and ssy,
that it U utterly impossible for me to be in England »t the opening of
papersT 'iTn^y ^^ll^^l^J^'ch^uSl^^ RlHlwdftt
Ameriea, he told me, that perhaps my semces would not be absolutely
necessary on that occasion, for certain reasons which he gars me. In
January last, and again in Marsh, I wroto him to know positively
whether he wanted m», but as yet I base not received a word in replv.
T presumed from that, that my services would not be required, and I,
therefore, accepted other engagements in this country. Any disap-
atont this "
in the
1 beg thst you will explain the
u*e this letter for that purpose, if
*4 L'AKI. i'l)BMKS."
sly or nn-
Th* offers
I [ and you
yon think it neeesasry.
No on* can say thai
thinkingly. He was compelled to do what b* did.
made to him in America were not likely to be refused when tin
fact of his letters remaining unanswered showed that his engage-
ment at the Royal Italian Opera was no longer a certainty.
Had he been aware, however, that the director of the Royal
Italian Opera waa incapacitated by serious indisposition from
attending to business, be would have paused before contracting
engagements which delayed his arrival in England. Mr. Uye'a
illness account* tor all. It is not yet too late, however, we
belie™, to seouro the services of Herr Formes.
8io.ViAt.inTi. — "The following well-merited encomium on
Signor Vialetti has appeared in the Morning Star : " —
" Signor Vialetti is a true artist, and belongs to a good school. His
act in* is ever excellent, his style of aingiug is on a par with it, and ho
always interprets writ the music that falls to his share. Hia declasse,
lion of the passage commencing 1 11 mio sangue,' in the first act, when
bis conscience upbroMa him for bis crimes, wss sdmirsWs for bresdth
and ciproision; aacT/ indeed, throughout he mskce the most of his
opportunities."
[Tho foregoing well-merited citation from the Morning Star
appeared in the Optra Uor.—JtD. M. IF.]
Mad. Jk.vst Ijnd-Goldschjiidt resolved, as is well-known, a
long time ago, after she bad given up her projected journey to
Russia, to leave her present place of residence — Dresden — and
settle in England. This intention she has now carried out.
After all her furniture in Dresden had been disposed of, no in-
considerable number of packages, with articles of value, &c, &c„
forwarded, last week, rt<f Hamburgh, to England, whore
- Lind will repose in retirement on her laurels at a villa
HER MAJESTY'S THEATRE.
Luisa Miller was repeated for the third time on Saturday.
The music does not improve on acquaintance. Indeed, the
melodic vein is less apparent in this opera than in any of Signor
Verdi's with which we are acquainted. Even the popular air
of the work, " Quando le sore," is not a positive turn. The
opera was followed by the diwrtiuvment, la Reins dtt Songet,
for Madlle. Marie Taglioni.
On Tuesday the Figlia del Ilegainunto was given,
Madlle. Piccolomini, and FUur-det-Ckampt,
Borgia, on Th
»ni, Signors
Titiens, Madame Albooi,
inglini, Belletti, BenevenUno, Vialetti, flu ., em., was intended
by one of tho moat crowded and fashionable audiences of the
season. The fact that Alboni hail consented to resume her old
part of Maffeo Orsiui, which she had resigned for several
years, constituted a special attraction, and many, it may be sup-
posed, came expressly to hear the brinditi. Madlle. Titiens and
Sig. Giuglini had not previously appeared in l.uemia Borgia,
and the utmost curiosity was excited to hear those artists in the
two great parts of the Duchess and Oennaro.
We may at once state that tho performance was eminently
successful. Indeed, the opera, from the first scene of the pro-
logue, in which tho chorus of nobles, "Bando, bando, * was
encored, to tho death of Oennaro and the despair of Lucresia,
was applauded without qualification. Madlle. Titiens has fully
sustained her reputation by hsr grand impersonation of the
haughty and relentless Duchess of Ferrers, every phase of
whose character is developed with extraordinary skill. On
the present occasion, however, we shall not enter into
details, but wait until next week, when, after seeing the
performance a second time, we may be better enabled to ]>olot
out its special merits. The excitement it created was unusual.
Th* opening aria/ " Com' a hello"— one of Dooleetti's moat ex-
pressive airs— had many exquisite touches, and the eabaUtta,
with some exceptions as to taste, was admirable. The whole of
tho scene of tbe second act, was grand, not a nuance escaping ;
and tho final scene, in which Oennaro dies in LuarezU's arms,
was a worthy climax. Madlle, Titiens waa labouring nnder a
cold, but this was only observable when the vocal andhiatrlonle
powers were taxed to the utmost.
Wgnor Gluglini sang the musieof Oennaro delightfully, in
one or two instances surpaasing himself. Th* duet with
Lucrewa in the first scene was hardly improved by certain pro-
longations and retardations of tempo; and th* well-known
°Di pescator" would have been more acceptable with more
simplicity. Signor Giuglini's singing in the popular trio
in the second act could not be surpassed for neauty of
voice and
trio, indeed
was faultless. Signor Oiugltni was almost equally i
in the romanxa in the third act, " Com' e aoave," th* " aln
not being dispensed with only in consequence of certain ten-
dencies to drawl, which militated against, rather than improved,
the sentiment.
A more perfect expositor of the music of Duke Alfonso than
Signor Bellett i could not be found. The terror and grandeur of
the part, however, are entirely unrepresented by the popular
barytone, who display* hi* usual judgment in attempting no
histrionic efforts.
Tho " sensation " of tho evening was undoubtedly created by
Alboni, who was greeted on her return to her old part of Maffeo
Orsini with a genuine Irish welcome, a veritable ceajd miile
failtAe. That nobody ever sang the part like Alboni, was uiri-
veraally known ; but that the famous brinditi could be given
willi such entrancing sweetness and prodigious effect none could
know except those who had previously heard it sung by th*
inimitable soprano-contralto. The effect of th* brindui was
extraordinary, and before Alboni commenced a murmur ran
through the house, every ear being auxion* to catch tit* first
of the well-beloved melody. Th* brinditi was encored
and after each repeat tho stage was covered with boaqueta.
us!
act could not be sujrpas
puritv of expression. The execution of
by Madlle. Titiens, Signor* Oiuglini and Balhrttl.
uigmzeo
by Google
J one 19, 1868.]
THE MUSICAL WORLD.
Alboni Memed to enter iuto the scene with great heartiness, and
laughed in response to the cheers of the audience.
^After the open, La Rtine dm JSonge* wh given, with Madlle.
To-night Lveretia Borgia will lie repeated, find again on
Tuesday and Thursday next week. On Saturday, Madlle.
Titiens takes her benefit, and makes her last appearance this
ROYAL ITALTAN OPERA.
Fea Diavolo has been reproduced in a highly satisfactory
manner, with some beautiful soeuery by lax. W. Beverley, and
costumes and mite-en-tciiu to match.
The first performance, on Saturday, attracted a brilliant
audience. Her Majesty paid a second visit to the new theatre,
and remained until the end. The cast was precisely the same
as last season, except that Madlle. Zina Richard danced the
SaUnrtUa, in the last act. in place of Madlle. Flunkctt.
The performance, on the whole, was admirable. Mad. Bosio
was in fine voiecj and sang delightfully. We wish, nevertheless,
instead of the inappropriate air from La Sirine, she would
preserve the original and beautiful song— known on the English
stage as " Oh ! hour of joy" — which suits the situation and the
character infinitely belter. Vocal roulades, "echoes," and
tour* deforce, do not come so naturally from the lips of an Inn-
keeper's daughter as from those of a syren. There is nothing
preternatural in Aubcr's Zerlina, any more than in Mozart's.
Accepted as the caricature of the French librettist, Ronconi*s
Lord Rocburg is inimitable. lie is certainly not the beau-idial
of an English nobleman, travelled or untravclled, knowing or
unknowing ; but he is infinitely more amusing, and that is
quite to the purpose. Moreover, Ronconi sang invariably io
t (Jin.- on Saturday, which made his performance all the mora
acceptable.
Signer Oardoui might infuse & little more of the brigand into
FraViatolo — whether disguised or undisguised— with advantage.
Be is scarcely bold enough, and his first dross (the fault of his
cottumier) is absurdly out of keeping with the character. He
sings the music, however, charmingly, (always excepting the
cadence to " Agnese la Zitella"), and that is a matter of the
utmost consequence.
The robbers, Beppo and Giacomo, are capitally sustained by
M. Zelger and Signor Tagliafico. The "gagging" in the bed-
room aoeue, however, is excessive and indefensible. Madlle.
Marai i» as efficuut as formerly in Lady Rocbarg; and the
•moll part of Masteo is carefully sung and acted by
Poloaini.
The applause throughout the first set was of
why, we cannot say. The sparkling overture, splendidly
euted, scarcely obtained a hand. Nor was there any attempt
at an encore. Is Aabrr's music too mild for the " swells" who
have drunk deeply of the strong waters of Verdi I
On Tuesday Fra Diavolo was repeated. The JIuguenoU
was given, " by general desire," on Thursday. To-night the
liarbtert for the third time.
Flotow's Martha is announced for Thursday next — with
Mesdann'3 Bosio and Nastier Didiec, Signers Mario, Neri-
Baraldi, Graxiaai, Tagliafico, and M. Zelger, in the principal
Death or M Art Scaem*. — We grieve to announce the
death of one of those men who have most contributed by talent
and character to the glory of our country. M. Ary Sehcner
SMecumbed om Wednesday (the 16th) evening to the attacks of a
complaint, the seeds of which had existed for many years, the
result being hastened by emotions occasioned by a recent
»ey— (Deceased attended the funeral of the late
' Orleans.)— Falling ill, at London, three weeks since,
r returned to his country only to bid his family and
i a loot farewell. He died in the fulness of his genii
ITALIAN OPERA AT DRURY LANE.
Thk engagement of Mesdames Viardot and Persian! was a
politic move on the part of Mr. E. T. Smith, of whieh he cannot
fail to reap the benefit. But the enterprising manager of Drury
Lane did not rest satisfied with securing the services of the
above distinguished ladies. He was desirous of uniting with
them those of a male artist no lew distinguished. " I am about
to produce Don Giovanni," thought Mr. E. T. Smith ; " why
not apply to Signor Tamburini / " Accordingly, Signor
Tamburini received a telegraphic despatch at Sevres. As
the old war-horse starts at the sound of the trumpet, and
feels the love of battle thrill through his veins, Sig. Tamburini
(wo ore informed) replied by return of wires, accepting Mr. E. T.
Smith's offer. Tamburini, therefore, may be expected to appear
in Z>on Giovanni, with Mad. Viardot as Donna Anna, Mad.
Persiani as Zerlina, Mad. Fumagalli as Donna Elvira, Mr. Chas.
Braham as Ottario, Signor Badiali as Leporello, etc., etc. The
band and chorus must be strengthened (if only for the sake of
poor Signor Vianesi), and, with such a cast, Mr. E. T. Smith may
reckon ou a triumph.
At tho first appearance of Mad. Viardot, as Ros'uia in the
Barbiere on Tuesday, the theatre, we need hardly say, was
crowded, and the audience more fashionable than since the
institution of cheap prices. With Mad. Viardot were united
Sig. Luchesi as Count Almaviva, Sig. Badiali as Figaro, Sig.
Insota as Bart nk\ and Sig. Aldicldt as Basilio. How
Mr. Smith contrived to bring together all these singers
wo cannot say ; nor have we tho least idea in what
quarter of the globe they were discovered. When we see
as good an actor as Signor Insom in Doctor Bartolo — a charac-
ter by no means easy to realise — we must suppose either that
sterling artists are not so rare as was imagined, or that Mr. E.
T. Smith has an eye upon every singer in Italy worthy Impor-
tation. Signor Insom (the name, by the way, is not byper
Tuscan) is an excellent artist, his humonr genuine, unforced, and
entirely free from exaggeration. His forbearance is most praise-
worthy. He never attempts to provoke a laugh at the expense of
the composer or fellow-singer, and has evidently studied the guar-
dian of Beaumarchais to the best purpose. Signor Insom has onlr
the remains of a voice, but he makes use of what there is skil-
fully. Signor Aldfeldt (neither is this name hyper-Tuscan) is
a clever caricaturist, and wears a longer brimmed hat than
either Signor Tagliafico or Signor Viaietti. Signor Badiali
makes a capital Figaro. He is hardly mercurial enough for the
vivacious barber, but the roguery and whimsicality ot the part
are well defined, and, above all, the music is sung with the
facility and correctness of a practised artist.
Signor Luchesi is entitled to a word apart. This gentleman
joined the company of tho Royal Italian Opera in 1&49, and
made his first successful hit as Oorradino in Rossini's Matilda
di Skabran, in which be proved himself a genuine florid singer.
On the burning of Covent (Jardeu Theatre he seceded from the
establishment, and, last autumn, joined the Piooolomini troupe in
Her Majesty's Theatre,
ains of it, is well
flexibility, the
most rapid passages lying within it* means, so that the ear is
never disappointed. In the dearth of Roasinian tenors, Signor
Luchesi is an acquisition to the operatic stage, comj»oratively
voiceless though he be. j
Madame Pauline Viardot Garcia is a star of the first magni-
tude in the musical zodiac Her first appearance at Her
Majesty's Theatre may not be remembered by many, but her
triumphs at the Royal Italian Opera as rides, Valentine,
Rosina, Romeo, and other characters must be fresh in the
recollection of opera-goers. In the Barbiere Madame
Viardot does not pay much more deference to Rossini
than her contemporary, Madame Bosio. tihe prefers her own
version of the music of Rossini, to which, nevertheless, though
wonderfully_ clever and felicitously ornate, u-# pre far, the
original.
the provinces, subsequently appearing at
Signor Luchesi's voice, or rather what
adapted to Rossini's music. It
U
gitized by Google
396
THE MUSICAL WORLD.
[June 19, 1858.
, aa her
■ Una voce * and " Duuque io »on " differ from those of
Instead of the bravura air which leads to Dr. Bartolo's
against modern singing, Madame Viardot introduced two
S]>anish ballads — wonderfully sung, and accompanied by herself
to perfection on a grand Broad wood pianoforte. Thus Almaviva
(Don Alonzo) forewent his office of music-master, became one
of tho audience, and was ovi.leutly as charmed as all the rest
by tho sorceress, who, with a glance, laid tho perturbed spirits
of the French satirist and the Pesaronian swan,
Viardot's brilliant singing and powerfully demonstrative acting,
in short, created an extraordinary sensation, which will, no
doubt, lead to several repetitions of the Barbiire.
To-night Madame Persian! makes her first appearance as
Elvira in / Puritani.
THE CRYSTAL PALACE.
{Abridged Communication.)
Toe great musical event of the season is fixed for the 2nd of
July, and will consist of a grand demonstration by the Great
Handel Festival Choir, with full orchestral and military bands,
to the number of 2,500. The Handel Festival Choir on this
occasion will be reinforced by deputations of the best trained
voices from the provinces and the Continent. Mr. Costa has
used his utmost exertions since last year to keep the 1,400 Lon-
don amateurs together, and in constant practice ; and they have
now attained a degree of excellence unsurpassed by any choir
in Europe. They will bo reinforced by about 200 selected voices
from the Bradford Choral Association, and by deputations from
many provincial and continental societies, forming in the aggre-
gate a chorus of nnrivalled excellence. The instrumental music
will be on a corresponding scalo of efficiency. The stringed and
wind bands of the Crystal Palace will be strengthened by the
addition of those of the Royal Italian Opera, the Sacred Har-
monic Society, and the Amateur Musical Society, and also by
the fell Military Bands of the Grenadier and Coldstream
Guards. Tho programme for the 2nd of Jnly is as follows :—
PABT I.
Chorals— The Hundredth Psalm.
Chant—" Traits, exultemuj
Trio f" hid Thine eyas,'
Chorus { " He, watching over Israel,
Chorus— "When His loud voice," "
Chorus—" The Lord is good," (Eli)
Quartet aud Chorus-"Ho)y, holy, holy," (Elijah) ...
Motctt — " Ave verum corpus,"
8ong and Chorus-" Philistines, hark 1" (Eli)
FART n.
Chorus—" Oh, the Pleasure of the Plains," (Ada snd
Oslstes)
Part-song— "FareweU to the Forest"
Chorus—" To thee, O Lord of all," (Prayer— Mose in
Egitto) ...
Trio A Chorus — " See the Conquering Hero comes,"
(Judas Maccabaras)
Solo A Chorus— "Calm U tho glsssy ocean" (Idomcneo)
■aeV') ^
(Jephtha)
(Elijsh)
Tallia.
Mendelssohn.
Mendelssohn.
Motart.
ha.
Handel.
Itanrt.
' Hear, lloly Power," (Prayer-
Song A Chorus—" God mto the Queen."
Whcu we add that the concert will be conducted by Mr.
Costa, that Madame Clara Novello and Mr. Sims Reeves will
aing the principal solos (including the " war song " from Costa's
AYt, by the last-named artist), and that Mr. Brownsmlth, of the
Sacred Harmonic Society, will preside at the Great Handel
Festival Organ,— it will be evident that a musical treat of the
very highest order is in store.
PERFUNCTORY.
" Sceptics as to tho justness and Talue of musical criticism (which
musical critics themselves are apt to look upon almost as an exact
science) will be fortified in their views by reading the different, and,
indeed, entirely opposite, opinions expressed by the bast daily and
weekly journals as to the merit of Bubhutein, the Russian pianist.
Of his success, both at the Philharmonic concerts and elsewhere, there
a doubt : indeed, bis success in every city in Europe where
ho hss sppesred is s well-known fset. But, reputation apart, a que*-
tion it now raited at to whether Ikit gnat pianitt can plot/ Ike piano —
for it amounts to that. According to one clatt of authoritiet is is (As
■toff brilliant, erprettiot, poetical pianitt that hat ever been beard.
According to another be it timply a rapid player who habitually playt
the wrong motet. Mr. Rubinstein (we can't call him Monsieur, for he
is not a Frenchman j nor Herr, for he is not a German j nor 8ignor
nor Senor, for he is neither an Italian nor a Spaniard ; and "Gospsdin,"
the proper word, is not understood) is to plsy st Mr. Benedict's con-
cert at Her Majesty's Theatre, on Monday next. Those of our readers
who are anxious to hear this musical phenomenon and judge for them-
selves (no bad plan, after all), will now have an opportunity of doing
so for about half the price they would have to pay for that privilege at
the Philharmonic Concerts."
One thing of three :— the author of the above quasi-affable
and positively ironical apology for Herr Rubinstein is a Russian
at heart ; or he is not an accurate judge of pianoforte play-
ing ; or he has a pecuniary interest in Mr. Benedict's con-
cert. In any and all of these cases, however, he is entitled to
consideration, so that he be not perfunctory. But when he aaya
— " of Herr Rubinstein's success at the Philharmonic Concerts
there cannot be a doubt," be is perfunctory ; for there was, and
is, a very great doubt of it. Nut less is he perfunctory in the
sentences we have italicised — since there was never a question
raised about Herr Rubinstein's ability " to play the piano j*
nor, on the other hand, has any "class of authorities" pro-
nounced him " the moat brilliant exprettive (.') poetical (!)
pianist ever heard" (unless the " director," who writes article*
on his own concerts in The Globe and Chronicle maybe regarded
as "a class of authorities") ; nor, lastly, has any critic pro-
claimed him " a rapid player who habitually plays the wrong
notes." To invent opinions, and then to combat them, as though
they proceeded from an adversary or adversaries, is perfunctory.
This has been done (unconsciously) by an esteemed writer La
the Illustrated Timet— to whom, with many compliments,
assurances of our * parfttile contitltration (and best wishes for
the success of Mr. Benedict's concert), we recommend wood-
cuts, in order that his forthcoming musical articles may be the
more readily perceived, swallowed, and digested.
MUSIC OF THE FUTURE.
(fro as the Athenttum.)
Am article in the Journal det Dibatt of the 2nd of June is
noticeable enough as a piece of special pleading to claim a
moment's talk, in a place where the talk runs on music. In it,
M. d'Ortiguc, hitherto known as the champion of orthodoxy,
enters into an elaborate panegyric of the concert the other day
given, at the Conservatoire Rooms, by Herr Litolf and M.
Berlioz. The elaboration is devoted to prove that both gen-
tlemen are unjustly treated by those who rank them among
the "musicians of tho future" a (designation which, by
this pleading, seems now to have fallen into discredit).
"They do not," asserts M. d'Ortigue, "intend or profess to
destroy forms, or to overset established rules — merely to en-
large both, at Beethoven did in his last work." The purpose is
daring, and the example not logically propounded. In the
interest of sound judgment, we protest against the parallel and
the deduction from it To deal with the latter first, we cannot
for an instant accept the hut compositions by Beethoven
adverted to either as models or as " points of departure." They
can only be thus received by those who fancy it heretical to
question the sense of every line which bears a great poet's sig-
nature ; and who show not reverence so much as superstition
by placing in the same light beauty and blemish, mist and
daylight, that which is intelligible, that which is not. It
is of no avail to reply to this that persons who wait
and study may discern intentions, links, traces of de-
sign,— may somehow spin some wondrous theory in apo-
logy for crudity, confusion, and want of proportion. The
resolution not to find fault with any work by one who baa
raised us high and searched us deeply belongs to idolatry, not
sane worship. The composition of which the meaning can only
uigmzeo
by Google
Junk 19, 1858.]
THE MUSICAL WORLD.
397
be guessed — where the truth and the beauty tire only discernible
by eyes which hare strained thomaclvoB beyond natural powers
of vision — is incomplete. Too much admiration cannot be
lavished on the colossal and original beauties which arc scat-
tered through these last works by Beethoven. However
gigantic in its scale, however difficult of execution, there is no
mystery in the allegro to his Ninth Symphony, — none in the
"Eyrie" to his " Missa Solennis," — none in the prolonged adagio
to his grand tolo Sonata in B flat. These things keep the
last works of Beethoven alive— not their crudities. Are any
such inspirations approaching these to be found in the writings
of the author* in question ? In those of M. Berlioz none. While
he has exaggerated (under the idea of carrying out) the ob-
jectionable peculiarities of Beethoven's last style — while he has
tried to create new forms by an utter disturbance of form, his
labour has been virtually an Egyptian task of making " bricks
without straw," — of planning enormous and intricate structures
without having originated that central master-thought, that first
seizing phrase, that goodly symmetry of melody, for whose sake
we forgive much disguise and dross, and the presence of which
proves the poet to exist, be his working out of the same ever so im-
pure and chaotic. It is this want, this abseuce of feature, this solici-
tude in concealing that which is mean and puny, which have de-
servedly placed M. Berlioz among those of the modern school,
whose
lee society M. d'Ortigue seems so whi
him. It is his interesting personality
-nine bars out of a hundred in his mus
' eager to
' which has given
to ninety-nine bars out of a hundred' in his music their power to
reach those who would rather believe in Genius than under-
stand it. The times demand plain speech in this
in the dearth of great composers, there may be
principles of composition being forgotten.
ACHIEVING THE NIMBUS.
u0n Wednesday night," says the Morning Advertiser, "in
addition to the opera— Troeatore*—* vocal and instrumental
concert was given, by special desire as stated, for the benefit of
Signor G. Operti, pianist to His Majesty Victor Emanuel II.,
King of Sardinia. Among the many foreign artists who at this
season of the year render the metropolis like the enchanted
isle, full of ' sounds and sweet airs,' Signor Operti, as a pianist
of ability, deserves an honourable position. In Sardinia he
appear* to have achieved the nimbu*, and, unquestionably, his
pianoforte performance last night in this theatre won for him
much applause.
" The pianist ha* a KOTO hazardous t.vk to accomplish in
such a large house as compared with the more confined and
compact music rooms farther wost. Operti successfully grappled
with the diffie»tl' y hy his vigorous and skilful touch, which made
the forte ]>aasagt--s ou the instrument reverberate throughout the
crowded theatre. Nor was the performer loss expressive,
effective, and brilliant in the more delicate portions of the music
under his finger*. Though orthodox pianoforte playing is, or
oaght to be, tin same all over the world, yet the musical Hive
can most commonly snatch a grace from such playing as that of
Signor Operti, not that he plays a bit better than some English
artists, whoso names could bo easily remembered— among them
the peerless Arabella Goddard."
* At Drary Lane Theatre.
ADYERTI
FREDERICK DENT,
Chronometer, Watch, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
of tht (9nat Clock for the »ou»« of tf.tliammt
61, Strand, and 34 and 38,
THE B 0 S I 0 ,
TUB MOST DISTINGUE OPERA CLOAK OF THR SEASON.
Tbe tons of this elegant OPERA CLOAK Is peculiarly recherche" and
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f.iatencd by a tie. and so arranged that it can be worn without crushing* the hood-
dress or i nj u ry to the hood, and is quite free from the objection . to which these a
d*«c. are lulls, vis., that ol giving undue height to the shoulders of tl-o '
THIS BEAUTIFUL OPERA CLOAK,
PBtlGXED BT
FARMER AND ROGERS,
fan be purchased only at tboir
GREAT SHAWL AHD CLOAK EMPORIUM,
171, 173, and 175, ~
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cored by F. M. HERRING'S PATENT MAGNETIC OOMBS, HAlit AND FLUSH
BKUSHK8- They require no preparation, are always ready for use, and car
get o.it of order Brushes. 10s. and 16a. : Combs from is od. to 20a. Grey i
eudlmldn
Offices,
become* Grey, and lis Remedy." gratis, or by post tor tour stamps. Sola by all
chemists anil jierfumers of repute.
prevented by F. M. H.'s Patent Prev»i tire Brush, price 4a and 6a.
32, Beiii!gh.\U street, London. Illustrated pamphlets "Why II sir
MR. HOWARD, Surgeon-Dentist, 52, Fleet-street, has
introduced an entirely new description of AFITIFICIAL TEETH, fixed
without springs, wires, or ligatures. They so perf. ctly resemble the natural
teeth aa nottooedi*tif>gulsi>odfroni the original* by the closest observer- They will
never chance coJour or deiay. and wilt be found eu|wrior to any teeth ever before
used. This method dues not require the extraction of roots, or any paiuful opera-
tion, will support and preserve teeth that are loose, and in guaranteed to restore
articulation and mastlosUou. Decayed teeth stopped and rendered sound and
useful in mastication. S3, Fleet-street. At home Irom 10 till 5
FRAMPTON'3 PILL OP HEALTH.
Price la l^d., and Sa 9 J. per box.
THIS excellent Family Pill is a medicine of long-tried
efficacy for pu rt lying the blood, so very essential for the foundation of good
health, and correcting all disorders of the stomach and bowels. Two or three
doses will convince tbe amicied of lia salutary iflecla Tbe stomach will speedily
regain it* strength, a healthy action of the liver, bowel*, and kldneya. will rapidly
take place, and renewed health will be the qiuck result of taking this medians,
aocordiug to the dlroetlnos accompanying each box
Per*. lis a s full habit, who are sol Jsct to henda
singing In the cars. arisiiiK Iroin t.>ogr.at a now of
be without them, as many dangerous symptoms will be rotln ly cnirlod off
their timely use ; and for elderly people, where so occasional ai*-tioot la ro<tiiln
nothing am be better adapted.
Fur fl males these pills are truly excellent, removing all obstructions, the
easing hesdaxho so very
•debt, nervous affocti ma, I
cho. giddiness, drowsiness, and
blood to the head, should never
treastng hesdaxho so very prevalent with the sex. depression of spirit*, dulooas of
light, nervous aflecti ma, blotches, pimples an '
a healthy, juvenile bloom to the complexion.
Sold by all medicine vendors Observe tbe
London, on the Government stamp.
itches, pimples and sallowuos* of tbe akin, aud gives
ofTbomasPro.it, S», I
BOOSEY AND SONS' POPULAR DANCE MUSIC,
as performed at every place of puhlk anius ruent— Laurent a Maud Valee
(third edition). 4s. Laurent's Argyll Galop. Ss
Lamotlo's Traviata Galop, 2a. Laurent* Roma
suerite Polka, 3*
b" Albert* Liud* C
Set of Lancer .
liibed lor orche
Booeey and 8- in*"
I.H.I.. It. • Adc aide V»
Valse, 4a Laurent 'a |
ualcal Library, llol
lor aeptett,
iUee-»tn«U
THE HARMONIUM MUSEUM.
In one ceJ., dot* (166 payee), price It. 6d.
COSTAIXtSO
On« Hundred FaTooriu ■abject* of a I
CELEBRATED COMPOSERS,
HMD asaasosD roa ths bsrhokh-m bt
RUDOLF NORDMANN.
b'" ^"u^ocntX HKamr.
Ths cnmprehenalve nature of Ibis work (com billing the usefulness ol *u inatiuc-
tion book with the rueouroee of a musical library) renders it indi>penaable to every
Musical Library, SS,
Digitized by Google
398
THE MUSICAL WORLD.
[June 19, 1858
MESSRS. DUNCAN DAVISON & CO.'S
LIST OF
OPERAS FOR PIANOFORTE SOLO, in 8vo.
ADAM (Avolfu)...
DONIZKTTI
" La Muette de Portici
" La Fart da Diablo "
"(hcvnldc Hi-onio"
" Lea DLantans do la C
" Le Domino Noir "
••naydee, on h Secret"
"Gindda"
"La Favorite" ...
'•Bobcrtle Diablo"
«.
10
8
10
10
8
B
8
10
12
d.
0
Q
0
0
0
0
0
0<
0
MKYKRBEER ... "Lea Hnpueoota"
HE HOLD " I>o Pra aox Clow"
ROSSINI "GBiilaumoTett"
HALBVY •• La K« wax Roses "
"ILaJaive"
*' Lea Mooaquetainis de U Rwuo "
"LeNabab"
•«Le Vald Andorre"
"LaHciMdoCbypm"
a.
u
8
i»
8
12
8
10
8
13
.1.
o
o
o
0
(>
0
l»
0
0
in 8to,
D. Daviso* k Co.
from 8a. to 20a. each.
NEW VOCAL MUSIC.
•* Thou art no far, and yet so near," by A,
** Quick arise, Maiden mine," by J. Dbssackb
* Whan I was young," by E. Dacca ... ... ...
When lint you shone before n»," by ditto ... ...
"To-morrow,'* by C. J. Haboitt
" Lord, bear us, we iui|>loro thee" (La Juive), in F, by IlAifcvv
" Ho will bo hero" (" II ra veuir" (La Juive) In C, by ditto
"Toe old Willow Tree," Ballad, by S. J. Sr. Lbosb
" The Troubadours Lament," by Looisa Yabbold
" Persevere, or, tlio Caracr of Harslock," by 0. Bbaii am
■ TUB VERY INQBLS WEKP. DEAR," br MoiaBT
"HERB. II i'.t; ;■; ON THE MOUNTAIN REDLINING"
» Sweet little Jenny," Beikd, by H.
" My Mary" ditto ditto
" Pwiuita," oouipoacd fur La Signora i'tuuagalli by Q. A. Mac-
FAEBU*, ... ... ...
" Hurrali for old England," in honour of Sir Colin Campbell, by
E. NOBlAt
'* Oh ! I would wend with thee," by the Hon. Mr*. OxsviXLC ...
IHtUs as a duct for barytone and soprano, by ditto
" Qaand on me donncrnit," duet for soprano and tenor, by ditto
Ditto, as a solo, with guitar accompaniment, by ditto ...
).by
Kstra Viuloncrllo or Violin part to tbe
" NEAR TO TUKE " (Nehen Dir), with violoncello obbligato, by HlTnim ...
"THE LORD'S PRAYER," for soprano, alto, tenor, and baas, and organ ad lib., in aooro, by Metbhbkkb
"THIS HOUSE TO LOVE 18 HOLY," Serenade for 3 sopranos, 2 contralto*, 2 tooon, and 2
Mnnnn ... ... ... ... ... ... ... „. ...
Separate rooal parts to both the above
" Mournfully, aing mournfully " (Violin or Flute obl>liguto), by J.
*• Where is the sea" (Violoncello or Viola obbligato), by ditto...
...
Cbuwkll
cadi
s. d.
s o
s o
a s
2 0
3 0
8 O
2 O
1 0
3 0
4 0
0 6
* O
3 O
3 6
0 6
2 6
3 0
NEW PIANOFORTE MUSIC.
«• BACniANA"— No. 1, Fuga Scherumdo in A minor ,
Ditto No. 2, Preludo and Fugue on the name " BACH "
»,» The above are select pieces from the Pianoforte Works or J. S. Bach, aa played in public by Miss Arabella Goddartl.
THREE LIEDER OHNE WORTE. by C.J. nergilt m
BELLA FIOLIA (trans. riptioo of the qiautet from " Rigoletto ") by JctM Hbimac
QUANDO LE SERE (Oinglini'a popular romance from « Loiaa Miller "), by JtlLBa BsiaaAC
PAULINE, Nocturne, by G. A. Osbubxb
CAPRICE H01I KM K, by R. LlXftLBY ... ... ... ... ... ... ... ... ... ...
LA JOYEC8E, Souvenir dea Champs Elyaers, by C. McKoitKCLL ... ... ... ,.. ... ... ...
SOUVENIR DE GLCCK (Armide) by C. McKobkiLL
SUNSET QLOW, Roverie, by E. Ao*Il.A*
KLISR, Romance, by E. A Gokioir
A SUMMER'S DAY. Romance, by E. Moxiot
CLARICE, Moroeau de Concert, l>y A. FphaoaLU ... ... as* laM •■» ••• aaa mhm
PIANO DUET.— DON PASyUALE. introducing "Com' o gcntil," by Ricakdo Lihteu
«. d.
... 2
... I
... ;
"* 3
... 3
::: S
... 8
... 8
... 8
8
>m Ma • •** 0
I» tht Prttt.
"REPERTOIRE DES BOUFFES PARISIENS."
A Collection of Quadrille*, Waltses, Polkas, 4c, arranged from the most popular Operas perforated at the theatre of the u Bounes PajUicn*.'*
Price each, from 2s. to 3s.
"marta:
copyright of the new
MM.
nd French versioua of M. Flolow's
A*t> Dt roVB, of Paris. Mi-awa. D.
of " Maria" is
and Co. hare tbe vocal
vested, under Hie International Copyright Act, in
I tbe vocal music now on (ale.
344
LONDON:
DUNCAN DAVISON AND CO.,
DEPOT GENERAL DE LA MAISON BRANDU3, DE PARIS,
REGENT-STREET, CORNER OF LITTLE ARGYLL-STREET.
Digitized by Google
June 19, 1858.]
THE MUSICAL WORLD.
399
FRENCH VOCAL MUSIC.
LE CHANSONNIER DU JOUR:
C1IUIX DE* PI.VS XOl'VELLES ET I'LfS JOLIES
AVEC
lot
11
11
i
14
If.
1*.
It.
It
31.
t*.
IS.
14.
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Le Torewkr ..
Le. Dot d'AnrasM
Lha-nvai qulle out DKllti
Le Tempn i i« 1« roulette
Une Fleuruourr'
Enavaol .V
La Soleii do a:
M i Brunette
Ta VoU ..
Laiee- <-moi i
0»l, Moaeleiu- ..
N<'d, Moauicur . .
IjUMcx-mot r*itner ■■
La FunvutUi du Cuutou .
T» M.O11
U ftUlHouiao Ncir ..
LA BAie* iictian d'uoRn
MIWIl DC
.. EdeLaeuey..
m Mme. Jourdain
E deLonlii;..
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HI tdiu to* rtvreUez ! ..
IWou m'a DM Juil rura rone . .
Polneo-tu que CO eoit Calmer !
Berthe, U llicw
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I<« Ouiioux blond. ..
du boo DIob
Button d'Ortmiror ..
it Am, ou U Prierc, etc. . .
.. EdeLouUy.
.. M.C
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K . [c. 1
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Amend
tte dAdWmar
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SL UN.
St. Lc. I'etiU r
S3. La Prisjan dc U Flrur . .
94. Plcurettn
M. FliudeMtn) ..
S<. BenodottA
ST. Bouiuet do M • .
38. Tout touroc an Moulin , ,
39. PbUeeto ■• ..
40. Le Fontaine out Ferlt*
41. U Mn-ioU
4L U belle.
43. Mam Cocur. .
44. Nennlda ..
44 M-<ii.i»
40. I'euvrettc. mnia 1:
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Deux Marvueritea
JOroma I'OuTrlev* • •
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Li Mio|ulae .
L« Royal Tambour
Bof»ut, n'y louche, pai
Joan no moot paa I
Le "
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Martuuiu
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F. Tourt*
Hi. h name ..
A Porta ,.
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»t Julieo ..
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Victor Hugo
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K da Loiilay
G. 1/eai-Hoo ..
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L>o Fondraa . .
H. Guerin .,
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Price One Shilling- each.
CH0I1 DE CHANSONS tfftBRES FIIMCA1SES,
NON COMPRIS DANS
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" LE CHANS0NNIER J)U JOUR.
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B00SEY AND SONS' Musical Library, 24 and 28, Holies Street, Oxford-street.
Digitized by Google
400
THE MUSICAL WORLD.
[Junk 19, 1858.
PUBU^HINO BY SUBSCRIPTION.
HANDEL'S SIX ORGAN CONCERTOS,
aDtTXD AM> SRRiSnrD
BY W. T. BEST,
OrganiM o/fi». Otvrf'i Ball, iierrpoot
PRICE TO BCBSCBIBEKS, FIFTEEN SHILLINGS.
-' Uro»> the occasion of the paiutmmm of lha Oratorio of - Either,' during Ui«
Lent rum of 173% at Covent Garden Theatre, Handel gratified loo public with a
species of manic of which he mar be said to be the luvcitor. namely the Oraan
tWrrt.-. Pew bot his intimate friends were eeoslbe that on this instrument ho
bad scare-- hia equal iu tho world ; and he could not but be canadi.ua that be
poeaeeeed a atjfle of performing on it Out at least had the charm of novelty to
recommend it; and. finding that bin own performance on the Organ uever
tatted to commnnd the attention of hU bearers, l e act himself lo compose, or
rat bur make up, Concertos for that instrument, and uniformly interposed one in
the cures of the evening's performance " So writ-* Mir John Hawkins of
Handel's Organ Couorrtos una their performance iu Ida " lllatory of Music,"
Vol. II.. Bo.* to. Chap. 1M Dr. Buruey also remark*, as showing the |kjj>u-
larity to which tbey had alUiucd in bla time, " I*ublie players M keyed Inatni-
me.ita. aa well as private, tomfiy ruesisvrd 4>i tkt*t Com-* i-Iom for neonf* (airtjr year*."
Han lei c>inpoaed twenty-three Concertos ror tl>o Organ, of which It ia now
propoaod by the Editor to republish the Flr»t bet of Six. They were wriUeu with
an accoii'javalmrtr. fur two Violins, two Hautboy a, Viola, and Vlolonoelln, ia the
feat* )Mian<urea, Of the ft rat aix Concertos it n, j cam that the first and fourth
only »r> original couipu«ltlo» for the Organ, the remaining four b>iiig adaptation
from the early Instrumental worte of the Composer. Tbe proetioe of "making-
up" worka from various sources waa by bo. mean* sparingly rcaorted to by Hon 'lei,
aa many of bU important choral and iu«trura ntal comp^«IUona largely bear
wltncaa. Tbe original edition baa the f.llowlng lltlo : — "Six Concertoa for the
Harpsichord or Oigan, eompoied by Mr. Handel. *.* These Mix Concertoa were
published by Mr Wal>h from my own copy, corrected by myself, and to him ■ nly
I have given my right tbareiii. Gborok Fkiockjc Hakdbx. Londou : prtDted fur
J. Waleh, in Catherine Htrect. in the Strand ; of whom may be had the Instru-
mental parts to tho aVov: Concertos "
The Oratorios mentioned by Sir John Hawkins woto chiefly performed at Die
old theatre Is Cot out Garden, which waa tint by Ricb ill mi. and ricatroyed by
fire on the Soth September, 18tiJ, the Organ left by Handel eriariog the some fate.
No account I* to be met with of tho Inatrumcnt used on theso memorable
maiaaiiiin Au old print, however, of the Interior of tbe theatre la ►till in
existence, hating a view of tbe Organ and Orchestra, aa arranged for the Oratorio
pcrformauo a, in which the Instrument appeara of nut limited dlmenaaotia, and,
aa usual wi'h Eng'-Uh Orgai.ti of that period, it must alao have been dcetitute of
the newaaarv aritwmbwc of a pedal-board
Uoxurut be doui*rd thnt the porf .rmsjioo or UieM Concertos upon a modern
Organ. c unbmed with the iuatrumetila aa In ImOrd by Handel, would prove moat
mi <*,i isfoctory ; for, however the number of Vivlina and Oboes) m ignt bo increased,
tho miff poae'g' 9 ould uever have a genuine effect, opfnswd aa unco, ft acuity
Orchestra would bo to the wctglit and brilliance of tone peaeaaMd by Orxana of
any proteuaioa in tbe jireaunt day. ticeidea «li cli. th" instrumental iou in the
original work ia thin and meigrc, tbe Oboei and Violins frequently p ayilur in
unCun. wiiile the toner liariu.uy In rather lna.lc<iiiat, ly supplied by tin; Viola.
M Doctor Bcrll k In hi* retnarkal :« work. "TniU .l-liuvtnime«ilaU.«n et
d'Otchcelrathm M.^rno," nya very truly, with regard to the uulou nf tlio Organ
ra:— ••There aeema to exist lietwecn tlieae two musical powers
y The Organ and Orch>stra sru both kings ; or, rather, one Is
. the other Pope ; their mission is not the same, their interests are too
I too diverse, b> be eonfuunded together. Therefore, on almost nil ccc
is, when this singular oonil.Uiatlou l» atteii.pted. cither the Organ prodomlnar
r tbe Orcl.rstro. or the Orchestra, baring been mined to an Imin«leraie dwrr
f i,,,u.0o, ^moet ccUpees .U odter-ry. It pce,,b, to hier,d the O^u with
It is
tbe divers constituent eh
of the
For tlte reasons above stated, and agreeing with the opinions expressed by
M Ucrllox, adverse to tho combination of au Orcim with the Orrlveatra iu a solo
I- ' snce. the PJ:tm \,M k .i.,: 1. 1 I, am.tig.- C01.0 -tt for tbe Oraim nlouc .
and. by a reinforoeraent of Us rrgtsters at the nsKi nftssages, to make due proviaion
fur Die nppropriste rendtniig or Hit while ompneltloii >» Uu uisrniiaral ilssf/.
The Organ part in 1 he origin » I consists principally • f a mere Treble and Baas .
a few figures being added hers and there to indicate the chorda. No sinrgoatbius
are g> ven tor a change of claviers, nor any direction .ia to the use of particular
registers, neither is lbs pedal employed In any ports. *n of the work. A remarkable
oprortunity la uDdoiiblodly oSerea for the exercise of musical ability In ton
aoliilating and filling up ths significant outlines given by Handel Into an artistic
whole, a tank which perhaps demands the highest power* of an Organist.
Though exception may be taken to tbe style of antuo of the movements. If
critically viewed from the siand-polnt of musical taste at tb
there exist such manlfcstatlotsB of i^owor. such r 1 1 11 nasal and I
such symmetry in form, and such an rntimale k.ii«wl<t%s of tbe
Or. an, that tliese (Joncertos ought not to be allowrd to (all Into
hindratioe* presented by then- original form to an effective pcrfm
modirn Itiatriimenta,
Iu the present attempt at a repc. ducticei of Handel's ax Orgi
|«nail
day, yet
PToesskm,
■ of the
'rem any
iron our
Editor muit not be rvgaruVl aa ettdoavourni,
treatment, but rather aa preacnting a |<ra<riieal
rending a favorite and most vxlueefwork, sfler
to c toroa a fiartl
lustralK* of hla o.
a dil'Ectit study if *c
Conocrtoa, the
ular mode of
fit Oeerja". BaO, Linrpool, «u Vay 1W.S.
8ui«Joriber.- Names are received by the Publisher. J. Alfred No
received.
cral viwrs.
W. t. BEST
Dean-
LUIS A MILLER.
IN ITALIA*.
Tlie
in i\r i-irifli'm/ ir*u •
• *w v rwaj V svy B>vsy*s>a a* ss as w
Lo vidi e 'I primo, ]
Ali ! tutto ro' »rrlde, Eedt.
II m'to mngue, Aria ... ,„
Sacnt U soelta, Ann
DalP alle mggutnt*, 8c. e Duet
Sotto al mio piedd, Sc. e Duet
Tu pviniacimi, o Signore, Aria
L' oltro rt'taggio, Sc. o Duct
Padre rictrvi 1' >
PrcseuUrti alln ]
PUngi, piangi, U tuo doloro, Preghiera e Duet.
Qtutndo la were al placid o, Aria
TroMpoted Edition*.
Qoandn 1« §er© in K flat and P ...
Ia touiba c an lotto, Duotto (E Hid)
a. d.
.. 18 0
I 6
i 0
% 0
9 6
S 0
4 0
5 0
3 0
4 0
19 ENGLISH.
Softly 1 1 ' ■'_} ' . - ?■ of «r« did aigh (QvaWdo I* acre)
1 0
3 0
1 0
FOR THE PIANOFORTE.
Booaey and Sorn" ooupleU edition, with deaKriptioo of the plot
and music i» cloth ... ...
Grand Fantaiiio, by Cliarlea Voes
Crinnu., arranged by Madame Onry
Fantauie, by Oeaten (Hommage I Verdi)
Qnarido It kit, by Nordmann
Lain Miller Valte, by Laurent ...
Miller Qtiadrille, by
... 6 0
... 4 0
... 3 0
... 1 «
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... 3 0
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ORCHESTRA
Miller Quadrille
... 3 6
... 3 6
lOVDOK :
H0OSET AND SONS, 88, HOLLES-STREET. OX POBO-8TREBT
Wtu-Wlrk-
PnbllaUed by John Buoaar, of Oaatiebar-blll, ia the parish of
County of Middlesex, at the office of Bootr.r A Sons, tt, Holles-etrevt.
alao by Rcxn, 1&, John -street, Oroai Portlaud^Croet : Allkx. War
lane; VicKitaa, IlolywvlUtreet j KntH. Paooan, A Oo , 48. Choapafle ;
O. .«•. iixi bxtaNsr, >«. Newgate-street ; JouM Httarfttan, Newgale slim t ;
Hsaar Mat. 11. Hoi bora bora. Agents for Scetiand, FaTnaoK A "
; for Ireland. H. Bcassr.t. Dublin; and aU 1
Printed by W ilium Srxst tn Ji
lame. In the Pariah of 8c
netvxrday, June 1», ISM.
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"Tug worth Of Art appears most iminrxt la Muuc, sixes it heqi-ikeh no matkmai, ho sitdject-matteu, whose arrsci mcst
BB CSDCCT1D. Il 18 WHOLLY FOBM AXD POWBK, AMD IT HAiaiM AXD BKX01U.B* W11ATIVKU IT BXl'HIoSga."— Quetkt.
8UB8CEIPTI0N:-Stamp©d for Postage, 20s. p«r annum-Payable in advance, by Cash or Post Office Order,
to B00SEY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 26.
SATURDAY, JUNE 26, 1858.
J PBICE 4d.
< STAMPED Sd.
WANTED, by n young man, aged 30, & Situation as
Sslesman or Ami stent In s Pianoforte or Miudo Warehouse Thoroughly
I Coocextilia-Addrem, A. C,
AN ORGANIST is wanted for the Church of St. Alphage,
London Wall, who will take ao Interest in improving the church music.
A new organ for this church )• now being erected by Mr. C. Brlndloy, of BhelBcUl,
on the same principle aj the new Don caster organ. Salary. stSe i<cr annum.
Testlmonlale to be «nl to Key O. Kemp, Sion College. B.C., on or before
LATJRENTS ROYAL QUADRILLE BAND. — New
OIBce. at Mean* Booeey and Son*. 54, lloilewetrert, when; full particulars
may be U*<1.
B
IRMINGHAM TRIENNIAL MUSICAL FES-
TIVAL, in aid of the Fundi of the GENERAL HOSPITAL, on the Slat or
August and the 1st, 2nd, and :ird of September next. PicslJcut — The Earl of
DAliTMOUTH.
MR ALBERT SMITH'S MONT BLANC, Naples,
Pompeii, and Vesuvius every night (except Saturday) at S; and Tuesday.
Thunvday, and Saturday afternoons at 3. Places can be secured at cl-o Box-oflSce,
Egyptisn-hall, dally, between 11 and 4, without any extra charge.
MASTER C. A. DREW DEAN, aged Ten years, who
htm tiad tho honour of performing a Solo oo the Patent DiaiouJr Flute, by
Biecama, at Buckiiufhjun FtU*ce in fom Her Meet Greci>>UM Mitjwtv. too Princv
Conenrt, and tho Court dixie, with great eucocea. Her Maje-ty -ltd Court eipn«-
lug their epeclai apbroral. ta op«u W rvoeivu en kh* en tenia at prirate or public
cooctrta. Addrew, 15, Oum|*tou'«treet, Brum w ick -*q uarr, London.
ST. JAMES'S IIALL ; for One Night only.— THE
BRADFORD FESTIVAL CHORAL SOCIETY will make tbeir first s
•nee In London on Tuesday E ruling next, June 38, st Eight o'clock. Solo
~ ro forte. Sr. Charle
Us. ; and a limited
rill make their first apji
. Eight o'clock. Solo Vk
:. fir. Charles Halle. TVckots, is. Sd.
md a limited number of SoS. Stalls, 7s.
t; and ChappeJl s. SO, New Bond-street.
I'CoUs,
ST. JAMES'S HALL.— THE VOCAL ASSOCIATION,
Conductor. IL Benedict— On Wednesday ermine. June 30. Mendelssohn's
HYMN OF PRAISE a-ohgvssintr) ; Concerto In B flat. Pianoforte (Moiart).
Mr Charles HalW; Overture to Shskapere's play, Usury the Fourth, Joachim
(first lime of twrf .rmn.nc" in England). Artistoe-Miss Louisa Pyne. Miss Ktsb-
Wb. Mr. Montein Smith. au<! Heir Joncklni 'I be Band and Vocal Association
united will number Four Hundred perfwruora Tickets, 2». «d. and Is each ;
Balcony stalls, 7., Od ; Sofa Stalls, 10a Sd., to be had of all the pnucipal music-
MR. AND MRS, GERMAN REED'S NEW ENTER-
TAINMENT. — The new Series of Illustrations by Mr. rind Mra Reed (late
Miss P. Horton) will be repe.ited every evening (except Saturday) at Eight
baturday AfUni tin at Three- Admissioii, Is.. 3x, and 3s. ; Stalls secured without
Illustration, H. Rtgctil-stnx-t, and at
cay Aftern oon at 1 hree. A emission
charge at tbo Royal Osllsry of
er. Brale. and Ou.a. 201. RegonWtr
EDUCATION IN GERMANY.— DR HE YD EN.
FTinktoi t ou-tbe-Main, is desirous of replacing a few MngUeii Pupils so
boarders at his own table. Bound education and liberal Instruction English
divine service. Good references froroparcuta Tenm
culart may be had by applying toC. Boose*. E*(. (lit,
sr|uareA wLo has two eons in the cstaWiabmcut.
HERR REICHARDT begs respectfully to announce
that he will giro a MATINEE MUSICAI E, under the patronage of
H II H the Duchea* of Cambridge, the Countess A ppc y , Countess BorustortT,
His Excellency Baron Brunow. the Ducbess of Wellington, the Duclit.se of
KutbctlaiKl Uie Marchioness of Downshlrc. tl« Countos. of Jcney, the Coo o toes
rf Fire, the Bsroueeo Rothschild. Lady Shel'-ey. end tbo K>tl of Westmoreland.
t st Two o'clock
:h« Bsroueee Rothschild. Lady Shelter, end
ay, June S8Ui, st tho Hanover-square Reouis.
to be bad at the residence of Ilerr RcicU
26
iMAPLESON AND CO.'S
BHI«*"jBE 4k TOfiSIfifii iBSfiiCAL AfiSfiCY,
OFFICES :
CLrVRENCE CHAMBERS, 12, KAY MARKET. LONDON.
Tm» Agency hns been ea'sbllshed for the purpose of supplying what has lean
so long required both by Managers and the Musical Profession generally vis. :-a
medium ofcommunlcatwii, and greater facilities fur tho tnuisncthm of M business
connected with Music
with tho uuuoat iirotnptuias. complete
" the Chcnd. Orclieetral, aud other
This Agency ta in a |s«iUo>i to arrange, with i
peraUc or Cvuccrt CompsiiUs. and supply sll
quisites: iilso to negotiate cugageini uts ut every kind for Arli-tr> ol ability -mtl
ruTd Instnunenial. vblel. canuot fail ii^terirJlr to a<»ist lu the
« and diacultios which have hitherto greedy retarded the
vocal
advancement of tbe Uric art In th-s counta.
Registers are kept for the gratuitous Inspection of Marnvcrs. cuuuiuintf entries
or the names of vocal and Instrumental artists wonting engngements, with sll
nvceeeary particuUia, *c.
Mt-aicsL Ksrr.ae.8.— M. W. Balfe, E»^ , Cork-troe». BurUngtou-gnxdens;
Stgoor Schirs, 17. PrtiK**-eirwt, Hanover-square; Jules Bouulict, E-i . -, Mnn
clicster-square.
Mxntosi. Kxrrnix.— John lla«tliun. Esq . M.D., 11, Alhanurb.-sirout
8«>LK'1TX>R — (.tblirUa Maddnck, Esq , 16, Serjeant't-liiB, Temple
Bavxna, — Union Bank of Loudon.
MesAOXSL — J. H. Maplcson, Es.^., 7, Olotucoater slro.1, R>s;ci I's i ark.
OFFICE HOURS FROM ELEVEN TO FOUR.
Just Publish* 1 I*rice
HE PEOPLE IN CHURCH : their rights aud duties in
connection with tbo Poetry aod Music of Uue BoJ,kL£f Commoti '"rsyer. by
T
-a. eonDixrion with tbo Poetry
JOSIAH riTTMAN. Chapel-mi '
Bell ami Dalby, 1»0. F.i o' -street
OIGNORI EM BILETTA AND SOLIERI S ANNUAL
O Q RAND MATINEE MUSICALE, at Willis's Bts-nia, on Monday next,
June 5S. to comnieuoa at nalf past Two o'clock. VocvUsls :— Mesdamcs Louisa
Pync Susan Pyne. OiiiTnghsme, and Maroollnl ; S.gnori Mar ma, Soliert, Badudl,
M.^ia'n. Cimlno, Herr Rlehard Deck, tail M. Jults l«fort. InstrumenlalisU —
Herr Rubinstein. Herr JoeeUim. Sig. Piatti. Sig. Cavslli ; Pianist* Accomisitfua-
teurs. MM. Benedict. Camparis, Plusuti, Btletbi. and Baife. Reserved Se.it s, lis. ;
Tickets. l»s. 61 . msy be Ld or Siguori F.„. Blletta and 1 Sj-lleri. Ml. Regeul-
street ' ths pnnciirsl inuslc-seilcre : and R. W. OlUvicr. If, Okl Bond-street.
unnipt rue rATuoiM.r. or
MOST GRACIOUS MAJESTY THE QUEEN,
Il tll THE PRINCE CONSORT.
;n to cutrnronieuU
ttij.tnictivo
AND
THE ROYAL FAMILY
Da. Mask begs ror»t roB)>:etfuUy to aiiui-tiuee tluit
with his highly approved, inUrestlug, plena
MUSICAL ENTE RTAINM ENT,
DR. MARK AND "HIS LITTLE MEN,
numbering upvards ^^^,tBu^,^^^,0'|, ^^t^11"' C1",™,,
JUVENILE ORCHESTRA,
tejuroar.t) or
Little EnglLh. Irish, and Scotch t«»y., froin five tn idxtcec ' i^"^.*^'^0 »Jg
„p.;rutlc selections, solos, duets, quartet-. q.tmliHU*. marvhw and - ^
siuii-iiigs cbonifc*. *c , in >m<« cflvetlvc intiiuwr. Mid to wlwrtl he Ifrosa
, . ....I ,..,»••• .'..i.. M.i I..W» i .b I si..U..y..l-1-rc.ved
iyitem orEwiial cduo.rlnn, and with -Inn, ,. ti;f V^f « "y*Lto
exouau interest for ...oi help to ctib ui. u.n, ^. Inatlt uIImij. crdle.1 Con-
rcrvatr-ircn of Music " for little children in every town, cite, slid rlUsge or this
great smptre^ pW Free Tn. le Hall. Manchester.
I>r Mark aud hi. Little Mcu will prceecl. .Umc « to Manchuslcr. Slid l »riorm
June «. Tuesday, Juuv .:\ and Wcuuceday.
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402
THE MUSICAL WORLD,
[June 26, 1858.
rP0 LET, Exhibition GaUeriua of the Society of Britiah
JL ArtUa, Butf<4t.«troct, Pal--m.ll Eiut. To let, mrly in October, after the
rloii of tbo 8ocl*tT'* ExMUitwn, until the end of Fcbnwxy next, the cxtcusire
(fa.ler.4tt iu SufTofk-fttrort. P*ll-m»Jl K**t, comp7i*ma fivn ironv*. Mid council
room, *c The |irioriaai room Is 00 fact, by 40 Uxt, nu-i about 50 foe*. ..t^b, and
is couaidcred the best fL/blol room la Loanen. cither by d*y or bight, for vxblM-
Uuna of art* lectme*, or tbe ft"ir^M of litvtmry, voiciitiBc, or ni tunc^l •iKfotn*
The extent ol the gitllery U ISO feet, by «i) feet. For jiart.cul.irm, amily by ktUr
to Mr. Chilcote, Society of British Aunts, Suitolk-fltrcct. r.ill-mall t+sl.
ONE 0P THE FINEST ORGANS IS THE WORLD
TO BE SOLD,
si it* M r roe. A
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL.
Apply to the Publishers of the " Musical World."
PIANOFORTES. — DEWRANCE'S COMPENSATING
PIANO may now be aeon at the depot, :W. 8oh.ni.viwe By the application
of thu principal * heavier string cnu be ua»d. the result of which Is, that tho lull
of a grand U obtained from
a a cottage Intimintait, st the same Urn* the
res su<l the frame on which thov are strung expand and contract with change
oi temperature equally and lowlier. % • li st thu necessity fur frequent tuning, us
in til* ordinary L-strucnenl. u> entirely obnuiod. For fu nnas and roundness of
tocw, with extraordinary power* of modulation, these instrument, sic uiilie uu-
0 pudlcd. at the sumo time tbe price is no higher than that of au ordinary pi.uw
THE IMPROVED HARMONIUM. — Mr.
BVANS, Inventor of the BopHlsh Harmonium (exLlMted In London lu 1*44),
colli attention to the Improvements ho has lately mode in this instru.reuL The
subjoined testimonial from Mr. Alfred Mellon Is one of tho many he lias received
fteu) omloeut professors ; —
Tut VaLa, Kino's Host). Cutuu,
M it !. Ii'tb, l«i-
W. E.
*)«*» hi*.— I have much pleasure in givlug you my opinion upen ycur
Ifnitnnliim ; It is the bast uistruuctit of the hi. A\ have ever heard
To Mr. W. E. 1
Tout, v^ry truly,
ALFRED MELLON'.
Now ready, in 3 vols , with Pine Portrait, tla ,
MEMOIRS OF RACHEL.
'A book sure to attract public attention, and well meriting it." — (I'leof,
*A boat able and interesting bonk." — t%ivmdf
' Tho deep intcnet leit in tbe life of so ureal a dramatic c,rnlu*, wilt secure for
- » * largo and cultivated circle if renders.— eon.
it and ISIackati. Fuidlahcj,, It, Great Marltcruuga-sbcct
H
woo are wwimc uu.o arm mL.ney wmim jus
omneneuoe with ibis work, wo fa. 1 p*r»ualni
it Leap at mors than double the prU of the
London . Robert Cock* and Co , New Burb
AMILTON'S MODERN INSTRUCTIONS FOR
THE PIANOFORTE. Price 4a
"Words are wanting to *iy anything which Las not been already said In favour
of this raanarkablo work The l&Ath edition Is be lore us. Mil after a careful
perusal of It, we have oome to the cnucluaioii that 1/ bund/uds of muaicui atudunts
who are wasting time and money would lust feruet all Uicy hn>e lcuiued, and
1 that th»y would ft in I every pojo of
-idc l*,ovo<M n~,(-f
sud of all luukie-
THE MODERN GUIDE TO THE STAGE, OR,
AMATEUR8- INSTRDCTION IIOOK. dtscrlbinp aul teaching sU the arts
ami Piiaaes— PbysScally and Kb ratlor-wy. In 1, vr. Dcnpalr. Orler. Jealousy,
Madness, Remorse. Rage, n.itrr.1, llcvoi^e. Jvy, IJypocrlsy, Tyronny. au i
Vlllany; with all tbe morn »Uk-«i1 |*.ints in Opera Kiiles.pic.. and C-.mody,
"»ry to speedily qualify vounx |*r«ns of both sexvs for this lucrative and
nt profosiian. Also the Nancs and Residences of Mstiagtre and their
» all over the KlUifdo'ii, tho CUilon and the 0nlb:d H:\Un. Thii new
" m lhan the press), imd never bef re In print, will bo sent to any
iJI *' ^ '"Louo?0"* *,'",,|,s— P"ncl l*r "turn poiL Direct
CLASSICAL MUSIC,
lUPOKTED BT
G. A. AUGENER,
in. TOTTENHAM COTJBT ROAD, LONDON, W.
I — Plauo Works. E.Uted by Chn-sandor :
Vol. III. IS Preludes and Fugue
__„__.*»• »£»:1»h Suite? and Fi-giits
aO>F.N8 Sfl Piano Sonataj. Second Edition now c
~ditcl by Frani Liast, 3 v.>ls
'^i, -af-. T M» Syn pin nies for P. mo s.lo hy Mat k till, 1 vol
>V IJ U, li Vipbonius L.r riano, « Lauds. By M.rkuil :
v coutaJus N.s, 1 tu J . .
«TI d.
0 8 0
0 8 0
1 0 0
0 15 0
0 || 0
Mozart* aud Weber In tho same cbeap form. For
(•ole ag?ut for Etijtlaad of the above odlUousl
4 (Tour iwt, frvtu Oxlord-.tnetj. A
MSrTVJS.WMU
pRVSTAL PALACE. — ORGAN PERFORMANCE. —
\J Mr. W. T. Bent, of St. Goirgc's llalb laicrp^l. will netf ..•tin ou the Great
Kcatlval Organ, on Wednesday next, the aotb instant, at Half | two o'clock.
PROOItAMMK— I M .'. tt, • li.s.me et vanai enra;." Ilavdn : 1- Fn^ue (O
: 4" Ben
PKOOUAMM
miner), J. 8. Bach ;
Organ Son ata, W. T
et vatia
nations, J I., llaitt
i Concerto, No. I, 11 1
1. Fn^ue (O
I from au
pRYSTAL PALACE.— BRADFORD FESTIVAL
w ClloRAL bOL'lETT. — This celebrated body ol Yorkshire Cboiiatere,
upwards of ^00 in nurolicr. who have arrived iu lx>udoti to form part of tbe
Chorus of tlie Gnat Handel Fcstivul Display on I riday next, will if.ri: a pciforni-
anee of tLelr favourite Ma.lrij' ils, Psrt-Sonirs. tc , at tbo Crystal Palooc ou
CRVSTAL
FESTIVAL <
comprising the Han.
VovuifU:— M 'dan
Miss Palmer, mi l Mi
PALACE. — THE GREAT MUSICAL
f 1*>'j9, w th lite Two Thousand L.vo llunlre^l r-.rfjruuis
M ' 'irc:i,s-ia r.i In. »v ;. -.1, Julj -. II f
•ar.i N. vL In, Mm. UeUy. Madauu. Uamtuj titicr listen.
i Itvcir^.
lT.OC.lt A SI MK.
(Kl.jal,).
.. TalUs
. . M tnileUsobn
.. Uar^Ll
.. Gala
.. M ntcissoLii
P.irt ;
Choral.-, Tlie Hundre it'i Psalm.
Cliaut, "Venlte, cxiiltcnnn. Domiso''
Trio. I "laftTlnuccvea,''
Chorus, 1 "lie, wutcblutfiner Int-Ml'* I
Chorus. "When II * l/ ud Voice." (dvpbtlla)
C .orus. "Tho l,jrd is g ol"' I Eli)
Oiiartell and Chorus. 'Tn-j|y. Luly, Lolj* tEli;aL) ..
Motctt. ••Avevcrumcori«i.. ' .. .. '
Song and Chorus. ■• PbiltsLiiei. liarkr fEU)
Paar II.
Ciioi-.ts, "Ob, lb.- ricasitrecf -.bo Plmns" (Al-I, and OoLdei)
Purl S>*g. "Fiircwell to the Foro»t.•'
Ciionii "T > Thee, O Lord of all" (Prayer-Moiii In Kgitiv)
Trio aul Cbceus, ••See tbo CoiqucrltiB H.to cornea" (Judas
Mac:abau»| Ilai«.'»l
" lo and Chorus, "Calm i, the gUiey Or,on" (Idomaico) .. .. Moaart
iPmvcr— ."
Cos*, a
.. n .nd l
.. Tr.tvLl soLn
It. ..im
Chorus. "U.nr. H"ly Power" (Pra
S..ng and Chorus, " Ood S.ive the Qmm.*
Auner
Mr. Costa.
Mr. nrewnsmitl. will at the larjo orc-au built for the Ore.
Fasti vol.
Tbe Band will Include tbe members of the han,|.i of t< o Sacred Ua'taouic
Hoclcty. tho R..y..l Italian Opera, tbe Amateur Mua'eal Socety, the Crystal
P..t»co, *c. lugvllwr w iii the Crystal Puiwe W ml Bai«L and tLo fidi Hands of
tho Uiouadier uud C hbitieom Ou .nls. Tito Chorus will be cofnt-.Kj ef tho
Fotirtccn Hon lied Mamticrs of the Lon ton Amateur IMvinVn. of tbe On .t
tlandel Festival Choir (MSntMag within iti ranks tho CIs rua of the raver* d
Harmonic Scei. ty, and lovludln,; selections fn.m all ttic etl tr M'tivi.uUUn Choral
B<«ietlosX the lending prof. *il.T»l Chorus Wingers, tho Two Uiin.lK.el Turkaiutv
CtoraJlits. inclu iinit the cel. -'..rated nra.lfurd CI., ir. with Deputa'ionv fnun many
of th. leading I'mvlucLU Choral *oclei|.s. tbe (Mli dril^ and vari. us c^ntin.»Ul
al ai I P.rt-Socg Choirs, thus fonuing a totd ol TWO TIIOCSASD FIVE
lug the Great Orebca'ra Lui'.t for Uio
■ of Ksn. al Talent <yiu»Iling, If not
of tbe Palace in iSii, and tbo
i le
tl .
■ lii
i f th<
I...
Tl- p pet forn.ane
Cuaimtttca of tLe
will comtnc^ccat
IICNUIIED PLUFOIlSIEIt.M. f illy ov.:ii|
Handel Festival, and prr^entruir
surpasdu^' in cuectivcii. *t* the
Or. at Hands) F.stlval or 1817.
Tho entire MusiCiil Arranirements u
SiHTcd II u-moulc Society.
Tlie ,lo.>ra will be opened at Twelve
Three and terminate about Plro o'clock
Admission by tbe urdibary tcwoa Ticket (Ona O iinca): by tangle day t'eket,
purchased on or before Thursday noxt, 7a OU ; or family day ticket (or Sour
prrsous, to I mi alto previously purclinsod as ab. ve, Ouc; tiuiuoa Niiiabervl
leservr-I scats in the area, Ss exttn j In the galleries, Ids. M extra Ttcktit
(which must If.- secured bvh>raliand)are now on sa|.- at the Crystal Pslaor. or at
the IVutrol Tlckoc Ofr.ce, N.. S. Eiwar-hall, where bJ.sck plaus of Mats „ ,t £
Orevat H.u.dol Festiv..; may be Inspected.
Admlssmii to the Cty«tal Palace, by |*ynioi:t, irn tho Jnv ef
Ills lid
A display of the er.Lre re:i,s of
BS 1'r":.r. tx,u,L'I"»t"" "f.ti.o performauco-r.ainely. at six o'clock ;
MBVtMTjJands and Crystal Palace Wind Baud vvdl 1mifonn in tho
"the london^eason.
Toe exubenance of tbe feellnga amid acetics of edetv, In luctw the fair and
youthful to shine lo a i vantage tin lor the mze <f u.anv iV.cmla, i
devote u-cr.astd lUtentlou to tbe dutic. c4tbe T. il.t '|i U «i li t
KOWLAND'a PGR8ONAK1 HEQUlSiT
ahiii* pro-euuuout in tlielr operations upon the Uau. toe hkm. ,
.,. c, ., KOWLAIVU'S MACA8SA8 OIL
u a deijfl.tfully friar* nt uud tranvpitcit proicuatsnu l-r tho Hair, and a* an
unlsorst-.r and IxanLnor loyond nil preeadonL
, „ ,„ KOWLAWU'B KALYDOR,
t.' lii if •omf:laI"'r'. '» '"•ci.u-.lle.l for It* mn; and Inestimable quabtsss.
ILe radiant bloom it iropaits t-. the el o. k ; live ■. ftness and dalieacy whleb It
Induces of tlie hands 1 au l arms ; iu oapahiuly < f seotliinf Irr.tstion, and ismavtra:
defects, discUuTatloua, asM all unaivbtly appeal ainvs. reiidve it ka-
PonntaliM will inks place ono
oinrly. at six o'clock ; and t>Se
disl»-HKible to
ROWLAND'S
or Pearl Deutlirl.o. I. .r preset ring ,i,dUau
very 'II
-t
ODONTO,
ueutng the Gums'. ^nd^iTr wndvrl.^'thc^reaft
sweet and pure.
Bold by A. ROWLAND and SONS, 90, llntton Qardon,
Digitized by Google
June 26, 1858.}
THE MUSICAL WORLD.
THE COUNTESS OF CELLAXT.
(From our Milan Cvrrcspondsnt.)
musical th<
are cloned,
>m the hour
I state ofoi
atres here, with
rani the Italian!
and only live iu
nui, but fur thi-
rl
Milan, 1M Jun», UC&
ception of the
who draw their in-
vxeitenieut, would be
Coutessa di Ccllant"
Ar.L the
Radogonda,
spiratton fn
in a drcadfi
having for the moment supplied a stimulant.
The Countess of Ccllant in the heroine of a new drama which
has been iust published (wrilteu by a certain I.nigi Giuseppe
VaJlardi, hitherto unknown in Italian literature), and the
merits and demerits of which form at present the subject of
general discussion. The friends of the author, both in the
public journals and in society, have been "blowing the trumpet"
with respect to the extraordinary genius of the new-found ]xxrt,
or, 08 some say, the extraordinary genius displayed in the new-
found drama (it being hinted tfiat the- work was found un-
finished among some old papers which belonged to one of the
Vrscontis, by whom it is asserted to have been written), and
the world were told by the trumpeters to expect something
equal, if not surpassing, Shakspere and Dante! The work has
now, however, been brought before the public, aud whether it
be tho wonderfully talented production which Signor Vallardi's
friends consider it, or the culpable and daring defence of crime
and immorality, which some of tho Italians pronounco it, there
is no doubt that tho pages of the Contttsa di Ccllant conttiu
many poetic beauties and proofs of genius of no common order.
At any rate, the book has ran through two editions of several
thousands in the course of ten days, unprecedented iu modern
Italy !
The scene is laid at Milan iu the year 15G7, at which period
the Contessa di reliant was executed in front of the Piazza di
Costello of the city, having been convicted upon the charges of
infidelity and notoriously immoral conduct, brought against her
by her second husband, Count Cellaut. This, be it remembered,
was 300 years ago. Of tho various delinquencies of the Couteasa,
tho following extract from a very clever and spirited article in
the Italian journal, L'Vomo di Pictra, will perhaps give the
best idea, inasmuch as, although the writer is one of those hyper-
critical, and, may I say, mock-puritanical Italians, whose notions
of morality are so " positively shocked" at some parts of tho
new drama, yet the facts stated iu tho portion of his review
which I now select, are " admitted items" against the guilty
Countess. The article supposes tho Countess to lie brought
at the present day before a tribunal consisting of modern
authors and critics, V Vomo di J'irtnt, as president, interrogating
the accused as follows: —
Vresidenl. — Your namo ?
Accused. — Bianca Maria
Pres. — Your country?
Act. — Monfcrrnto.
Pres.— Who was jour father?
have not known him ; but they aey he wos a Jewish
m y accom-
i your
Ace.— The Count Hermes Viscouti.
Pres.— How oamo you to mnrry a nob
Aec— U«eau*e ho was pleased with
p bailments.
Pres.— You are modest. And how did be die ?
Act.-— Of indigestion— chronic.
Prts.—lh, Tery bad ! Aud who
Ace. — The Count of Celbuit.
Pres.— Why did you separate from him ?
Ace.—Vrom incompatibility of character!
Pres. — And not from any other readout
Ace— (Blushing.) For lore!
\ Pres.— What lovo ?
Ace. — (In an affected mnumer.) You understand me.
Pres.— Enough. And who was jour lover?
Aec. — The Siguor ArdUxiuo Yalperga !
• Pres.— Ah, he was one, and the Other ?
; .dee.— The other ?
».— Keply, because justice kn'jtcs ail, and if you are sincere, I
Acc.-The Signor Roberto Sanscrverino, Couut of Qij.iW.
Pres.— Did you love them, both at the same time?
Ace— Calumny '.
Pres.— Justice kuoKs tttrythiag .' One in tho evening, and the other
iu the morning ? Speak, aiid you will have uo causa to rcfrct it.
Ace— Ouu iu the evening, the other in the moruiug.
Pres. — And a third in the middle of the day ?
Acc. — Cilumnv '
Pres.— II is not sufficient to reply " Calumny." Peter Curdona, a
Suuuiard ? I promise you mercy.
Acc— Do wu swear it ?
Pres.— On the woid of iho President !
Acc.—(£eluctiiHtly.) Yes, .ilso Peter Corde.ua.
Ao., Ac., Ac.
And this is tho woman whom tho Signor Vallardi has chosen
for his heroine, and whom he represents in his drama (aud suc-
cessfully, so far as the drama itself is concerned), as the innocent
victim of foul-tongued calumny, spumed and rejected admirers,
anil a cruel, tyrannical and jealous husband. _
Signor VallarJi (if really the author of the Contest* d\ Ccllant,
which there appears no suflicieut reason to doubt), is evidently a
man of talent, and also a man of courage. But he has attempted
too much, in undertaking the office of defender of the memory of
the Countess of Cellant. He should choose better aud nobler
subjects. The very men who are loudest in condemnation of
the book do the same thing every week in their journal", for
which they now blame Siguor VallarJi. Instead of exposing
vice thev constantly cover it with a glittering tinsel ; but with
them, all is timet, while Siguor Vallardi is evidently capable of
better things. It is one among the many evidences of tho
decay of g.'nius and intellect in Italy, that there is scarcely a
single writer at present actuated by any lofty or UBeful motive.
They all humour a depraved taste, and lower themselves by
writing down to tho imblie, instead of attempting to raise tho
public up to them, if they be honest men, they do not show it
They live to writv, and write to live— most of them loose livers
aud loose writers who
•* Compound for sins they arc inclined to.
By damning thow th«y have, no mind to."
If SI". Vallardi has defended the memory of the Countess of
Cellaut from a strong moral conviction of her innocence, he has
pleaded well on her behalf, but his task was too desperate to
expect a verdict in favour of his client. When next we hear
of Sig. Vallardi, it is to bo hoped it may bo as a castiaator of
vice, and not its advocate. Such gifts as his should bo directed
towurds ctfecting some improvement and reform in the moral
and social condition of his countrymen, of which they stand
nt present so much in need. The drama is written in prose,
ana is not calculated for dramatic representation j the speeches
nru most of them too long, ami the characters too numerous.
Tim character of Moro, the enemy of the Conntoas, (tho Iago of
the plav,) is powerfully drawn ; and that of Corilla, a nun, and
niece of the Countess, in lovo with Carlo Valperga who,
according to the drama, is falsely stated to be also a" Cicisbeo" of
Cellaut 's, is a really beautiful creation. Corilbi is, beyond doubt,
the gem of the drama, and it is here, in the cause of true love,
and true virtue, that the author socms to have felt that ho liad
got elbow room. Tho character of Bernardino Luiuo, the
celebrated painter, and friend of Cullant's, speaks also in lan-
guage worthy of so great a man.
Tho author dedicates his drama
"To tho Lsdi™ of Lombsrdy,
for
Beauty, Courage, and Tiety,
second to none,
Thi* Drams, Ac, Ac."
and this, with rcferenco to the very name of u Ccllant," has
otTeiided certain "delicate susceptibilities."
I bavo ventured to attempt a translation of a few passages as
specimens of tho author's stylo : —
rtuttrla—(A yowty Italian, Kith reference to the apathy of hit
countrymen under thepresence and oppression of the Spanish Army in
Milan).— Proceed, slaves of the iron collar, sheep of the burning brand !
The trumpet jiunounoes that the gates of the castle are open, sad that
Digitized by Google
THE MUSICAL WORLD.
[June 26, 1858.
the .red of
covered by the
ores of the ono
the soldiers arc abont to riot in your streets. I bear the about that
filla you with alarm, and urge? you to retire. It is a day of feetivitj,
clone your shops — let your tables be served, and adorn your wires like
courtesans. Hasten, hasten— they knock and demand hospitality and
courtesy. Beware of the impression they seek to make on your
daughters ! 'Tie well— applaud the songs and kisaea of the barbarians,
that mako tho pictures of the saints hanging upon your walls turn
pale. Endure with patience, and you will bo favoured. Tho houses of
the poor cannot raise armorial bearings to mako their inmate* respected,
nor do they contain ruffians hired to defend them. Tho "Bears, *
different in skin, but similar in appetite, hare crossed the mountains,
and descended on your fertile plain*. The barrier has been broken
down by your indolence. They would reap, instead of you ! Go to
your Arobrosian torments! The sweat of shame will soften the agony
of the wounds, and teach you that the followers in the train of > foreign
, discord, hunger, pestilence, and heresy ! Oh,
will spread itself for many centuriee over tbi*
u it be crushed or purified. Then, and only
thon, my dear country, thou wilt revive.*
The Sardonic Moro exclaim* : —
" The mind and the heart resemble two sepulchi
same stone i the air that penetrate* through the I
corrupts the corpee that repose* in the other."
The young nun Gorilla says : —
" Of the world I have only a weak and confused idea, formed at the
period when I resided with my parents. But what matter* : no one
has returned from heaven, and yet scene* and minute things are de-
picted before us which seem to speak of that celestial sphere. I ascend
the tower, and I see the city below me, the country around,
the blue mountains in tho distance, and I tigh for liberty!
I gather a bunch of flowers to lay upon the altar, and their colour,
their fragrance, tells me, that creation was dotct meant to begin and
end in bitterness and I pant for life. In this hook (tkoaim, a
Boot of Prai/cr) it is written, that the saints, disgusted with the
pleasures of the world, built the monasteries, in which we, who have
seen or kuow nothing of it, are doomed to be for ever incarcerated."
" Bianea (the Count*** Cellanl),— Miserable and contemptible
creatures, prouder of the beautiful bracelet that glitters upon her arm
- of tho woman who leans upon you. But thi* I ought to have
. Men, incredulous of the honour of a friend, and wanting the
to defend them against their calumniator*. When they show
themselves in public with you, and witness the sneer and the smile of
your enemies, they view it not with agitated blood, but pass it over in
silence, fearing lest by encountering the insolent with a look, they may
compromise their own character; and, if aftorwards, thoy hare the
courago to demand of the injured victim the reacon of that smile, tbey
conslroo her •ilence, her tears, her anguuh, into a confession of her
8"'" • I* it not strange that such a man, though he ha* a
thousand time* sworn to lore you, invariably, throws off the mask, and
join* the rank, of your enemies, creature* with atses' head* and vipers-
tongues, who bestow upon you aome rile word, that uttered in the
evening in their cup*, is repeated by listener* on the morrow, and the
next day becomes a proverb ! Oh, my countrywomen, you
with a modest appearance combine an innocent heart, this awaits you
from lovers who possess the famo of nobility and valour! "
Bmuea, again— My censors have established a most comprehensive
school agnm.t me—" Twere best I wore a mask, changing it eon-
tmually, for fear of being known." I walk out—" See, sbe is tired of
being alone I go into the country-" It i. to fulfil some secret
engagement. -I ,m ,1]._« I do not receive company, iu order to enjoy
greater liberty."- ! ntn gay-" I .hall never leave off the ' "
youthful day.."— I .m "melancho'lv— » Ab " you"**o' tokmtC
cloned her. —lis fortunate that I have no children, or they would be
sure to s«y-" Mark the resemblance," alluding to some reputed love,.
The Count™ (to the paint* Z*-,W).-See some portrait* which
have a deeded resemblance, but are yet without life. Tell me the
Z«.«o.~It i. ra.y to obtain a likei.es. when we paint with fidelity
ever/ fc .turr. but it is not so easy to give it life. Kvery countenance
its o.v„ p cliar expression, according to the feelings by which the
individual .<, actuated, and to reprejent it at one of these moment* is
M 0 04 Items* secret* of one art. But this habit must not be con-
founded w«l, th„ expression which may be exhibited
• The young PusteiV*
1 5f>7.
smell strongly of 1846 instead of
circumstance*, or the portrait will bo that of an actor when he
endeavour* to represent a character.
I fear that in what
I
a
Want of time prevents further extra
traiwUtod, I have done but little justice to tho Italian
RECOLLECTIONS OF CALIFORNIA & AUSTRALIA,
BT A MUSICIAN.
(Continued from pog* 381.)
Altbodoh California possesses but one perfect harbour, that
of San Francisco, yet it la one of the noblest in the world : the
so-called harbours of San Diego, Monterey, Bodegas, Half Moon
Bay, and others, whose names I forget, are mere roadsteads,
where, if a north-western begins to blow, there is no time to
heave up the anchor, but it is slipped, and vessels peg away to
sea, as the sailors say, in quick sticks. But the Bay of San
Francisco, or rather I should say the bays, extend into the
interior for hundreds of miles, that is, taking into account the
noblo rivers that have their rise in the mountains, and, navigable
for an extraordinary distance, fall into the great receiving hasin,
and thence into the Pacific through the Golden Gate. These
rivers and bays were already, at this early period of the golden
State's history, well supplied with excellent steam-boats, with the
many comforts and luxuries for which these travelling hotels
axe so justly celebrated, and enormous fortunes have been realised
by the enterprising proprietors. Tho shores of the bays are
very sparely supplied with timber for a distance of about forty
miles from San Francisco, but the numerous rocky islets were
literally alive with water-fowl of every description, from the
little dab-chick to the enormous white pelican, a specimen of
which I saw shot that measured twenty-two feet from the
extreme points of the wings. Curlew, snipe, and plover flutter
about in myriads ; and as you enter the narrow jwtsaa^'ca of the
riverSj you ever and auon catch sight of the solitary bustard
sneaking along the sedgy banks, or pop round a corner suddenly
upon a congregation of milk-white cranes, who with a chorus
of indignant croaks, soar away with their necks twisted back,
and their spindle shanks hanging down, each a kind of ornitho-
logical daddy long-legs. Soon the cotton-wood trees, sycamores,
and those light, pulpy woods that prefer the vicinity of the
water, make their appearance. A wild grape, in luxuriant
festoons, creeps lovingly up the branches, forming at times
beautiful leafy screens ; while, as you pass savannahs or open
country, a herd of antelopes will canter pleasantly down to the
batik, and after satisfying their curiosity by a rapid stare from
their bcAuliful eyes, wheel round like a squadron of light
cavalry, and scamper away with the air of gentlemen who had
performed a solemn duty, and who were therefore entitled to
indulge in a little self-gratulation.
At times, during a very rainy season, tho waters flood all the
valleys and lowlands, and then the various denizens of the plains,
the elk, antelope, deer, and large herds of cattle, take refuge
upon the higher points of land, and are often rescued by boats,
sometimes when the poor creatures have been so long standing
in the water that the hoofs literally rot off, and leave the
wretched animals upon their bleeding stumps. Wo were now
upon the great Sacramento river, which receives into iu embraces
other rivers of a similar roving tendency, which wind through
tho great alluvial valley of tho Sacramento, now one of the most
extraordinary wheat-growing districts in the world. And it
would seem that nature had lavished her bountiful gifts upon
this favoured land ; for not only do her mountains teem with
gold and her hill-tops yield noble timber, but her valleys are mines
of precious metal to the agriculturist, the yield from cereal grains
being almost incredible. There is neither frost nor snow, the
rains make their appearance periodically, and although the
temperaturo of the air is high, no oppressive feelings arise, for
the atmosphere is very attenuated j and 1 have suffered more
from the heat of the weather in London, with the thermometer
at eighty degrees in the shade, than in this fair land at a hundred
and ten. Electric phenomena aro also unknown, for tho soil is
so impregnated with magnetic iron, that it becomes a huge
battery or accumulator of electricity, regulating a balance above
Digitized by Google
Ji nk 26, 1858.]
405
and below — so much so, that in short lines of telegraph there is
no absolute necessity for insulating the wires, as was the case
for a considerable time in the line from the Heads to the city
of San Francisco.
The city of Sacramento is situated upon the banks of the
rirer, at the eraharcadero. or landing-place of Sutter's Fort
(of which more anon). It lies about twenty feet beJoir the level
of the river when swollen by the rains or the melted snows,
and is protected by an embankment, or levee as it is called, but
spite of this protection, tho city has been often inundated, and
has suffered severely in consequence ; and at one time the flood
came upon the heels of a fire that laid the devoted city inashos,
so that some idea may be formed of the "particular unhandsome
fix" the people were in. Indeed, a month before our arrival, one
of t hese periodical submergings had visited the place, the remains
of which visitation were very apparent : and it speaks volumes
for the healthiness of the climate, that upon the recession of the
waters, which leave their slimy mud behind to fester in the sun,
epidemic diseases are unknown. The city is laid out with
fiue noble wide streets at right angles, which, although I have
no doubt a convenient method of building, I never could abide.
There ia such a want of picturesque beauty about it, and your
eye gets so tired of straight lines crossed by other straight lines,
that you long for a bit of crooked street as a relief to the
monotonous effect. In the middle of one of the principal streets
were several noble trees, which, with great good taste, bad been
spared the devastating axe : the last great fire has, however,
levelled these old giants of the forest, and they will never again
be used for the singular purpose that they were put to in the
early history of the settlement, which was that of s
a couple of gentlemen, who had committed murder or
primitive amusement, by the neck until they were .)• »..,
dead. Those times have passed, and I hope the necessity will
never occur again, when the quiet and law-abiding citizens will
have to rise en matte, and resolving society into its first elements,
by a singular anomafy break the law for the very purpose of
sustaining it.
Our first two concerts were given in a church, as the theatre
was not then disengaged. We afterwards obtained it, and gave
four concerts a-week for three weeks with very good success,
although not equal to our San Francisco engagement. Having
little to do upon our non-i>erforming nights, I made several t-rcrtt-
cences into the country (as Mrs. Partington would call them); went
to the races at Brighton, about twelve miles distant ; had several
pic-nics at a delightful place called Oak Grove, near the city ;
and was much interested with a trip to Sutter's Fort. This
decayed monument of man's energy and perse%'crancc was erected
by a very singular personage, who figures largely in the early
history of Cafifomia. Captain Sutter was a captain in the Swiss
Guard of Charles the Tenth, and after tho revolution of the
bourgeoisie which elevated Louis-Philippe t . the throne of the
French, with native energy emigrated to this far-off land.
At that time the great harbour of San Francisco was only
known to a few traders, principally Russians, who went there
for hides, and the only houses were those used for the purpose
of curing the hides, and the residence of the factor, or chief cook
and bottle-washer of tho concern. Monterey was the only
approach to a regular port, and here Captain Sutter landed,
having purchased a largo grant of land from the Mexican govern-
ment. His object was to found a new home, a new settlement in
the wilderness ; and ho did. He founded a nation ; for the great
opening wedge that was to lay bare the riches of the land to all
nations, GolcT, was discovered by his workmen, while digging a
mill-race at one of his outer stations, Coloma.
But I am anticipating. Sutter was a man of great energy,
combined with which he possessed an extraordinary fund of
good-nature, and, with a spirit born to command, was the most
generous and gentle of beings. He soon made friends with a
tribe of Indians, who lookea upon him as their white father,
and the remnant of which tribe are pensioners upon his bounty
still. He landed cannon from his vessel at Monterey, packed
his provisions and agricultural implements, and started, like a
peaceful conqueror, a journey of seven hundred miles across
the country, wild and untenanted, save by 1he wild beast or
wilder man, to his settlement, which, with a natural love ot
home, he christened New Helvetia. Here ho •noted a quadran-
gular fort of sun-dried adobes ; the four corners hail towers, or
bastions, upon which he mounted his cannon, and, with a
good supply of ammunition, conld always bid defiance to any
far-off tribe of Indians, who might incline to make a mid upon
him. As for those tribes his near neighbours, they loved him
too well to molest him, aud he pursued his way, a pttMsM.
thriving agriculturist Soon the war between the United
States and Mexico broke out ; parties of mountain soldiery,
headed by the gallant explorer Fremont, and his iron-framed
guide, Kit Carson, penetrated across the Rocky Mountains,
while a regiment or New Tork gamins, commanded by Col.
Stevenson (now a respected lawyer of San Francisco), were
landed soaward. The country was soon in the possession of the
Americans ; and as most of the Mexicans took both sides of the
question (like the old Scotch lords in the Jacobite rebellion),
they managed to save their lands. Captain Sutter was always
strongly in favour of the American occupation, and aided them
by every means in his power; and most ungratefully has he
been repaid. He has spent thousands of pounds upon relief
parties sent out into the desert to relieve the starving and
freezing immigrants, and was always ready to supply the
government with horses ; but he never has been repaid a single
penny, and until lately did not even have his possessions con-
firmed to him, which was long after they had all melted away
through the chicanery of lawyers, the ingratitude of false
friends, and his childishly generous disposition ; and thu old
gentleman, bearing the empty honour of -Major General of the
forces of the State, from the wreck of his princely domains has
saved but one farm of about four hundred acres, where he is
cultivating the nape for the purpose of making Hock wine, and
where the fine old gentleman, one of the few remaining speci-
mens of the ancirn riaimt, hospitably receives all who will
honour him by paying Hock Farm a visit
(7V> be continued.)
ZAUBR1SCHRET ZUM FLOSSER.
To the Editor of Ike Mueieal World.
Sin, — Of two things (if not neither) both, or either : —
1. Can you or any of your readers inform me in what town,
city, village or hamlet, 1 1 err Anton Rubinstein, the celebrated
Muscovite piano-player, " achieved the nimbus 1 "
2. Can you or any of your readers tell me where I can obtain
(clean) copies of the (string) quartets of Nuske and Savj !
Your obedient servant,
Yale, near Arrmr, June 24. Navei>Wort.
CATHEDRAL MUSIC.
To the Editor of the M«tieal World.
Dublin, June 21»<, 1KSK.
1 1 iii SlB, — Do not let your valuable corrrapoader.t, AMaTEC.:,
suppose that tho Irish are not able to value and appreeJsle, and
anxious tn li«»r llio classics! music of tho masters of I he tuneful art.
It lias long been a subject of regret, and, indeed, ofitul intuition, to
multitudes of us on this tide of the Channel, tu find the pure and
wholesome services ol Rogers, Boyce, Kins, Smn, Nib, Ac., and
their excellent contemporaries shelved, to make way lor the *ei»»or*
and paste patchwork of poor sod egotiatirsl incompetency, and self-
sufficient pride and naughtiness of heart. In the Cathedral itself the
vicars-cborml hate the trash they are compelled to lend themselves to;
but what can they do, when the powers that be will hear nothing
against the imbecility of tho hero of the paste-pot. II' report does not
apeak amiss, we are likely to be indulged with a burlesque of Haydn,
during the next winter, from tho aame ttall. Meudelsiohn is said to
have proved too tough for tho already fatigued scissors of the glorious
compdor. But in sober earnestness, do let us thank you, Mr. Editor,
for your kindness in moving for our rescue from this present Egyptian
I remain, dear Editor, yours faithfully,
AXTIXAIIKS.
Prikcss*'m Tiieatrk. — Mr. Charles Kean holds a lease of this
August twelvemonth.
uiyi
Google
406
THE MUSICAL WORLD.
[June 26, 1658.
ROSSINI'S BARBIERE.
Wmnr the celebrated tenor, Garcia, the father of Madame
Malibran and Madame Viardot, came to Paris, and presented to
the manager of the ThoAtrc-ltalicn the score of It Itarbiert <ii
ffiviglia, the work of his friend, young Rossini, whose name was
beginning to bo known on both sides the Alps, he had to over-
come a redoubtable opposition, principally on the part of tho
Illustrious Pucr, then nil-powerful in mimical mattery and who,
without undervaluing the great talent of the young maeHro of
Bologna, or rather because he perceived too plaiuly his rising
talent, wished to shut the door in hi* new rival's face. It was
this combat of old Pae> against young art which furnished
M. Scribe with the well-known subject of his Conrtrl <> la Cour,
and the character of the crafty manager, whose intrigues long
obstruct and imperil the success of a dfbwante, destined, of
e, in the long run, to triumph over the plots of the scheming
kaptlie.
rithout being diseonraged, disputed tho ground, inch
by inch, with the obstinate and malicious author of Aantm, and
with such success, that the latter, beaten back to his last en-
trenchment*, offered to be guided in the matter by the decision
and well-proved good taste of Habeucck, who then swayed the
dictatorial sceptre of the ( >p6ra.
Hnbeneck, a great musician, and incapable of jealousy, re-
ceived the score of // JJarhiere, Tie kept it for a long time, went
through it, examined it, and, at length, gave it buck to Garcia,
stating that, " without doubt, there were some tolerably pretty
things in the work, but thai a select public, like that of the
Italiens, at Paris, required tJMTM of g re iter rtrrntjth ; that the
•work in question was all very well as au operetta, manufactured
in a hurry for a carnival or an Italian fair" (it 13 true tho Bar-
biert was conceived, written, and played in twenty day*),
"hut that no one could think of introducing productions of such
slight texture to a Parisian audience," etc.
Paer triumphed, but Garcia, fortunately for Rossini, would
not be beaten. IIU energetic conviction, hi* duvotiou to the
maestro, and his ardent desire to play before the Parisians
the character of Almaviva, which he had created at Rome, and
of which he bad himself composed the famous serenade, " Io son
Lindoro 1 " triumphed over every obstacle. Taking advantage
of the fact that his services were needed as tenor, he would only
consent to engage on condition of pinging Rossini's Jiarltierc
conjointly with Paisiollo's. The rest is known. After a liltlo
indecision, the public evinced an enthusiastic admiration for the
Baibierc of Rossini, while that of Paisielio was neglected. Tho
revolution, so clearly perceived and obstinately combattcd by
Pair, took place in musical art, and Rossini reigned, as lie does
still.
This anecdote wan related, long afterwards, by Habeucck
himself, as a striking example of the fallibility and uncertainty
of human judgment.
HAMliur.on. — Iferr Leopold von Meyer, the well-known
saloon-pianist, from Vienna, stopped here a few days, during his
almost uninterrupted series of tours throughout the country.
He gave, a short time since, six concerts in Cracow (in the
Polish, theatre). Ho afterwards gave three in the theatre at
Warsaw, and then two, which were extraordinarily well-
attended, in St. Petersburgli, (ill tho grand rooms of the
nobility), the Imperial Court, as well as the most fashionable
circles, being numerously represented. His success was some-
thing unusual, as already stated in a late number of the Paris
(fatette Mutieale. This restless traveller, whose talent does not
allow him to remain loDg in any one place, will, in obedience to
an invitation frum the Imperial Governor of Warsaw, proceed,
next week, to add a lustre to the festivities accompanying the
raccB there, which are generally attended by the highest aristo-
cracy. He will then return to his native town, Vienna. At
the Stadttheakr, Herr Stighelli has given satisfaction as
Manrico in II Trovalore, both by his excellently-trained voice
and great feeling and intelligence, combined with a most
unusually clear and intelligible pronunciation.
ROSHINrfl SUMMER RESIDENCE.
RosstM has just left the Boulevard des Italiens, and the
Chaussee d'Antin, to take possession of his summer retreat at
Beauscjour, a spot connected with some of tho most pleasing
reminiscences of his life.
The illustrious master resided there at tho time when Madame
Rfeimier, the Princess do Liewin, M. Guizot, and a host of
other celebrities ntade it their place of meeting. You might hare
saluted Chateaubriand and Rossini in the same alley.
The old pavilion, honoured by being tho birthplace of 1
than one inspiration of the author erf t
way for a new building, without saerUc .
foliage, which sheltered the residence of the
There are still the same lilacs in blossom every spring, and,
within two or tbreo generations, the same linnets and the same
nightingales, which seek a refuge and indulge in a concert there
every morning. It is within two paces of this old residence,
within the samo walls, and at the entrance of tho Bois de Bou-
logne, that Rossini has come to seek the air of other times, the
breeze wafted from Bellevue and from St. Cloud, that is to say,
the perfume of tho fields, without leaving Paris or his Boule-
vards, from which he could not tear himself away even excep-
tionally.
The "pavilion of the Princess de Talleyrand, to whom Beau-
sejotir belonged nearly half a century ago, has flung open its
doors to him. Prom its proximity to the Bois de Boulogne,
I the celebrated composer 'n enabled, cv.ry morning, to take his
first walk to Passy and Antenil, passing, like a schoolboy, near
the Artesian well in the plain, that gigantic work whose subter-
ranean wonders interest in the greatest degree bis inquiring
mind. The slightest pulsations of this incessant boring process
are interrogated bv him, and his most lively wish is to U- one of
the Ant, If not absolutely the first, at tho marvellous spectacle
of the water gushing and springing forth, torn by the hand of
man from the deepest entrails of the cartji. It is still the great
German borer, M. Kind, who, under the direction and
with the assistance of M. Alphaud, the chief engineer
of the Bois de Boulogne, is urging forward, nigbt and
day, the deliverance of the sheet of water, destined soon
to spread its hurrying waves towards Passy, Neuilly,
Auteuil, and Boulogne. This gentleman only understands his
ultra-IIheuish idiom, tho only one, perhaps, not familiar to Rossini.
Consequently, the celebrated master obtains from him simply the
short but expressive reply, " JtMour" or " BonJiotir," according
to the exciting oscillations of the interminable process of boring,
which promises, however, to be brought to a successful ter-
mination, like all tho great enterprises of the age.
Although, at the first dawn of day, Rossini strides with ft
light an<l firm step through tho alleys of the Bois de Boulogne,
he is only the better disposed every evening to take part in the
moat varied aud sparkling conversation. His Parisian friends
do not desert him ; he has an amiable remark for everyone,
and something to say on everything. During tho day he
willingly sits down to the piano, and extemporises
adorable bagatelles, From time to time, "the noble game
of billiards" — as it used to be called — has the privilege of engag-
ing his attention. Such days are festive days to the neighbour
who has the honour of receiving him — together with Levassenr,
Ponehard,Mesdames Rossini and Fodor — and of sometimes hear-
ing Nailaud's songs, of which Rossini is particularly fond. A
cue of honour, touched by no hand but the master's, and sur-
mounted by a crown with gold leaves, while opposite it is the
bust which inspired the chisel of Dantan — such is the coat-of-
arms of the highly-privileged billiard-room. The conversation
nev. r languishes, and the ''Swan of Pesaro" is always the hero,
as a matter of course.
Such is the way in which Rossini spends his summer, loved
and Venerated by every one, loving all around him, aud happy
at having again found France, ami his friends of former times,
aud at having returned to Paris, after which ho had sighed for
t we I ty years. — Man itt Nr.
T-tMntTRtM, after All, is not engaged at Drury Lane, and Sig.
Badiali will play Don Giovanni.
uigu
by Google
June 26, 1858.]
THE MUSICAL WORLD.
407
per
for'
Recniox dish Arts — (From a Correspondent). — Joachim and
Rubinstein were ihe attractions at tbc soiree, Juno 10th. They
rforined together the graud sonata, in C minor, of Beethoven,
loforte ami violin, in truly magnificent style, and the
audience applauded enthusiastically during the whole of it.
Herr Bubinstoin'a solos were, as usual, extraordinary per-
formances. The well-known quintet of Hummel was excellently
rendered by Messrs. Rt " "
Howell. Mia* Mahlah
Guglielmo, the vocalists, ,
Monsieur Paque in a clever violoncello solo. Herr Adolph
Schlocaser and Herr W. G:iiiz were conductors.
Rubinstein, Goffrie, Schmidt, Paque, and
lab Homer (a young singer), and Sigoor
ists, were much applauded ; as was also
Praucr.— We have received from the Committee of the
Juliileo of the Conservatory, the following communication, with
a request that we would give it publicity : — Programmo of the
50th anniversary nf the T'r.igne Conservatory, to be held from
the 7th to the loth July, I XM. On the 7th July, at ten o'clock,
a.m., a solemn high moos and Te Derm, in the St. Jacobskircho,
in the Altstadt. At six o'clock, r.M , a grand concert of the Con-
servatory in the Stiiudischea Theater. The concerted pieces will
be performed exclusively by pupils now in tbc institution, and
the solos by artists educated there. On the 8th July, at seven,
p.m., a grand performance in the Stundischcs Theater. On the
9lh July, at seven, r.M., a grand concert of sacred music, in the
Stiindisches Theater. — A. The 100th Psalm, by Handel ; B. The
Ninth Symphony, with chorus, by L. van Beethoven, executed
by the pupils of the Conservatory, the members of the
t'aoilien-Verein, and of the orchestra of the Stiindisches Theater,
assisted by several artists and amateurs, as well as by such
visitors as may choose to take part in the proceedings. On the
10th July, a grand dinner, given by the Association for the
Advancement of Music, to the visitors and persons engaged in
the Festival, namely— A. Persona specially invited, Conserva-
tories of Music, and former pupils at the Conservatory at
Prague. B. All working-menibern of the Association for the
Advancement of Music in Bohemia. C. The professors and
teachers of the Prague Conservatory. D. All musical amateurs
who may signify their wish to lie present, and pay ten florins
currency for their tickets.
Vikvka. — Herr Eckert, who has returned from Parts, has
engaged Mdlle. Brand, from Brunswick, for play-operas, and
Mdlle. Prause, who nchieved her first success, years ago, at the
Imperial Opera, ok bravura singer. As we hear, Mdlle. Titiens
will leave the Imperial Opera, having accepted a brilliant
engagement, at nor Majesty's Theatre, London. Signor Giuglini,
Imperial Austrian chamber-singer, is again engaged as first
tenor at the Imperial Opera for the season of 18CI. He will
previously proceed to America, where he is engaged for seven
months, at tho rate of 16,000 florins a month. Mad. Chorton-
I>emeore the graceful representative of Susannc, has been
appointed chamber-singer by bis Majesty the Emperor. The
Italian operatic company has, at present, no less than six
CatUnnte e Cmtan'i di Ctimara di S.M I.R.A., namely, Mes-
danie* Mcdori, Bratnbilla, Charton-Demcur, MM. Bettfai,
Carion, and Dobassini. The well-known Mecwnas of Art,
Count Dietrichsen, has made Mad. Kemenr a valuable present,
consisting of two rare autograph MSS. by Mozart, an aria of
a serious kind, and an arietta to— an aching tooth.
Zbxlxeu and Leotold db Mever. — The Vienna Dlntler fur
Mutit contains the following notice: — "Dr. Wiedenfeld, the
legal adviser of Herr Leopold von Meyer, has deemed it neces-
sary to appeal to the highest judicial court, tho Imperial Highest
Court (Cassationshof), in the well known action of Herr L. von
Meyer against mo for defamation of character, and publicly to
announce the fact in the F"remdenbl<%tt. Without thinking it
necessary to examine into the motives of this proceeding, which,
to say the least, is superfluous — motives that, on account of
the inimical spirit manifested against me by tho publication in
question, need no further investigation — I shall content myself
with stating that tho Imperial Highest Court has confirmed the
verdict of acquittal without coxti pronounced by tho Imperial
Obtrtandc*<pric/<t, and that Herr L. von Meyer has lost both his
appeals.- Vienna, 27/A Jfay, 1W8.-L, A.
MUSICIANS AND MANIACS.
(From Pbsca..)
Tun following Paper wu picked up between St
and Hanwell, at the height of the late hot
I am not mart ! I 'm but famatieo
Per la mutict—" Ite I.vnntico
fn'jtiirenda" no commission
Ou my person e'er shall sit I
No Forbes Window, Conolly, Sutherland,
No mid doctors' inquisition
To the question ■hall put my wit.
I scorn the science of father and mother-land.
But the art of Italia, Deutacbland and Gallia, ,
How I revel, how I r«a>-, how I wanton in it !
Bravo, Brara, Brsvi^Braviaaimo,
E' Fertisjtmo, E' Pianissimo!
Two Philharmonic Caatalias I
Three Italian Operas going
Hammer and tonga,
Trombones and gongs !
Viola, Violin, Violoncello,
Clarionet .brill and Saxhorn mallow— ;
Flanti, fagotti, eembale sounding,
Xottle-druma eSashing, big-drums pounding,
And confusion worse confounding!
Three Traciatat in dill" rent quarters,
Three Rigoittli murd'riug their daughters!!
Three Trotoiori beheading their brothers,
By the artful contrivance of threo gipscy mothers! ! !
Verdi iu the Hajmarket, Verdi at the Lane,
Green's iu Covont Garden, and Verdi again !
Was ever a being ao music be-ridden !
Barrel ■organ-beground ; German-brasi-band- bestridden I
What with all tho Concerts at the Hulls,
And tho Oratorios — Samjons and Saul* — ■
Mozart and Mendelssohn, Haydn and Handel-
All lights of the art in every part,
From the blase of the Sun to a farthing candle !
With Clauss's touch ssliny,
That to hear her your heart seema to go pit-a-pat in ye—
And Hnlli- so dignified, pure, and sonorous,
Aad Henry Leslie's amateur chorus.
And fair Arabella, so melting and mellow,
That she charmi tbc stern judgment of Autocrat Ella,
And Rubiastciu,— rapid and rattling of fist,
That one erica out with Hamlet i Papa, " Ltart, Oh List."
And Piatti, DI Dio, eon/koto, eon brio,
The famed fagottisti, and rtolinisti,
Superbi, Sublime, Divine Artitti t
Joachim, Sainton, and BWrorc, and Molique,
Wli hp famed StradiTariusiea,
A mat is', Gusmariiisscs,
Can groan like tho ehol'ra, and scream like the colic,
And the aspirants all,
The great and the small,
Let loose upon London to blow, scrape, or squall,
From Prague and from Paris and Berlin and Brussels,
With small stocks of brain, but immense power of moaclee!
I breakfast off programmes,
I sup upon scores,
I rote my friends fogrums,
And flats, brutes, and bores,
Because they object to my musical taste,
And declare that I'm craay, and ought to be placed
^ In the care oHhe Court ^ ^
Here the MS. clotes in a mate of Mutical notation.
Ma. Bi
sent in to Mr
estate
Mr. Puncfi).— The following bin was
by a small farmer ou a neighbouring
" Mr. Briggs to Joseph Loaf.
"To getting in Barly Feeld and 2 men catching off him
Mr. Brigga paid the sal
0 2 0
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408
THE MUSICAL WORLD.
[Jcnb 26, 1858.
T-JER MAJESTY'S THEATRE. — Titiens, Alboni,
JL1 Picv.-..lornir,i; Delicti!. Bca*T«nta«o, Aldkghlmt, VlaMU. and Uiltglil.t
The f'llowiiu? arT.\n(rrmenl* hare Nvn mail* : —
Tuesday. June ="-1uIbA MILLER. I-uia, Madlle. Plccolotatoi ; Federiei,
MxUnxi ADtcmt: Uo.tolfi. Wg. GnurlinL And a I)lTOTttaasrn*nt from Atimor's
Ballet of LA SONNAMHULA, witu "
Madlle. Poocliinl
ThumtiT. July l«t(Extr» Nlabtl— ILTROVATOItE.
e Alboul ; MM Maunco, Bctf. Giiu/liiiL
And a
to bo made at the 1
ROYAL PRINCESS'S THEATRE.
UXDKH TUB MANAGEMENT OP MR. CHARLES EE \N
ON Monday, and during the week, will be presented
Sh»ki«pere'a play of THE MERCH ANT OP VENICE. Bbylock, Mr. C. Kan ;
Portia. Mm. C Kean. Preceded by (ftrrt time) a new Pares, In on* >«*, entitled
R
comedr. entitled, GOING Td THE l!AI>
QUESTION Oesroeuoo at halt-past 7,
OYAL OLYMPIC THEATRE.— On Saturday evening
next, .tunc 2lt. the pertormmce will commence with a new and original
■ with A CA11INET
To
TO CORRESPONDENTS.
Mad. Wilhelmina Clauss's Concert, and that of Madame
Sherrington Lkmmrnh, will, with othert, be noticed in our
THE MUSICAL WORLD.
LONDON, SATURDAY, June 2©ts, 1868.
Although the death of Dr. Hor&lev can hardly be
regarded as a loss to tlie art which lie professed, .since he had
for many years ceased to take any active share in its pro-
gress, such an event cannot be allowed to pass without some
allusion in a journal devoted to music and musicians. Dr.
Horsley, like the late .Mr. Attwood and others, belonged to
a xchool which may be styled, without impropriety, the
" conservative" — a school with narrow views and narrower
principles. The followers of this school never went very far,
never dived very profoundly into the secrets of art ; but
what they did was well done, and they were led to believe,
from its success, that uotluug else could or ought to be
done in England. Though some of them survived until a
period when music was making vast strides in this country,
when young men imbued with a healthy enthusiasm for
the great European masters began to emulate them in
their loftiest flights with more or leas felicity, the members
of this "conservative" school kept haughtily aloof, neither by
word nor deed offering the smallest encouragement to their
more ardent and enterprising juniors. On the contrary,
they regarded them with a sort of magnanimous compassion,
and, with worse than indifference, threw cold water on all
their aspirations. The influence thus exercised by the elders
of the profession was most obnoxious, since from the position
naturally accorded to their age and experience they could,
luid they been so inclined, have materially advanced tho
cause, and inskad of cu-tting impediments in the way of
musical progress might have given it an extra impetus
Preferring, however, to look on with folded arms, they rather
damped tho ardour of the rising generation than stimulated
it to increased exertion.
Dr. Horsley, like most of his English contemporaries, had
faith in Handel. Haydn, and Mozart, patted Weber and
Mendelssohn on the head, as clever boys, and set his face
obstinately against the List and grandest "works of Beethoven.
In sheK, with Handel for a bible, and Mozart for a Shak-
Relieved, in the innocence of his heart, that the
rest was concentrated in such things as " By Celia's arbour,"
and " See the chariot at hand," — little dreaming that music
had gone so far ahead as to dispense with these graceful
trifles altogether. The truth is, in Dr. Horsley's prime,
with rare exceptions, the art in England was only studied
up to a certain point. A glee, or part-song, was the essence of
melody and harmony ; a vocal canon the last step of science.
Pinto — who might have done more, had he lived, than all
the "conservatives" that ever breathed — was thus compelled
to seek for sympathy and brotherhood at the hands of those
eminent foreign musicians who either resided among us or
honoured us with periodical visits. Pinto, it is well known,
smarted under the contumely heaped upon him by a number
of influential professors who bad reached a certain limit, and
being unable to travel beyond it, set up a land-mark — as much
as to say, " This is the ne plus ultra ; here is tho barrier
beyond which there is no salvation." Moreover, at bottom,
Pinto cherished but little resjiect for men of such confined
views, and it was to be lamented that his very questionable
social character, his habits of intemperance, and his somewhat
lax principles, furnished those who in other respects were
greatly his inferiors with weapons to use against him. He
died in penury, at the age of twenty-one, depriving England
of the chance of another Purccll, and leaving the kingdom
of art in tho undisputed possession of the " Perruque."
From Pinto's time down to the period of Rossini's advent,
Weber's visits to England, and the subsequent influence of
Spohr and Mendelssohn, music remained at a stand-still
here ; and a fixed measure of common-place was accepted
as the sine qud non. Happily we have grown out
of this, and though the fresh men that appeared some
twenty years since, aud made uncompromising war
on the " Perruque " have not entirely answered the
expectations that were entertained of them, they, at any rate,
laid tho foundation of a new era, and gave birth to a taste so
much more exacting, that, one by one, our " conservatives"
were forced, in spite of themselves, to retire into obscurity.
No longer exercising any authority, and not having that
within them which could enable thorn to promote the onward
march of art, they were at all events debarred thenceforth
from the privilege of retarding it.
Dr. Horsley was one of the best of the "conservatives,"
and, in some instances, one of the least bigoted Neverthe-
less, he belonged to the sect ; and, as art is a nacred thing and
its welfare of far more importance than the mere considera-
tion which the rules of politeness invite us to extend to in-
dividuals, it is as well, while mentioning with sincere regret
the fact of his demise, that the exact position he held, and the
manner in which, personally and professionally, he influenced
those about him, should be candidly stated The Athencrwn,*
• " The long life of Mr. Horsley, one of the patriarebe of English
music, and certainty one of the beet com potter* this country has ever
produced, closed a few days since, lie waa in his eighty.fonrth year ;
and for something like three-parts of • century had kept a distinguished
place among onr profeaeora, having only retired from the organ at
which he presided a very few yeara einoe. It would be too much to
export one trained and occupied aa ho waa to hare kept pace with a
tune which •oeocssfullY flung out t unit tea and noreltiea so great and
distinct aa Beethoven, Signor Rossini, Weber — not to speak of tho
Lisits and Chnpin* and Thalberge, who for awhile pushed
aside the smoother and simpler pianoforte music of elder dynasties.
Bnt Mr. Horaley's moral worth and uprightness would have always
kept him in a place of credit among his brethren, if eren lie had not
deferred well of old and young among them, by writing some of the
most beautiful part-music in being. His glees in every respect merit
The words ere mostly chosen with a refinement of
Digitized by Google
June 26, 1858.]
THE MUSICAL WORLD.
409
in a notice remarkable for good feeling, calls Dr. Horsley
" one of the best composers this country has ever produced," —
an opinion from which we are compelled emphatically to dissent .
That, however, to use the language of our contemporary —
" his moral worth and uprightness would have always kept
him in a place of credit among his brethren,'1 — even if he
had written fewer things and of leas worth, no one that knew
him can deny. Dr. Horsley was a most estimable man, and will
be remembered and lamented as such ; but the art of music
would have been probably just in the same condition if he
had never been a composer.
Ha vino, in its number of the 19th inst., settled that
Mad. Ristori's Lady Macbeth is the finest thing in the world
—nay, so very fine, that the admiring critic was forced into
a self-contradiction ; being made to assert that " a work of
art was to be felt rather than talked about" — having done
all this, we say, the Saturday Review found itself compelled
to attack somebody. This was the more requisite, as Mr.
Charles Dickons' readings received a modicum of commen-
dation, in the same number. If the Saturday Review were
once deemed a panegyrist, its character would be gone for
ever. So, under the circumstances, a puny offering to the
infernal gods would not suffice ; the desired equilibrium was
not to be restored without a portly victim. No less a per-
sonage, therefore, than Shakspere himself, was selected for
immolation.
The gorgeous " revival" of the Merchant of Venice at the
Princess's Theatre affords the opportunity for bringing the
Bard of Avon into court. And the writer is at much pains
to let us know that the said bard is the only party pro-
secuted. Of the manager's part of the work, be says, with
great justice : —
" Mr. K mil deserves unqualified praise for the rare tnd reverential
spirit in winch he has placed the Mrrckant of Venice on the stage.
The cycle of his great restorations would hare been incomplete without
this noble effort. Considering the capabilities of his rc*tricted stage,
the fact that be has gained so complete a scenic success is perhaps a
more substantial triumph than any of hie former rentals. Of course,
Venice demands a larger cantee."
On this last proposition the critic expatiates, and he also
finds fault with the introduction of the old English song,
" It was a lover and his lass," as not in keeping with the
" refined Italian maid," fearful least Mr. Kean should derive
pleasure too unqualified from the preceding eulogy. However,
considering that the value of an article is in some degree
measured by its rarity, Mr. Charles Kean need not feel
dissatisfied, either as a manager or as an actor, with the
praise cautiously doled out to him by the Saturday Review.
Shakspere, as we have said, is the butt at which the
Saturday shafts are directed, and, first of all, the admiration
of his German critics is to be disposed of. Shaksperean as
we are, we confess ourselves, as far as the opposition to the
Germans is concerned, entirely on the side of the Saturday
Review: —
" We shall of course lose all caste with the extreme school of
Shekaperolatriats if wo confess to an inability to follow the transcen-
taste in itself significant : the melody in them has generally a grace
and distinctness, and the harmony i* always pure, rich, and delicate.
It is almost superfluous to name, " By Celia'e Harbour," and "See
the Chariot." In the stricter forme of composition, Mr. Horsley, too,
was fortunate and free. Hit vocal canons are excellent of their kind.
It ia pleasant to think that competence, respect of friends, and the
domestic ministrations of those who, without indiscretion, may be
characterised as a remarkable artist-faruly, made tbs latter days of his
dental critics, Clric i and Tieck, in their interpretation of the Merchant
of Venice. They affect— I'lriei especially— to And in the three parallel
intrigues of this play a common moral purpose. Shakspere's object
was, we are told, to show that an entire and resolute consistency always
leads to wrong. Snmmum jut tvmma injuria. Had the letter of the
law been carried out with an iron and unflinching severity, the greatest
evil would hare been the result. Lew mutt hare a conscience, and
must occasionally be strained— otherwise Shylock'e claim for his bond
would be impregnable. The parental relation is not to be stretched
too tight, and therefore Jessica was right in eloping. A dead father's
will, if carried out strictly, requires the immediate interposition of the
god of lore, inspiring Basasnio to choose the lucky casket. The fair
and witty Portia might bare been Princess of Morocco had it not been
for a chance— a better arbiter of right and wrong practically than a
father's will. This is as ingenious as it ia nonsensical."
Well done, Saturday Review, very nonsensical indeed.
The theory above described is a fair specimen of that art of
forcing out erudite meanings which so often renders German
criticism a positive nuisance. But we do not understand
why Tieck is called " transcendental." Used in philosophy
this word has a definite signification ; used in ordinary par-
lance it is a mere vulgar phrase, expressing a vague sneer,
and may be supposed to denote something like " abstruse," —
just as " mystical " is occasionally used as a queer sort of
equivalent for " difficult," when difficidty is to be made a
subject of derision. In any proper sense of the term Tieck
is no more "transcendental" than he is algebraical or
Let us take a leap, and then follow our instructor :—
"We fairly believe that Shakspere had no moral idea at all ia this
play. He got hold of a very silly Italian norel, and a wild and im-
probable story about a Jew, and in his earliest and worst manner he
put the two stories together, without any artistic purpose and with
little skill."
Again we find ourselves partly agreeing with the Saturday
Review. We believe, that although Shakspere made this
play the vehicle for expressing the sublimest moral sentiments,
he was not influenced by any moral idea in the construction
of the work as a whole. But this is no ground for censure,
Shakspere wus not bound to be under a moral influence,
whenever he wrote a romantic play — that is to say, put a
story into action. As for the tale of Portia and her caskets
being silly, it has more point and purpose about it than the
generality of Italian novels, being a very fanciful illustration
of the proverb " all that glitters is not gold," and its value
is fully shown on the stage through the restored scenes of the
two unsuccessful suitors, which enable Mrs. Charles Kean
to do herself full justice in ber fine exhibition of
Portia's character. The moral of tho tale, such as it is, ia
carefully worked out by the poet, though we admit the ab-
surdity of considering it identical with the moral of the
Shyloek part of the drama. That the stories are put toge-
ther with " little skill " we absolutely deny. Through the
self sacrifice of Antonio, Portia has become united to the only
man she loves, and therefore on her devolves the task of
rescuing htm from tho clutches of his enemy. Little skill !
We should rather cite the Merchant of Venice an an instance
of marvelloue skill in connecting two stories originally
independent of each other.
The following is sad stuff: —
"Jessie* is but Julict-and-watcr ; Gretiano ia but a poor edition of
Mercutio Antonio is literally a nobodr, whose character ia marked
rather by epithets— the prinoely Antonio, the noble Antonio— than by
anything noble or princely that he says or does i and Portia, faintly—
and, dare we say it, unpleasantly— recalls Beatrice."
Why may not Shakspere introduce the character of a
young woman in love and a facetious gallant without ele-
vating them into the importance of a Juliet or a Mercutio t
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THE MUSICAL WORLD.
fJus-R 20, 1858.
Surely this i-s fault-finding for the mere sake of finding fault
Then, it seems, Antonio neither does nor says any thing noble.
He lends an enormous sum of money to a friend in a strait,
and professing that friendship, which ia the actuating prin-
ciple of his life, he hares his bosom to the knife of the Jew.
•The critic of the Saturday ficvieic is extremely lucky in his
acquaintance if he can afford to regard all that Antonio does
for Baasanio as— nothing. As for poor Portia, if she unplea-
santly recalls Beatrice, the best plan is not to let her do
anything of the sort. There is no such close connection
between the two that one should necessarily recall tho other.
If the critic of the Saturday Jlevitw will perforce think of
Beatrice when ho is looking at Portia, he has only himself
to blame if he finds the sensation unpleaaaut.
Here comes the
HER MAJESTY'S THEATRE.
Tnr. news to he provided this week is prospective rather than
retrospective. The subscribers have learned with delight that
Madlle. Titiena' eonyi is prolonged, in consequence, as we are
officially informed, of the repairs of tho Imperial Theatre at
Vienna not being completed, whereby the performance* are
inevitably suspended. An extract from a Vienna paper, how-
ever, will be read in another part of our journal, from which it
~^ar that tho admirers of the great Teutonic prima
"The MereUnt of Vemce it, then, in oar poor judgment, •
over-rated play. It contains two or three wonderful passages — the
speech shoot merer, the whole moral force of which, however, u utterly
destroyed by the vulgar persecuting spirit in wliich Portia announces
the compulsory conversion of Sbjlock — and the lines about tho harmony
of the spheres, which are utterly out of plsee in s nonentity so con-
temptible as Lorenzo. The absolute impossibility of any sane person
catering into Antonio's revolting contract is so outrageous, that its
monstrous extravagance prevents all real dramatic interest in the play."
These remarks betray an utter incapacity for j edging the
Elizabethan drama from a proper point of view. The
improbabilities of the Merchant of Venice belong to the very
atmosphere amid which that drama had its origin, and to
thrust aside the Merchant of Venice because no sane person
would havo signed the " revolting contract," would be as
narrow-minded as to reject the Alccstis of Euripides because
o> dead woman would not so readily come back to life
an the ancient model of feminine devotion. Again, why are
the lines about the harmony of the spheres utterly out of
place in the mouth of Lorenzo ? He is a lover, in the first
flush of a happy passion, and, with his young wife by his
side, he sees nil nature under a poetical aspect. Lovers, in
the early days of entrancement, like to indulge in dreams of
eternity, which is closely associated with that of imperishable
tmion ; though, perhaps, in after life, tho association Incomes
less pleasing. These
a nonentity.
very lines prevent Lorenzo from being
And now, Saturday Review, who is to be the next victim ?
Sophocles 1 Having already demolished Shyloek and Men-
delssohn, a recurrence to the Hebrew race will look illiberal.
But a victim is decidedly wanted ; for wc know we are
about to be informed that tho shadowy Phcdro of Mad. Ristori
is ten times better than the true flesh and blood of (the
Jewess) Rachel. Sophocles will do very well. The wound
of Philoetetes is very nasty, and the appearance of Hercules
is very improbable. So there's a subject at once.
Madams Otto Goldbciimidt (Jenny Liud) and her husband
have arrived in town. They have taken a house at Roehainplon,
and intend to remain some time in England.
Th* last concert of the Vocal Association will take place on
Wednesday next, when the leading features will be a perform-
ance of Mendelssohn's Hymn of Praia, and a now overture by
Herr Joachim, entitled. Henry the Fourth.
Hatmabkbt.— Mr. Buckstone closes his theatre on tho 7th of
July, after an uninterrupted series of performances over MO
night*. The interval between the closure and the opening,
which will take place at the end of September, will bo employed
in renovating and re-decorating the theatre. The Haymarket
company proceed, with Mr. Buckstone, to Manchester, where
they eommenco a short season on tho llth July.
' apprehensions whatever of her leaving,
f the past week include— Saturday,
would appes
Jonnft need be i
The performance of
Lucrezia Borgia, for the third time, with /xj Reins da Sonyet ;
Tuesday, 11 Trovalorc, with La Peine de* Songu ; and Thursday,
LucrezM Borgia, with Flair da Chatnpi. The theatre, on each
occasion, has been crowded in every part. On Thursday, Her
Majesty and Prince Consort, with tho Duke and Duchess of
Brabant, attended the performance of Luervua Borgia.
On Tuesday, Madllc. Rosati makes her rent re* in a divert im-
»v!nl from the ballet of Sonnambida, now being performed with
great success at the Grand Opera of Paris. Madlle. Spezia will
shortly make her dihut for the season in Xabucco.
ROYAL ITALIAN OPERA.
Fra Diatolo was performed on Saturday, " by desire." Her
Majesty and Prince Albert, with their royal guests, the Duke
and Duchess of Brabant, occupied the royal box.
Fra I'kwofo was repeated on Tuesday, and the Barbiere on
Thursday, with La Brftilimne. Auber is now better repre-
sented than Rossini. Timo was wheu no theatre in Europe
could compete with tho Royal Italian Opera in the performance
of Rossini's opera*. // Barbiere in the new theatre is not what
it used to be in the old.
Martha, for which the Trariata is substituted this evening,
will bo produced ou Thursday.
The first extra night of the season takes place on Monday,
when the Huguenots will be given.
ITALIAN OPERA AT DRURY LANE.
1 Ptiritani cannot be said to have achieved the same success
as II BarbUrt, uot because in ita way Madame Persiani's Elvira
is not as good as Madame Yiardoi's Rosina, but because the
music of Rossini is more acceptable to the million than that of
Bellini, and becauso the PurUtud was written not merely to suit
the talents, but the peculiarities of four renowned singers.
Never was a more admirable piece or musical tailoring than Bel-
lini's Ptiritani. Hence, since the o]r:rv was composed, although
scores of prima donna*, tenors, barytones, and basses, have
essayed tho parts of Elvira, Arturo, Tticeardo, and Giorgio, not
one "has approached any of the fonr originals. Until certain
memories bo erased from the brains of modem opera-goers, it
would be better, we fancy, to shelve / Ptiritani, since satis-
faction is certain not to follow from its performance. Mad.
Persiani even now sings the music of Elvira with extraordinary
fluency and brilliancy, and everywhere shows herself the oon-
sutumalo artist, and ouc of the greatest living mistresses
of vocalisation. She acts the part, too, with much feeling
and propriety, if she does not exhibit any large amount
of passion, and identifies herself with every phass of the
character. Still, Elvira does not suit her, either in a vocal
or histrionic light, like Lucia, Linda, or some other parts be-
longing more immediately to her repertory. Mad. Persiani's
first appearance it Drury Lane was as great an event as that of
Mad. Viardot ; only tho Puritani was not so well played on the
whole as the Bar?>itrc. Signor Badiali a^ain distinguished k m-
self by his artistic singing and acting. Signor >»audin found
the music of Arturo quite out of his way.
Madame Persiani's greatest points were in the polacca and the
mad scene. The cavatina, " Qai la voce," was a remarkable
display of bravura singing, and created an immense sensation.
Jm Sonnamlmta is announced for Monday, with Madame
Viardot as Amina. Norma in in preparation for the same
lady.
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June 26, 1858.]
THE MUSICAL WORLD.
411
ROYAL ACADEMY OF MUSIC.
Tine Queen, Prince Albert, the King of the Belgians, the
Duke and Duchess of Brabant, the ("ouut of Flanders, &c, at-
tended a grand vocal and instrumental concert iu St. James's
Hall, on Wednesday evening, for the Line lit of the funds of tho
Royal Academy of Music. The If all was not crowded, and yet
the public generally was much inconvenienced iu consequence
of the exceedingly bad arrangements. Tho representatives of
the press were stationed so as to be able to sec nothing, hear
little, and, at tho beat, catch colds, sciaticas, lumbagos, mumps,
neuralgia, and tooth-ache. Under these circunistauces, our
record of the event must be a bare one. Tho Queen and party
arrived at nine o'clock, and at a sign from Mr. Costa (conductor),
the National Anthem made itself heard, as well ii« that was
possible from the recess iu St. James's Hall. We append the
list of the orchestra : —
Jfriaeipml I'iolins — P. Sainton, H. Blagrove. first i'iolins —
R. dementi, F. Folkee, II. Hill, II. llonniker, A. Uaynes, C. W. Isaacs,
A. Seymour, A. Simmon*, A. 8trcather, Smith, J. II. R. Dando.
Stroud Violins — W. Watson (Principal), F. Anior, O. Curetou,
W. Egerton, T. II. Fimr, J. HiU, C. Inwards, J. Kelly, \V. Loadcs,
O. L. Newaon, T. Watson, W. Rlagroce, Pagton. Violas — 0. W.
Doyle (Principal), R. Blngrovr, C. T. Colchester, J. Gledhill, \V.
Masom, F. Wcallake, J. IF". O'antille, H. Tn*t, W. 11. Wthh.
Violoncellos— IK L. Phillips (Principal). W. H. Aylward, II. CUpp,
W. II. Goodtmn, S. lags, W. Pcttit, /. II'. Hancock, (1. Payne.
Double Haws — J. Howell (Principal), J. Blukistou, A. Howell, G.
Mount, F. 8. Pratten, J. Reynolds. C. Secern, 11. IVinUrbottom.
flutes— J. Richardson, J. R. Rnnclifle, B. Wells, riccolo- E. Card.
Oboes— O. Horton, H. Malsch. Clarionets- II. Laiaru*, A. Owen.
Bassoons—!. G. Waetrig, A. W. Chisholm. Hons— C. Harper.
J. W. Stsnden, A. KeMach, J. Mae. Trumpets — T. Harper, J. Ji.
JrseiH. Trombones— A. Antoine, F. Cioffi, W. lViutrrbotUm. Ophi-
cleide— Prospers. Drums— T. P. Chipp. Rats Drnm— B. Senmovr.
Harp — J. Tiiomat. Oryatt— Dr. Sleggall. Librarian — Mr. W.
Goodwii
printed in italics are those of professors, who, not
■ aware of the undoubted claims of the Royal
of "Mnsic on the public generally, and the profession
in particular, objected to play without pny. Doubtless they
pl
have been employed at all had it not been of great
i that the selections from Lord Westmorland's Mass
be given in such a manner as to make a profound im-
sion upon the royal visitors. Tho lact of their lack of
charity, however, was made evidt-nt by the typical artifice above
mentioned. The chorus included eighty-four female and t wenty-
seven male voices; and by what an army of singers the
ambassadorial mista was backed and enforced may be seen by
the following : —
Madame CLARA SOVELLO, Msdllc. TITIENS,
Mi«s LOUISA PYNE, Madame Ruder.dorff,
Madame Weiss, Mis. Mesaent,
IOh DOLBY, Mi.. P«lmer,
Madame VI ARDOT;
Mr. SIMS REEVES, Signer GIUQLTNT,
Mr. HARRISON, Mr. Allen.
Hcrr REICHAltDT, Signer BELLETTL
Mr. WEISS, Mr. ALLAN IRVINO.
to
Those whose names arc iu capitals sang in Lord Westmor-
land's Maaa. Uach, Handel, Ilaydu, Mozart, Beethoven, Spohr,
and Mendelssohn nertr, on any occasion, had any of his works
entrusted to such a host of talent. Nor, do we believe, that if
the occasion had been the performance of a new composition by
O. A. Macfarreji or .Sterudale Bennett, that one out of ten
singers (foreign and native) would have come forward. Mr. Costa
was the conductor, and Mr. Lucas (conductor of the Royal Acadtmy
Concert*) ahsuwakt conductor" (J). So that in spite of the
eonntless celebrities/in the,'
whom the Royal Academy of Music has scut forth, it
that the institution bus not mustered one of sufficient '
conduct an Academy concert, for the benefit of the i
before crowned heads.
We now append the programme:—
Fabt I.— Selection from a Mas. :-Chonis, « Eyrie eleiion f Trio,
"diriste rlfi-on/' Mr. Sims Reeve, Big. Giuglini, and Mr. Harrison;
Chorus, "Gloria;" Quam: and Choru., " Laudanra* te," Madame
Viardot, Mil. Dolbv, Hcrr Reichardt, and Mr. Allan Irving; Solo,
" Gratuio agimus,' Sf i»« Louisa Pyne ; Trio, " Domine Deus," Madame
Clara Novello, Mi»a Dolby, and Signor Bcllctti ; Soli with Choral,
"Qui toltis," Maillla. Titicns, Mr. Harrison, nnd Mr. Wei**;, Solo,
" Quoniam tu," Signor Bciletti ; Chorus, •' Cum Sancto Spiutu ;
Chorus, " Sanetus ; " Trio, " Benedictua," Madamo Clara Novello,
Signor Giuglini, and Signor Bcllctti ; ChorUB, " Ho.anua in excelsi* ; "
Solo, "Agnus Dei," Madtlc. Titiena ; Solo, "Agnus Dei," Mr. Sims
Hecvea ; Duo, "Agnus Dei," M Us Louisa Pyne and Signor Bciletti;
Chorus, " Dona nobis " — The Earl of Westmorland.
Conccrtsnte for four Tioiins, Mes*n. Blagrore, Isaac, II. Hill, and
Watson— Maurer; Canitonet, *' The Spirit Song," Miea Dolby — Haydn ;
Finnic to the opera of "The Regicide," the aoli parts by Mia. I.ouiaa
Pyne, Madamo Weiss, Mr. Sims Reeve*, Mr. Aden, and Mr. Weua—
C. Lucas.
Past II. Introduction— (Guillaum* Tell), the aoli part* by Mail.
Weiss, Mias Palmer, Uerr Reichardt, Signor Giuglini, Signor Belletti,
and Mr. Weiss; harp accompaniment, Mr. Thomas— Ro.iini ; Reeit.
and air, " Dsh vnni " (Lo Norzo di Figaro), Madame Clara Novollo—
Mozart ; Reeit. and Romance, " Ein Midelien " (Santa Chiara),
Herr Reichardt— H.R.H. the DiAo of Saie Coburg; Aria, " Laaeia
ch'io pianga" (Armida), Mad. Viardot — Handel; Terzetto, ■ Vanne a
cotei," JIadamc Clara Norcllo, Signor Giuglini, and Mr. Sims RcoTe.
— Costa ; Reeitatire and aong with a burden, " The Queen*, greeting "
(May Da»), Mis* Louisa Pyne— O. A. Maefsrren; Finale to the Opera
of " Lorcly," Soprano solo, Madlle. Tit ien. — Mendel.aohn.
We have nothing to say about tho performance, since we
could not hear even Lord Westmorland s Mass distinctly, and
are aufTariug from incipient bronchitis. We believe, although
the Hall w:is not crowded, that something handsome was realised
by tho entertainment, the sum of two guineas being charged for
Seats within aye-shot of Ilcr Majesty.
M. CHARLES HALLE'S CHAMBER-MUSIC
CONCERTS.
A iter helping, by bis classical playing, to make the I
of the Musical Union, M. Hallo has seceded from that i
tiou and set up for himself. The concerts ho is now giving at
Willis's Rooms are of first-class interest, and attract brilliant
and fashionablo audiences. Tho programme of the first
(Thursday afternoon, June 17) was as follows :—
Trio in E' major— Haydn. Solo, vlotin— Praoludio, Loure and
Gavotto in F. major— S. Barb. Orand Sonata, pianoforte and violin, in
A minor, op. 47. dedicated to Krentter— Beethoven. Stuck im Volk-
.tone, pianoforte and violoncello, op. 103, No. L "Mit Humor," in
A minor ; No. 2, " Langsam," in F ; No. i, " Nicht ru rasch," in D —
Schtimsnn. Solo, pianoforte, Noctame in F sharp, op. 15, " Bereense,"
0p. 57— Chopin. Grand Trio in E flat, on. 70, No. 2— Beethoven.
Executants — Pianoforte, M. Charles liai.e; violin, Herr Joachim j
violoncello, Signor Piatti.
That of the second (Thursday evening, Juno 24) was as
follows :—
Quartet, two violins, viola, and violoncello, in F minor, op. 80
(Pojth.)— Mendcls^olin. Sonata, pianoforte and violoncello, in D, op.
102, No. 2— Beethoven. Rondeau Brillaut, pianoforte and violin, in
B minor, op. 70— P. Schubert. Solo, pianoforte, " Promenade, d'on
solitaire," No». 1 and 4; Valws in C sharp minor and D flat-Heller
and Chopin. Orand Trio, piano, violin, and violoncello, in D, op. 70,
No. 1— Beethoven.
Executants— Pianoforte, M. Chnrle* HahV ; violins, Herr Joachim
and Herr PolliUer; viola, Mr. Wobu; violoncello, Bignor Piatti.
At the third and last (July P) the programme will inelnde
Mo7.art'a Concerto in E flat, for two pianofortes, performed by
Miss Arabella Goddard and M. Charles Halle-, with orchestral
accompaniments— a welcome announcement. We propose to
review the three concerts in one article.
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412
THE MUSICAL WORLD.
[June 26, 1858
PHILHARMONIC CONCERTS,
sixth and last concert, on Monday evening, was " by
ad." Hit Majesty, the Prince, King Leopold, and suite,
[ after the first part wan over — although the pi
was entirely of royal manufacture. Wo append it
Weber.
Mo««rt.
Overture, " The Ruler of the Spirit*"
Aria, " Parto." Mm Louisa Pyne, clarinet obbligsto,
Mr. Williams (La Clementn rii Tito)
Concerto, violin (No. 8, scena cantantc), Herr Joachim
Duetto, MUsea Louisa and Susan Pyne, " Come, bo
gay" (Dor Freiaohuu) ...
Orerture, " loonora"
r-urr n.
Sinfonia in B flat (No 1)
Priere et Barcarole, Hiu Louisa Pyne (L'Etoilo du
Nord)
i violin* » . • i . iT i , . I . i , i • . - ■ *>4
Weber.
Beethoren.
Beethoren.
Conductor— Profei
Meyerbeer.
Mondelsaohn.
... Wagner.
Sterndale Bennett, Mu». Doc.
i first part the gas nearly went out, a flickering from
i being all that remained ; and Herr Joachim played
piece by Spohr — magnificently — in a sort of
light. His success was triumphant, and he was
• pieces, vocal aud instrumental,
aiso went well, in spite of the gas. At the end of the first part
Director MeMurdie made a speech, which, though inaudible to
e, was apparently understood by the gas. This latter
altogether, as though by command, and the anxious
were left in utter darkness,
ore Her Majesty arrived the lights had been partially
restored, but the odour and the heat, notwithstanding the
opening of doors and windows, were intolerable. Numbers of
persons (who had only come to see the Queen) fled precipitately.
Nevertheless, the symphony went well ; Herr Joachim played
Mendelssohn's concerto superbly ; Miss Louisa Pyne sang Meyer-
beer's barcarole with her accustomed talent ; and the overture
to Tannhiituer was given with such energy that there was
an apprehension that the gas would once more tike its departure,
in pure fright at such a strange chaos of noises. And thus
(with an enthusiastic and well-merited " ovation " for Professor
Bennett — after Her Majesty had retired), ended the season,
about which, and the Philharmonic Society generally, we shall
have something to sav in onr next.
Mr. Bkskdict's Cosckrt.— Her Majesty's Theatre has seldom
presented a more splendid appearance at a morning perform-
ance than on Monday, when the annual concert of Mr. Benedict
took place. Every box and stall was occupied, and the pit,
amphitheatre, aud gallery wore crowded. All classes were
attracted by the programme, which, though too long, comprised
several piect-s of unusual interest. The singers included all
the artists at the establishment, together with Madame Viardot,
Miss Louisa Pyne, aud Madame Sherrington Lemmens ; while
Herr Joachim, MM. Moli.,uc, Maurer, Deichmann, V. Collins,
Blagrove, Rubinstein, and G. Alois Schmidt joined Mr. Benedict
in the instrumental department. The programme was divided
into throe parts. The first and ln«t were miscellaneous. The
second part was " dramat ic" and included the tcena and aria
with chorus, from Benedict's opera, Der alte vom Berge (The
CrutaJeri). sung by Herr Pischek ; the grand scena from Oberon,
"Ozeane.du Ungehrue" ("Ocean, thou mighty monster") : con-
cluding with Pawiello's one act operetta, La tServa Padrona, by
Mademoiselle Piocolomini, Signors Rossi and CazabonL The
fine air from the Crutadert was powerfully sung by the
German barytone, the chorus rendering good assistance.
Mdlle, Titiens was splended in the scena from Oberon, her
grand voice telling with singular effect in this most exacting of
soprano airs. Pais! Do's old-fashioned operetta — old-fashioned
*._,n P,ot »nd music, the lattermost charming, nevertheless
of its effect to the vivacious acting and d
mined singing of Mdlle. Piocolomini, whom we should'like to
see play the part of the intrigning maid-servant on the stage.
The duet for master and servant is b
r>icce of music in the operetta, and was
far the most genuine
udly applauded, Mdlle.
;colonuni and Sig. Rossi being honoured with a recall. The
admirers of Pnisiello, however, must not accept the Serwa
Padrona as a sample of his best manner. Besides the scena
from the Crutadert, Mr. Benedict contributed to the programme,
from his own works, the overture to the Oip$y,t Warning, two
unaccompanied trios for female voices — " Schlummerlied " and
" Im Walde "—sung by Mdlle. Titiens, Mesdames Sherrington
Lemmens and Viardot ; song, " The Skylark ;" and the atr of
the page, "Quand tout d"un coup," from Let Nonna tfc Robert.
Both the unaccompanied trios — melodious, and masterpieces
of vocal writing— were beautifully sung, more especially
the second " Im Walde," which appeared to delight Mr.
Benedict's aristocratic listeners. Mad. Sherrington gave the
song of the page with great brillancy, and Miss Louisa Pyne
the "Skylark" with, if possible, more brilliancy. Rapturous
encores wore awarded to Mad. Alboni in the rondo from Cene-
rentola; to Mdlle. Titiens and Signor Qiuglini in the
" Miserere " scene from the Trovatore ; to Signor Giuglini in
the ballad "Tu m* ami, ah! si bell' anima" ("When other
lips ") from the Bohemian Girl ; and to Herr Joachim in
Paganiui'a Capriecio. The last alone was not accepted, the
great violonist obstinately declining to do more than reap-
pear and bow. One of the most interesting performances
of the concert was Bach's Triple Concerto for three
pianofortes (with additional accompaniments by Moschelca),
-'nyud by Herr Rubinstein, Mr. Benedict and Herr G. Alow
' It Herr Rubinstein executed a cadence of his own
_ which threatened dissolution to the great chandelier,
and drowned " Echo" in the hurly-burly. Maurcr's ConcerUnte
for six violins, too, was an interesting performance, more par-
ticularly since it was entrusted to such eminent hands as Herr
Joachim, Hsrr Molique, MM. Maurer, Deichmann, V. Collins,
and Blagrove.
Hjcrr Louis Kirs, nephew of the celebrated Ferdinand Rica,
?ave a concert on Friday evening last week, at Willis's Rooms,
le was assisted by MM. Paucr, Deichmann, Webb, Ounther,
A. Maurer, and F. Pratten, as instrumentalists, aud Mdlle. de
Villars contributed the vocal pieces. Herr Louis Ries, with
MM. Deichnian, Webb, Giiuther, Maurer, and Pratten, executed
the grand sextuor, in A minor, of Ferdinand Ries, for two
violins, two violas, violoncello, and contrabasso ; the first
allegro of Spohr's ninth concerto in D minor ; and. with Herr
Pauer, Beethoven's sonata, for pianoforte and violin, in E flat,
Op. 12. Herr Louis Ries, not merely in his selection of pieces,
but in his style and the solidity of his execution, declared his
predilection for the best school of violin playing. Herr Pauer
gave two solos of Henselt ; Herr A. Maurer (son of the cele-
brated violinist), executed Schubert's " Ave Maria," and Mdlle.
de Villars sang some favourite songs.
Mr. Hhhrv Lssliks Choib.— Mr. Leslie has the gTeat merit of
listing revived that taste for pure vocal harmony which, in the olden
time, was »o highly cultivated and so widely diffused in England. He
has formed a number of musical ladies and gentlemen into a choral
bodj, and hat taught thorn to sing in a manner much superior to any-
thing that haa been hrard in thi* country in our day; nay— if we are
to take the much-praised Cologne choir sa a fair specimen of German
choral singing— in n manner at leant equal to what is usually heard in
that hsnnrmiona land. In precision, purity of intonation, and
tion to the delicacies of expression and effeet, Mr. Leslie's c'
rival those of Cologne ; while tlu-ir harmony has the superior «
caused by the infusion of female voice*; and they have the further
advantage of singing much better music— our fraud and beautiful old
madrigals and the glrcs of our great masters beiug as much above the
trivial modern part-songs to which the Cologne gentlemen were
addicted, as the harmony of Moisrt i« above that of Verdi. Mr.
Leslie, moreover, has not only taught his choir to sing the most
exquisite part-music in tho world, but be has taught the public to
appreciate and enjoy it. Ever since tho formation of his choir, some
three years ago, their performances bare become more and more
popular; and now the announcement of a concert of Mr. Leslie's choir
never fails to fill to the very doors the great expanse of St. Martin's
Hall. This was the case on Friday evening, when sn immense audience,
listened to one of the best concert* Mr. Leslie has «Ter given.— Daily
iv#tn*.
Digitized
by Google
June 26, 1858.]
THE MUSICAL WORLD.
413
Madame Babsano and Hepr Wiliielm Kvsik gavu their
atiuual morning couccrt on Thursday, at the Hanover Rooms,
which were filled to overflowing. The selection was good, but
much too long. Wo hope to live to nee a concert-giver who will
tako for his motto, " Brevity is the soul of attraction," and act
up to it. Twenty-five pieces before dinner— in the loveliest
part of the day, too— and one of them nearly half-an-hour long
— Mendelssohn's trio in D minor, for piano, violin, and violon-
cello—is more than enough to take away one's appetite. Luckily
these elongated concerts kill themselves. Nobody waits to the
end, so that a number of pieces are always omitted. The selec-
tion provided for their friends by the highly-respected professors
above mentioned was good, and the talent employed undeniable.
Among the artists who assisted were Mad. Viardot, Mad. Sher-
rington Lommens, Mr. Sims Reeves, Herr Pischek, M. Sainton,
and Signor Piatti. A very fine performance of Mendelssohn's
trio just named was given by Herr Kiihe, M. Sainton, and Sig,
Piatti. Herr Kiihe executed several solos, among the rest two
bagatelles of his own composition — "Au bord d'un lac" and
" Grande Marche Triomphoie " — both of which were admired
and received with applause. Madame Bawano sang Rossi's
aria, " Ah rendimi," the Scotch ballad " The bonnie wee wife,"
the battle duet from Tancredi with Mr. Sims Reeves, and took
part in a trio with Mesdames Viardot and Sherrington Lcmmens.
Madame Basaano's fine contralto voice was perhaps heard to
greatest advantage in Rossi's aria, although in every piecs there-
was evidence of the accomplished singer. The most brilliant
vocal performance of the concert was the air, " Oh quelle nuit,"
from the Domino Noir, by Madame Sherrington Lemmens ; tho
most finished and expressive, the Romania, "Quando le sere,"
from Lui*a ifitt*r,\)y Mr. Sims Reeves; and the most strictly
classical, an aria from Handel's Alcina, by Madame Viardot.
Messrs. Benedict and Francesco Burger conducted.
Misses McAlpinb's Concert. — The Annual Concert of the
clever and pains-taking vocalists, the Misses McAlpino, took
place on Monday evening, tho i4th instant, at the Hanover
Rooms, in presence of a large congregation of fashionables. The
patronage extended to the fair sisters on tho present occasion
issued from the highest quarters, aud was not confined to
illustrious members of our home nobility, but included exotic
dignitaries, such as His Excellency the Turkish Ambassador,
and His Excellency Ferouk Khan, the Persian ambassador, to
say nothing of the Rajah of Sarawak (who is not foreign, but
Hibernian), Generals Sir Fenwick Williams and Sir Henry
Storks, 4c, die. The vocalists who assisted the Misses McAlpine
were Mad. Gassier, Miss Augusta Manning, Mdlle. Sedlatzek,
Herr Richard Deck, and Mr. Allan Irving ; the instrumentalists
— Miss Binfield Williams, Herr Jansa, and Herr Lidel. The
first effort of the sisters was in Balfe's popular duet, " Trust him
not," which was received with loud applause. Miss McAlpine's
execution of the grand acena from Dtr Freitchutz, if not perfect,
displayed good points, and was to be praised throughout for
dramatic feeling. A ballad entitled " I've always a welcome for
thee," very prettily warbled by Miss Margaret McAlpine,
pleased unanimously ; as did also the brinditi from Lftcrezia
Borgia, by the same young lady. The duet from the Stabat
Jfattr, " Quia est homo," was sadly shorn of its attractions
without the orchestral accompaniment. The four Scottish duets
were all well sung. The single classical piece of the programme
was Beethoven's trio, No. 1, op. 70, for piano, violin, and
violoncello, admirably executed by Miss Binfield Wi
Herr Jausa, and Herr Lidel.
ADVERTISEMENTS.
FREDERICK DENT,
Chronometer, Wstcli, and Clock
TO THE QUEEN AND PRINCE CONSORT,
8nH frTaktr of the 6rt»t dork for the ftousrs of $&tliamrnt
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OX
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used. TbU method does not requ're the extraotiou of rouia, or any painful octera-
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arlicidaUon und maatlcatlru Decayed Uctli storT«d an J rendcrvd sound aod
63, Fiort-*trx*i At b.>mc from 10 tUi i.
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414
THE MUSICAL WORLD.
[June 26, 1858.
FRENCH VOCAL MUSIC.
LE TROUBADOUR DU JOUR:
NOUVEAU RECUEIL PERIODKWE DE MUSI&UE DE CHANT,
fcntuata, stalint, a emowl
AVEC ACCOMPACKEMEJiT DE PIANOPOETE ET
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Piainrrudo in ill. At. a) 8pag,
Aire, Maria, Priere ..
Oh ' ao.-irc uiammol, fflliMlUW
La Klophta. Rocflinoc . .
1a Corbollli-, ChatisoucUe.
Ab 1 uou pouaar, lioinanaa . ,
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L'AiMiO. Arietta
L'Eiaveinent, Romance
La Paatorctl/1. Arietta..
U ni roriendm no*. Bo
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No! tululixlo, Roman/A
St. Milv. Blicsilolle ..
r*odou ill CmUi, —
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Ia llrlKuntlM. Barmr.l. •.• toix
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tfi. Tic c tic a toe, Clianaonnette. , A i N it i.
111. An reroir, Iytilae, Itomanoe.. .. Panaaioii
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BOOSEY & SONS' Musical Library, 24 and 28, Hollss-street, CavendiBh-square, London.
Digitized by Google
June 26, 1858.]
41ft
MESSRS. DUNCAN DAVISON & CO.'S
LIST OF
OPERAS FOR PIANOFORTE SOLO, in
AUBER ...
ADAM (AiHJtru).
DONIZETTI
MEYERBEER
" La Macttc do Portici" ( Masatiicllo) .
" I* Part <lu Diablo "
•'(heraldcHronie"
" Lcs Diaman. de la (
"Le Domino Noir" ..,
'• Haydrc, on h Secret"
"Giralda" ,
"La Favorite"
" RoU*t le Diablo " ...
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" Le Val d'Andorre " ... ..
" La Rcinc dc Chypro "
The above Operas may also be obtained of Messrs. D. Daviso.v & Co. for Voice and Piano, with Italian and French
iu 8vo., from 8a. to 20*. each.
». d.
12 0
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NEW VOCAL MUSIC.
" Thou art so far, and yet so near," by A. UiaciUEDr
"Quick arise, Maiden njinc," bv J. DessaI'KU ,
• When I w«* ywwir," by E. Brcce
'' When Brat you »ho«e before inc," by ditto
"To-uvonw," by 0. J. llanotrr
"Lord, bear u«, we implore thee" (La Juivc), in F, by Halkvv
" lie will lie ben-" (" II va veuir" (La Juirv) in C, by ditto
" TIhj old Willow Tree," Ballad, by .S. J. St. Leo SB
" Tbe Troubadour'* Lament," by Louisa Yabxold ... ...
" Persevere, or, tbe Career of Havclock," by C. liiiAlTAM
li
d.
:;
0
8
0
8
6
_'
0
8
6
1 1
0
0
0
6
3
" Sweet little Jenny," ltallad, by M. EKDEBssoiUf
" My Mary" ditto ditto
" Paimita," composed for La Signor* Fuinagalli by O. A. Mac-
PAIIliKX, .„ ... ...
" Ilarrnh for old England," in honour of Sir Colin Campbell, by
E. Nobtii
"Oh! I would wend with tlioe," by the Hon. Mrs. GttBvliXB ...
Ditto, as a duet for barytone and soprano, by ditto ...
" Qnaud on tnc donnerait," duet for soprano and tenor, by ditto
Ditto, as a solo, with guitar accompaniment, by ditto ,..
0
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0
0
0
0
I
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8
2 6
I
3
a
I
1
... 3
... 4
each 0
... 4
... I
Suenade for 2 sopranos, 2 contraltos, 2 tenor*, and 2 luss.*), without accompaniment, by
MeieejiEE* ... ... ... ... ... ... ... ... ... ... ... ... ... 4
Separate vocal part* to both the above ... ... ... ... ... ... ... ... ... each 0
*' Mournfully, sing mournfully " (Violin or Flute obbli^'uto), by O. Ciiuwell ... ... ... ... ... ... ... 2
•« Where is the sea " (Violoucello or Viola obbligato), by ditto 3
"THE VERY ANGELS WEEP, DEAR," by Mo/art
"HERE. HERE ON THE MOUNTAIN RECLINING" (clarionet obbligaio), by Meyerbeer
Extra Violonrello or Violin part to the above ... ... ... ... ...
" NEAR TO THEE " (Neben Dir), with violoncello ubhligato, by Mevbbdeeb ...
, alto, teuor, and bass, and organ ad lib., hi score, by Meterreer
"THE LORDS PRAVKU." for soprano. <
"THIS HOUSE TO LOVE IS HOLY,"
NEW PIANOFORTE MUSIC.
Arabella Goddard.
... , ...
...
...
...
•'DACHIANA" — No. 1, Fuga Sebermndo in A minor
Ditto No. 2, Prelude and Fugue on the name " HACn " ...
The abovo are select pieces from the Pianoforte Work* of J. S. U.lCU, as played iu public by Miss
THREE LlEDElt OHNE WORTE, by C.J. Uargitt
BELLA FIGLIA (transcription of tbe quartet from " Rigoletto ") by Jples Hiumc ...
QUANDO LE SERE (Giuglini's papular romance from "Luisa Miller"), by .Iruy Bbissac
PAULINE, Nocturne, bv G. A. Osbobxe
CAPRICE BOUEME, by R. I
LA JOYEUSE. Souvenir des Champs Elvaees, bv C. McKOBEtlX
SOUVENIR DE GLUCK (AriniJe) by C. McKobeeix
SUNSET GLOW, Reverie, by E. Aouilau
KLISR, Romance, bv E. A. Oovioif
A SUMMER'S DAY, Romance, by E. Moxiot ...
CLARICE, Moreeuu de Concert, bv A. Fi'uacalli
PIANO DUET. — DON PASQUALE, introducing " Com* e gentH," by Bicakdo Listeu
1* the frets.
" REPERTOIRE DES BOUFFES PARISLENS."
of Quadrilles, Walters, Polkas, 4c., arranged from the most. iiopular Operas performed at the theatre of the*
from the most. [.opular Operas
Pries • j- U, from 2a. to 3a.
0
9
o
0
0
o
a
0
0
0
«
9
0
s. d.
2 0
2 0
3 0
2 6
3 0
4
a
:t
S
2
8
4
5
"MART A."
Messrs. D. DaviSOX aud Co. beg to announce that the Copyright of tbo French and Italian version of MART A is disposed of to Messrs. BC06BT
and Sobs, who are the only publishers of the version as performed at the Theatre ItaUeo, Paris, and the Royal Italian Opera, London.
LONDON :
DUNCAN DAVISON AND CO.,
DEPOT GENERAL DE LA MAISON BRANDUS, DE PARIS,
244 KEOliNT-STREET, COItNEtt OF LITTLE ARUYLL-STUEET.
uigiiizeo
by Google
416
THE MUSICAL WORLD.
[June 26, 1858.
MARTHA.
beg to announce that they have pur-
thc Copyright of the French and Italian versions
of Flotow's Opera " Martha"; alao of the now music lately
added by the Composer. The only authentic edition of
the Opera, as performed at the Royal Italian Opera, is that
published by Boosey and Sons.
LUISA MILLER.
IN ITALIAN.
POVERO LIONELLA, GBME, BOSPIRA
IL MIO LIONEL PEBIBA
Sung by Big. Grariaui.
IL TOO BTKAL NEL LAN CI AH
Sung by Mad. 1
MAFPARI TVTTAMOR
Snug by Sig. Mario.
CHI MI MI i: a 1)1 CHE IL BRICCHIER
Sang by Sig
QUI SOLA, VKRGIN R08A ..
IH ITALIAN.
The completo opera (Parhi Edition) ...
Tie Detached Piece* im Ike original key :
Lo ridi e "1 primo, Romania ... ... ... ...
Ah! lotto m' arridc, Rccit.
II mio aonguc, Aria
Sacra U scclta. Aria ... ...
Dall' alia raggiante, Sc. e Dw*
al raio piede. Sc. c Duct ... ... ... ...
Tu DuMMi o Signore, Aria ... ... ... ...
L' altro retaggiu, Sc. e Duet
Padre ricevi P eitrerno addio, Terzetto
PrescnUrti alia Dacheaaa, Quartet to
Piangi, pinngi, il tuo clolore, Prcgbicra c
la acre al placido, Aria ...
TVatupottd
le ten in E flat and F ...
e un letto, Duetto (K flat)
, in F and D.
a. d.
... 12 0
1 8
3 0
a o
2 6
3 0
4 0
> 0
5 0
a 6
4 0
4 0
4 0
IH EIOLI8H
1 0
LO SO REN
Sung by Mad.
Duot.
Didiee and Sig. Grariaiti.
THE COMPLETE OPERA
15*.
A CHEAP EDITION FOR PIANOFORTE
WILL ME READY IN A FEW DAYS,
Price If,
POR THE PIANOFORTE.
VARIOUS ARRANGEMENTS ARE IN THE
THE TRADE
Arc respectfully informed that their translations and
adaptations must be made from the German copy, and
that the small Paris editions, b French and Italian, can
only be imported by
BOOSEY AND SONS, 24 asd 28, HOLLES-STKEET.
Boosey and Sons' complete edition, with deacriptioa of the plot
and muaic, in cloth
Grand FantaUie, by Cbarks Voaa ,
Chonw, arranged by Madame Onry ... ... ...
Fantaauc brillante, by Madame Oury |... ... ...
Faotaiate, by O eaten (Hommage a Verdi)
Miller Valae, by Laurent
Lui»a MihVr Quadrille
Valac
5 0
4 0
3 0
4 0
1 6
5 0
3 0
3 6
3 6
LONDON :
BOOSEY AND SONS, 38, HOLLKS-STREET, OXFORD^TKEET.
PubU»hod by Jon* Boorar. ot OaalloUr-hlll l» tfa* parUb of
Oonnty of Mlddlwex. at the i>Bce of Boobiv b Sons, 28, HoiU»«tro*t.
alio by Ran>. IS, John-atroet, Orcat PortUml-itreel ; Aii.au. W*
line: Yitajuin. Uolrwoll.itrwt ; Kami, Paoma, 4 Co, 48, Cbea
in tlx
. Sold
Warwick-
x», hi, Nuwg»te4tR*t ; Joint Kitmniruti. No»g»tc street .
Mat, 11. Ho.brtTti b»r». Agent* for Soatiaod, Patduok A Bo**,
Edinbutjjh aud OUugow ; fur IrcLuid, B. BI MU.U Dublin ; a*d all Muilc-
aallara.
Printed by Wtu.nn b>«*c» JoHHaox. " Naaaau Swam Praea," SO, 8*. Martin- •
Uae, In Um. r»rUh of St. MarUu ln tho-rioUU, in th. County of Middle***.-
- June M, F~
Digitized by Google
for Postage, 20s. per annum-Payable in advance, by Ca»h or Post Office Order,
to BOO SEY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36 — No. 27.
SATURDAY, JULY 3, J 858.
{
PEICE 4d.
STAMPED 5d.
w
ANTED, for the Church of St. Mary's, Bryanstono- j
square, THREE SOPRANOS, r-r Morning and Evening Service. A smell
remuneration will bo Ten. — Communications to be addressed to Mr. Simmon*.
•4. Kdg ware-road
TO PIANOFORTE MAKERS AND MUSICSKLLERa
—An KXFKR1KNCK1. TUNER aod KEG U LA TOR, who thorough];- under. |
•t*fj>-.ii fTtKurlug, ia open to nn cDg^acerDenL For refonioe* oa to chvwtc? and
ability, adtlreM to Tuner, Post-cfflee, Edinbtirsh.
TV
TANTEI).— A LEADER for the Orchestra of the
BELFAST ANACREONTIC SOCIETY, he mart be a good Violin player,
I able to socompany Oleea, Boutra, *c . at sight cm tbo Piano. None need
f fair musical attainment* slid undoubted t
apidy to Wm- II.
apply but gentlemen 01
character For particular* of
Secretary, Belfast.
LAURENT'S ROYAL QUADRILLE BAND. — New
^ JMBoe, «t Men Bcosey end Sons, 94, Hollra-etrwH, where full particular*
T_> IRMINOHAM TRIENNIAL MUSICAL FES-
JJ TIVAU io aid of tho Funds of the GENBHAL HOSPITAL, on tlx Slut of
Au^uHlJbo Irt. fnd. end fed of September next. Preeideot-Tbe Eerl of
M
R. ALBERT SMITH'S MONT BLANC, Naples,
IV^tl^nd^eeu^eeTerrnjithl^O^nt etetunlay) at S;
Mi; AND MRS. GERMAN REED'S NEW ENTER-
TAINMKNT -The new Seriee of IUoatnUkn.il by Mr and Mra. Reed fliU
Mlaa P. Burton) will be repeated every evenintf (eaoe|>t rMuniay) at Blgtii
Saturday Afternoou at Three. AdmUalou, la., ia, and Js. ; Stella secured without
extra charge at the Royal Oallery of IHuatratlon. It, Rogont-sirret, and at
Cramer. B*alo, and Co. 'a. Mil, Regent-atroet.
MADAME DE LOZANCS MATINEE MUSIC ALE,
at which ibe will introduce, by general desire, some of her meet admired
native Spaniah scaurs, on Monday, July 19th. at half- past two, at Willis s RKirtts,
aaeisted by Mail Rudcrsdorff and Madlle Finoli. Big. Marraa, Mr. Allan Irving.
Miss t/Tiattmc.^ llcrr^K^ Ilehftn, and Mr^ Oscar do 1* ^CTTcd """J- .U*Ll
Ida, U,, at the principal musk-eolltTs!' "*
MADEMOISELLE HORTENSE PARENT (Premier
Friz de Piano et dHanconie du Conservatoire tie Paris) lias tho honour to
announce that her First ]>uhlie performance In this country will take place at her
MORNING CONCF.RT, on Monday next, July S, to commence at three o'clock
precisely, under the immediate [*tronag* and by tha kind pcrmiasion of the
Right Hon. the Viscount*** Falmereti-u. at Cambridge IL.usc, Ileeadilly, on
which ociwsi.-n she will be assisted by the tindernamrd eminent
Vocalists— Madame Sherrington Lenimenaand M. Jules
-Pianoforte, Madlle. Hortenae Parent ; Violin. Signer Sighlcelli :
Sign or Prase ; Cor.ducu.r. M. Benedict. Tickets, ono guinea each, to bo e
only of Madlle. Hortrns* Parent, 1, Warwick-street, Charlng-eroe*.
Monsieur ZKUiER.
MARIO
CRT8TAL PALACE— ROYAL ITALIAN OPERA
CO.NCmT8.-Tho FOTJRTB COXCKRT of the Merle* will take place eat-
next, July (Kh, to commence at Three o'clock, when the Mowing artistes.
^oSorffiT -Madamo DIDiER, Madlle. PAREPA,
Signer 0RAE1ANI. Sl*m..r TAQUAFICO.
and Ssgno
CooductcT, Mr. COAT A.
Also the entire celebrated band and chorus of the Royal Ilalian 0)«ra Company.
Doors open at One. Admission, 7* fid. esch : Children under Twelrc, 3* Ad. ;
Reserved Beats, la. 6VL extra; Tickets for the Scries (not transferable), lino
Guinea ; to Season Ticket holders. Haif a Guinea May be obtained si tlie Crystal
Palace ; at 2, Eioier Hall ; or at tbe Box-omce of the Royal ilal
Season Tickets may now be had, available till the SOtli
Guinea , Children under twelve, Batf-a-iroln**.
27
MADAME RUDERSDORFF, MISS PALMER,
MR GEORGE PEKRK.V, MR. THOMAS, BIGNOR KAN UKGOF.R, and
HEHR MO LiqUE.— These dlatliiguisU.d artiatea will make a tour through
England. Scotland, and Ireland during tic months of October and Novrtnber.
All applications reeptcUnjr engagements for oratorice. ohim tin, Ac to be mado
forthwith to Maplesoo and Co., Clarence Cliambcrs, ll\ UsyniArkct, Loudon.
CRYSTAL PALACE, Friday, July 1G.— ARABELLA
\J GODDARD will perform BacU'a Triple Concerto t<r Three Pianofiort' a. with
Meoars Benedict aiul Undaay Bloper. at tho Crystal Mace, on Friday, July 16.
Madaaa* Qseeltr'f first spucuracos at tbe Crystal Palace Miss SUi'bach will also
appear on this occasion. Mr. Situs Reev,t will sine; Piuceli's celebrated War
Bong, "Conte, If you dare." The Beethoven Battle Symphony for two orchestra*
will t.c performed, f.-r tbe first lime at the Cryolal Palace. Full programinc will
be ready on Friday next. July 9.- —
Utirsrica and music-aellera (2a. od.
price of admiaaion will be fie.
SMe«*«>*e>v " e»»
MR. CHARLES HALLE'S CLASSICAL CHAMBER
MUSIC CONCERTS. Willis's Room*. Klng-etrael, 8t Jaroos's.-Th*
THIRD AND LAST CONCBJRT will take place on Ttiuraday neat, July Sth, to
commence at Three o'clock. Executants —Miss Arabella Ooddard, M. Ssliiton,
Slgnor Piatti. and Mr. Charlc Hnlle.
PROGRaMME— Trio in C minor, Mondclm lm ; Sonaia, PlanofoKe, iu O
minor, Op. M, Cienventi; Solo. Vintoncello, Piatti; Sonata. Pumofntt" and Viollu,
In G o.ajor. Op. Off. Beethoren ; Concerto for two Fianofortco, with orcheatral
HsIfHt-Gulnea o.ich. to be had at Cramer and Boalo's. M
n.-o.>it,nsiilroct/ts, in E rtat, MUs Ami^lls Cddsri and Mr. Omrlra Hslle, SI r»rt.
Tickets. H«lf*Gulne.
R. Oilinor'a. 1». Old 1
MOZARTS CONCERTO FOR TWO PIANOFORTES,
with full orchestral accompaniment*, will bo performed by Mlaa AraWI*
Goddard and Mr Charles HaU*-, at Mr. Ballet last concert, on Thnraday. July
rpWO NEW VOCAL DUETS, BY J. DURRNER.—
1 HOPB and SPRING-TIME. Also by the same
admired Bongs— " Land and Sea," ' Tho Kelpto's Bride.'' »
grave are drooping.''— Loudon : R. Mills aixt Son*, 140, New
Jitat PnblUhed. Price 6a.
THE PEOPLE IN CHURCH : their rights and duties in
connection with tho Poetry and Music of tho Book of Common Prayer, by
JORIAH P1TTMAN. Chapel master to tbe Hon. Boo. i * "
Bell and Dalby. 1M, Plroc street.
of Lincoln * Ii
rjxnxst mr. rATiiox*rja or
. MOST GRACIOUS MAJESTY THR QUF.i:N,
H UH THE PRINCE CONSORT.
rota"
FAMILY.
-.1 ,t he ,.
aid* highly approved. loteretUng,
MUSICAL ENTERTAINMENT,
DR. MARK AND HIS LITTLE MEN,
uuO)l»cr.nr' upward* of thirty Io«4jnira«rntaJtat». »d*1
wboisO farming a moat rotspleto tuiu uzuque
JUVENILE ORCHESTRA,
cxxsrroaxD or
Little EujtU.h. Iriali. and Scotch lioys, from five to sixteen «
operatic selections, solos, duet*, ijuartc ts, quadrille*, marvh
stag songs, eborusea. Ac, b a meat effective manner. ~
ooat eflhrtlv* Chorus. Ibe
age, wLo play
i poiku* ; and
and to whom be stive* a
gratuitous general and musical education in order to Illustrate his highly approved
system of musical education, and with whom he travels about the country to
interest for and help to eetabluh musical institutions called "Con-
of Music" for little children In every town, city, and rUlago of this
empire.
All tetter* address, please, Free Trad* Ball. Manchester.
Digitized by v^ooQle
418
THE MUSICAL WORLD.
=====
[July
—
3, 1858.
»
MESSRS. DUNCAN DAVISON & CQ.'S
LIST OF
OPERAS FOR PIANOFORTE SOLO, in 8vo.
AUBBB
ADAM (Adoltu).
DONIZETTI
MEYERBEER
V
" Lo Muotte da Portia" (Masauicllo)
«' U Part da Diablo "
"Cheval dc Hronzo"
" Lcs Diauumn d» In Couronnc "
" Lo Domino Noir "
"Haydfc oulc Secret"
"(iiralda"
" La Favorite "
« Robert lo Diablo"
r also be obtained of Mi
a.
10
8
10
10
8
B
8
10
12
MEYERBEER
HEROLD ...
ROSSINI ...
HALEVY ...
" Lea Huguenots "
"LcPreauxClercs"
D. Datikw
in 8*o.. from 8a. t<
A Co. for Voice
i 20*. iaii.Ii.
"LaF&amRoac*"
",La Juive"
" Lea McMWioetairca dc U Koine » ...
" Le Nabab "
<«Lc Val d'Aodorro"
■ La Heine do Chypro "
, with Italian and Preach words,
12
a
I.-
8
12
8
10
8
If
d.
0
0
0
0
>>
0
0
o
0
NEW VOCAL MUSIC.
t.
i
0
a
o
2
a
8
0
a
6
8
0
2
0
Q
0
8
6
a
Q
" Sweet little Jcmiv,
" My Mary"
P.„,nlti. ■
composed for La
Ballad, by M. EraXBSSOIur
ditto ditto
by a.'l iui'.
Paimita/'
mm,
" Hurrah for old England," in honour of Sir Colin Campbell, by
E. North
"Oh! I would wend with thee," by the Hon. Mn. Gbjsville...
Ditto, at a duet for barytone and soprano, by ditto ...
« Quand on me donneraiC duct for soprano anil tenor, by ditto
Ditto, as a »olo, with guitar accompaniment, by ditto
), without accoui]
** Thou art to far, and yet so near," by A. ReICHAEBT ... ..
" Quick arise, Maiden mine," by J. DbmaCIB , .,
« Wlien 1 waa young," by E. Hnvcn
" When firat you shone before mc," by ditto
"To-morrow," by C. J. U ABOUT
"Lord, bear n«, we implore thee" (La Juive), in P. by HaIeTT
" He will be here" (" II »u vcuir" (La Juive) in C, by ditto ..
•' The old Willow Tree," Ballad, by S. J. Sr. Lioeb
* The Troubadour's Lnment," by Lor ISA Yabkold
" Persevere, or, the Career of Hnvclock," by C. BmHAM „
« THE VERY ANGELS WEEP. DEAR," by Moeabt
"HERE, HERE ON THE MOUNTAIN RECLINING" (clarionet obbUgato), by
Extra Violoncello or Violin part to the abovo ... ... ... ... .-■ ...
NEAR TO THEE " (Nctien Dir), with violoncello ubbligato, by Mevbbbsbr ...
"THE LORD'S PRAYER," for soprano, alto, tenor, and boss, "and organ ad lib., in score, by Mlvekbecii
"THIS HOUSE TO LOVE IS HOLY," Serenade for 2 w>prano», 2 contraltos, 2 tenors, and 2 bass*
Mktxbsixb ... ... ».« ... «•» ...
S'paraU vocal porta to both the above ... ... ... ... ... ... ... ... ...
•* Mournfully, ting mournfully " (Violin or Flnto obbtiguto), by G. CBCWELL
- Where is the sea " (Violoncello or Viola obbligato), by diUo...
NEW PIANOFORTE MUSIC.
"BAOHIANA"— No. 1, Fuca Scherxando in A minor ... ... ... ... ...
DiUo No. 2, Preludo and Fugue on the name " BACH " ...
The above arc select piece* from the Pianoforte Works of J. S. BACH, as plavcd in public by Miss Arabella Goddard.
THREE LTEDER OHNE WORTE, by C. J. Hargitt
BELLA KIOLIA (transcription of the quartet from " Rigolctto ") by JCLIS BbMsac ...
Ql'ANDO LE SERE (Giuglini's popular romance from "Luisa Miller"), by Jclm Bbusa.0 ... ...
PAULINE, Nocturne, by O. A. Osbob^K
CAPRICE B011EME, by R. Lwdibv
LA JOYKUSE, Souvenir de* Champs Elv»«e*, by C. McKobkell
BOO F.NIR DK GLVGB (Annidaj bj 6, VoKoUBU
SUNSET GLOW, Reverie, by E. AOVILAB
ELI3E, Romance*. hy K. A. GoMIOX ., ... ...
A SUMMER'S DAY, Romance, by E. Moxiot
CLARICE, Morceau de Concert, by A. Fcmaoalm
1'IANO DUET.— DON PAhQUALE, introducing "CWegcntil,
a. d.
2 O
a o
2 6
0
o
0
0
o
0
o
6
O
0
4 O
•i I
3 O
a. d.
8 0
2 0
...
...
...
...
by RlCABDO LlSTEB
i
8
8
4
8
I
a
3
5
In
"REPERTOIRE DES BOUFFES PARISLENS."
A Collection of Quadrille*, Waltzes, Polkas, Ac, arruigid from the most popular Operas performed at the theatre of the " Boud
Price eaib, from 2s. k> 8a.
"bsarYa:*
Hettr*. D. Davibow and Co. beg to announce that the C 'opyright of the French ami Italian version of MARTA is disposed of to Messrs. _
slid Sok», who are the only publishers of the version as performed at the Theatre Itolien, Paris, and the Royal Italian Opera, London.
MIMICAL
WORLD
LONDON:
DUNCAN DAVISON AND CO.,
DEPOT GENERAL DE LA MAISON BRANDU8, DE PARIS,
241, REUENT-STREET, CORNER OF UTTLE ARGYLL-STREET.
Digitized by Google
July 3, 1868.]
THE MUSICAL WORLD.
419
.RECOLLECTIONS OF CALIFORNIA A AUSTRALIA,
BT A MUSICIAN.
(Continual from page 405.)
I thin k my last chapter must have been a pretty severe dose
for my readers, but I cannot help it. I write as I think, without
any set form, merely jotting down the thoughts as they rise in
my noddle, for 1 kept no diary, never imagining that the wander-
ings of Buch an insignificant personage as myself would ever be
interesting to any, except, perhaps, my numerous personal
friends, who would make allowances for the many faults of style
that I am sensible I possess. Yet, as I have been flatteringly
told that these humble sketches, mere flashes in the pan of a
tolerably retentive memory, are received by many who arc
strangers to me with some degree of favour. I am emboldened
at times to elaborate, and notice matters and things that do not
strictly belong to the vocation of a musical chronicler.
So, now imagine our party upon the little steamer " Daniel
Moor," »n route for Marysville, a thriving town of three years'
of age, upon the junction of the Yuba ana Father rivers. (I beg
your pardon, Sign or, La Rio de las Plumas. I love these Indian
and .Spanish names, they are so musical.) The river above
Sacramento growing gradually more shallow as wo ascend the
stream. The steamers are made of very light draught, and are
propelled by a stern-wheel (not a submerged screw), which I
imagined, in my simplicity, might be a convenient method of
propulsion upon our small streams, the boats being as narrow as
the screw- vessels. Morysviilo is about a hundred milt s from
Sacramento, and upon our passage we clearly discerned the
lofty summits of the Sierra Nevada Range of Mountains, covered
with snow, which, as the sun set low in the west (its usual des-
tination), were robed in a delicate rose-coloured garment of
borrowed light, broken here and there by a cold greenish huo
from the rising moon i and, talking of moons. I do not think the
moons elsewhere are at all comparablo with those of California.
Their brilliancy (owing to the extreme clearness of the
atmosphere) being exceedingly beautiful, covering the ontire
face of nature with a flood of light that it is impossible
only used to the shorn and "
for
light
those who are only used to the shorn and " watery
ns profound" of our English satellite to conceive.
W« landed about three miles from the city, as the Yuba
was too low to permit of the boat's ascent to the wharf,
and drove through an atmosphere of impalpable dust; for the
soil is composed of a sort of pulvilio that permeates everything,
»nd the numerous teams of cattle and mules, which are
making their way in every direction, keep the dust conti-
nually rising. Morysvilln is well laid out, containing very fine
blocks of buildings of the most admirable brickwork I ever
beheld, the soil being well adapted for the manufacture of bricks;
and as the people have the good sense not to plaster them over
with stucco, great pains are taken with the ornamental brick-
work, particularly with the joinings of white mortar, technically
termed pointing. And now for our concerts. In the first place
there was no concert-room, and the theatre was such a dilapi-
dated hole that we did not know at first what to do ; but even-
tually hired a large gambling saloon, and putting three billiard-
tables together as a support to our platform, wo got a lot of deal
boards for seats, which were supported by small nail kegs. These,
covered over with chintz calico, made quite a grand appearance ;
and in our further wanderings we often wished for our impro-
vised salon, although we had to do all tho work with our own de li-
eat* hands ; and my friend the Count went to work with a will,
and tore his trousers with nails, smashed his fingers with ham-
mers, and inserted splinters into portions of his person, in a
bland state of enthusiasm that was perfectly refreshing to
contemplate.
Oor concerts wero extremely successful, and, indeed, the
success was needed, our expenses being fearful, as wo paid eighty
guineas a-night for the use of tho room alone, without reckoning
the expense of lighting, printing, or our amateur carpen-
tering; and on our last night's performance we had a
novel scene. A certain middle-aged gentleman, who shall
be nameless, had, in his enthusiasm for music (and possibly
the fair caMatric*) followed as from Sacramento. He
a great horticulturist and
indebted to his exertions in aiding the development of her
natural agricultural resources ; but bis thoughts were all emi-
nently poetical, that is poetical after the Rosa Matilda style, and
he imparted to me in strict confidence a little pleasing surprise
that he intended to execute upon our last night. I religiously
kept his secret, as I knew some fun would bo the result ; and
imagine the fair Eliaa's surprise when, rising like an amiable
clean-shaved Venus from the sea, he walked from the eentro of
the audience clad in white calico (no doubt to symbolise his
parity of intention) with a large sash of green leaves suspended
from his left shoulder, and bearing in his hand a gorgeous wreath
of wild prairie flowers. Advancing op the centre aisle, ha
stopped, turned out his toes, smiled beuignantly, and laying his
hand upon the left side of his waiscoat, addressed the lady (who
made desperate efforts to bolt, prevented by me), and delivered
something like the following delightful nonsense :— " Stay, sweet
enchantress, stay, and hear thy votary, who kneeling at thy
shrine " (here he bobbed) " asks thee in pity to receive this gift
from Flora thy sister goddess of the realms of beauty.
Roaming this morn among the flowery meads, the goddess in
her radiant loveliness advanced, and thus addressed me :—
'Mortal, and subject mine, I blame thee not that thou dost
leave my service — tho charms of musio are more powerful than
those which I can offer, so I absolve thee from thy sworn
allegiance. Hie thee, and bear this gift unto my sister queen
of song.'" Hero he stopped, and hoisted up a wreath
weighing about ten pounds, and as large as a moderate
sized cart-wheel. The poor little woman was, by this time, like
an overcharged bottle of ginger-licer, and if I hod not been the
restraining string that kept the cork iu, there would have bean
an explosion of the most fearful nature. Of course, any reply
from tier was out of the question, but I kept my gravity, though
sorely tempted ; and, t ikina
speech, in whic"
respectful comp
in generosity, restored the wreath to the votary who had so
well earned the love of such a goddess, and then I stuck the
wreath on bis head, covering up his left eye, ami he retired,
highly gratified, to his scat, where ho sat like a dignified Jack-
in-the-green, amidst tho derisive shrieks of applause of the
audience, which he received with a calm air of superiority that
was exquisitely absurd. I do not exactly know whet her I an
justified in thus exposing the innocent folly of a truly worthy
and kind-hearted man, and can ouly offer in justification, the
same excuse as the Irishman did, who, when expostulated with
for tapping an aged gentleman upon the cranium, naively replied
that " ho could not resist the bold head, it was too timpting."
During our stay in Marys vi lie I made several visits to an
Indian village, dignified with the imposing title of Ynba City,
and beheld its wretched occupants in all their glory. They are,
without exception, tho most degraded race upon tho face of the
earth ; they are mere animals ; no hog was ever half so filthy ;
and, although, when they come into the towns they are com-
pelled to wear some sort of clothing, in their own villages they
ut 01 tno iiuesuon, uut i Kepi iny gravity, inougn
I ; and, taking the wreath, made a nonsensical
ch I made the " queen of song" present her
pliinents to Mrs. Flora, and not to be out-done
(young and old, men and women) go completely naked, lying
about in apathotie slumber, and only moving when obliged by
hunger, or where there is a chance of getting whiskey. They
are destitute of all sensation, and even the savage virtue of
revenge is unknown to them. Did I say destitute of all sen-
sation ? I was wrong. One holv feeling the women do possess
—love for their children. They derive their name of
Digger Indians from the, manner in whieh their huta
are formed, viz. : — by digging a circular hole in the ground,
about six feet deep, by twenty in diameter. These holes
are then covered with poles, slanting almost horizontally
to the centre, where a small ajierture is left to carry on
tho smoke of the fire. An opening is then made at the side,
sloping downwards to the floor, which is jnst largo enough to
admit of entrance upou the hands and knees ; so that the city
has much tho appearance of a collection of dirty meat-pies,
ready for the oven of some Titanic baker. And now I have tola
how these desirable tenements are formed, I must relate a comical
scene that I witnessed, in company with several frieudn, upon a
,stato visit we paid to Yuba olty.
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Among the acquaintances I picked up wag a young gentleman
from England, making his travels in company with an eyeglass ;
and if Dickens had not, in his character of yonng Tite Barnacle,
bo admirably pourtrnyod this member of the genus snob, I should
have been tempted to try roy " prentice hand" upon him ; but it
would bo too great an impertinence, and I must refer iny readers
to "little Dorrit" for a description of an animal that you will find,
more or less snobbish, all tho world over. As there was to be a
Cnd Pow-wow at the village upon some such occasion as the
th of a new moon, the death of an old one, or more probable
still, the possession of a barrel of whisky, several young bucks
of Marysville, including young Barnacle and myself, determined
upon going at night, when the fun would bo fast and furious,
and paying our respects to the Indian beauties. Barnacle, whose
ideas of Indians were formed upon the veracious accounts of
Cooper, whose impossible heroes are generally supposed in Eng-
land to be tho ■'•fa* ideal of savage chivalry, was delighted at the
idea, and arranged himself gorgeously in a pink shirt, a blue
neckcloth, and a very tall ana shiny hat His eyes were naturally
weak, thereby emulating his knees, and one of his optics nearly
destroyed by the sensible process so fashionable among certain
idiots, of flattening it against a glass. Carrying a weapon about
sixteen inches long, formed of a very small cane with an ivory
handle, poor little Barnacle evidently thought himself irre-
sistible, and was full of enthusiasm at the thought of the
"dayvelish rum start," as he termed our excursion. The
night was still and beautiful ; wo walked about three
miles to a ferry, and then crossed the Father river to the
village opposite. With tho exception of the extremely old
diggers, and those who were blind (a vast proportion), all the
Indians were collected in tho grand council chamber, or lodge,
which was in the centre of the meat-pies, and upon a much
larger scale. Sounds of demoniac revelling arose from the
interior, which appeared to me as if old Clootie had been
studying Monsieur Soyor, and had imprisoned his " four-and-
twenty blackbirds," who, mistaking their vocation, had began
singing before " tho pie was opened."' The sounds were perfectly
devilish, and 1 glanced at little Barnacle, expecting him to ahow
the white feather, but not a bit of it. Unmitigated snob as he
was, he was a plucky little fellow, and immediately proceeded
to crawl in head first, but as we informed him that such was
not the etiquette, he reversed his position, and we soon saw
nothing but tho lurid glare of his shiny white hat as he dis-
appeared down the hole. We followed, and were at once assisting
at what I presume was a meeting of the Aboriginal Philharmonic
Society of Yuba City. The lodge, about forty feet in diameter,
was well filled with ladies and gentlemen who had carried the
art of/wfl drw to the highest (or lowest) pitch of perfection, as
they were perfectly nude j those pests of fathers of families,
milliners' bills, being unknown. A large fire was burning in
tho centre, round which the members of the society were
" bobbing all around, around," to the serious detriment of their
elaborately ornamented cher^nret. The orchestra was composed
of three professors (no doubt doctors of the Yuba university),
two of whom performed upon hollow gourds filled with pebbles,
wliile the other jumped up and down upon two crooked boards.
The effect, though novel, I cannot truly say was exactly pleasing
to our uneducated ears ; and I have no doubt the learned quint-
hunter of the Saturday Review might have detected a few con-
secutive fifths, but as I had no score before me, I did not wish
to be hypercritical upon the composition. As tho thermometer
was about boiling heat, it may well be imagined that the atmo-
sphere was filled with anything but breezes of " Araby the bltat,"
and we soon found tho necessity of departing without waiting for
our carriages to bu announced, and little Barnacle took the initiative
in ascending the tunnel. He had got about half way through,
when, to our astonishment, back he shot into the midst of the
lodge, with his beavor flattened over his eyes— a regular crush
Gibus ; the cause of his propulsion was soon explained, for—
Oh! shame, oh! sorrow, and oh! womankind!"— the broad
disk of one of the lady patronesses made its appearance through
the apcrturo, and as Barnacle had chosen the same moment for
his exit as the lady had for her entrance, the doctrine of the re-
sistance of solid bodies was moat effectually solved, much to the
discomfiture of the little man, and indignation of the lady, who
grunted out a " Ugh f and immediately set to work toeing and
heeliiig it like mad. We got out safely, and by keeping watch
outside, induced Barnacle to follow, and at length he appeared
in a most dilapidated condition, and became positively irascible,
as wo joked him about the fair Indian Princess ; and it was not
until our arrival home, and the imbibulntion of countless drinks,
that the poor little fellow forgot his contretemps, and was carried
to bed in the jolliest of humours, musically insisting that he was
" a Gipscy King, ha ! ha !" and trying to impress upon us the
propriety of " not going home till morning," and various other
ditties of a similar jovial and reckless tendency.
{To be ooMinmed.)
ROSSINI'S WILLIAM TELL.
BIT A rORSIOK CONTRIBUTOR.
This immortal masterpiece was played for the first time in Paris in
the month of August, 1829. It wai with this marvellous score that
Rossini closed the aeries of his musical dramatic compositions.
Let ua look bick to consider the gigantic step here made by the
Swan of Praaro in operatic muaie. When he began his musical career,
Mayer and Parr were the great musical atari in Italy. These two
eminent musicians were tho worthy aucccasora of Guglielmi, Paisiello,
and Cimarosa. These minor »Urs, whoso rays were not wanting in
brilliancy, were followed by Valentino Fioravanti, Oniaeppe Fartnelli,
Nasolini, Nioooliui, Gnaeeo, Federigi, Moses, Orgitano, SeLeri, Pares!,
Portogallo, Winter, Weigl. Zingarelli, Generali. Morlacchi, etc. Bnt
Rossini came, and throw them all into the shade. And yet bis adver-
saries were full of Tigour, and he had to contend with men of no mean
talent. While he was engaged upon his Drat operas. La CamOale di
Matrimonii) and the Eqmimco Stravayante, Mayer's Medea and Paer'a
Aynete were brought out. In the year 1813, however, after having
WTltton aereral operas in a short apace of time, he composed Tancredi,
which produced a revolution in theatrical muaie. It is impossible to
describe the cntbusiaam produced by this opera ; it amounted to frenzy,
and flew like a mighty eagle over all Europe.
But if we now psaa from Tancredi to WiUiam T*U, how our admira-
tion increases to see the enormous advance, considering the latter open
as beyond all comparison with any other!
His star at Pans certainly produced a decided change in Rossini's
genius. In that great capital, when (Bock founded his wonderful
reform in the musical drama, which Mehul, Chcmbini, Spontini hate
further consolidated, and where we find a public, to their praise be it
said, who listen attentively to that philosophical and expreaair* mask:
which satisfies at tho same time the ear, the heart, and the intelligence,
Rossini resolved to join the Glilokian battalion; in which, if he were
the last in point of time, he became the first by his talents. This was
not the first time that Boeaini had produced dramatie, philosophic, I
expressive music ; snd we find many examples of it in his previi
operas j bnt he had not ss jet written any score so
beginning to end.
Among the many reformers of the muaical'drama, we are of opinion
that Spontini, by his admirable inith of expression, had more influence
than any other on the genius of Rossini. Spontini attained the sum-
mit of Mi glory in Paris in 1S07 and 1808, when he wrote those famous
operas La VeHale and Fernando Cortex, at the lime when I
brought out in Itsly his first composition, a cantata entitled II .
if Armenia. Spontini, a great Italian genius, was almost i
Italy ; so that he did not enjoy that influence to which he I
in his own country. It was not so in France, where, bavin
all obstacles, he acquired and maintained for a long period his supe-
riority. But he had a long and obstinate straggle to maintain before
he conquersd his numerous enemies. M. Berlios tells us that at the
first representation of La VettaU, the pupils of the Conserratory of
Paris, excited by their masters and profresore, went to tho theatre with
their nightcaps in their pockets, resolved in the second act to place
them on their heads and feign to sleep. Bnt this sbsurd idea was aban-
doned, for Ibo sublime notes of La VettaU astonished nil present; so
much so, that in the famous finale of tho second act the pupil, of the
Conservatory themselves were the loudest in their applause. In France
Spontini found enemies, bnt in Itsly ho met with worse than enemies,
indifference.
Rossini considered tho subject of William Toll ss well adapted to
ywrsW red I hU°*0pb.ic*1 mmU>- ®r*lry had thirt'H
to Mehul and
without suooest.
irty-eight
pposilion
chosen and set to mask this same subject, in opposition
d Cherubini, then in the height of their glory, but
hS' reaeW".0«<'n'',e B°**'Di* who' with thi* 0*"*'
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The Ibcme of William Tell, whether true or not, ha* all tho mate- I
terial* of a good melo-drama j but the librettists, Jour and Ippoltte |
Bin, although they hare taken a few good things from Schiller, and
imagined tome few good situations, produced a Tory weak and crude
book, without development. The mediocrity of the libretto doc* not,
however, produce any material effect on the music, to tare which,
however, recourse was had to a few mutilations, which shortened it by
one act. It is strange when we reflect on this mutilation of Kossini's
music, when we see how many worse books the swan of Pesaro has
But the case is different, since the music which, like that of
i Trll, gains force from the dramatic force, requires a drama
provided with the required attractions, and sufficient of itself to interest
the public. On tbja occasion we may remark that music sharpens tne
darts which the poet has aimed at the heart.
But let us now come to a review of the principal piece* of this
classical score. The orerturr, by its form and conception, is essentially
different from all hitherto done by Koa>ini. It is not a collection of
motives which pleaee the ear, but, similar to Beethoven's symphonies,
it is the explanation of an event, a whole poem. In point of fact,
Bossini's idea was to represent in this overture the revolt of the Swiss,
which is tho theme of the opera. The andante of the overture has an
air of myatery which invites attention. Then comes the allegro, wl.ioh
depicts a tempest to perfection. Where is this tempest .' Are we on
the sea, on the lake, or elsewhere ? Calm succeeds ; wo hear a pastoral
sound suggesting the idea of an Alpine country, and you see Switzer-
land, aa it were, before you, and you deduce of course that the tempest
is on a lake. Thus transported in imagination to Switzerland, a
warlike march of tho greatest vigour ia heard, which lasts up to the
end of the overture. Then among the warlike feata of the Swiss, we
I hit upon that of WiUiam Tell as the principal one. Such is
eel language of this opera.
Throughout the opera the paetoral character prevails. In many
parte we hear certain bars of the Ram dea Vaches, an old 8wUs air
moat dear to the hearts of the inhabitants of the Alpine mountains. It
is known that in France it was prohibited, under pain of death, to play
this air to the Swiss troops, from the fact that it created home sickness
among the soldiers, and caused them to desert or commit suicide.
Besides this air, Rossini frequently employed the triple time, as the
8-8, 6-9, 4c . from the fact of its being more genial to pastoral music. He
refused to employ any foreign ornament, and discarding almost every
sort of fiorUure, he wrote a simple and Timorous music, highly energetic
for its dramatic accent.
The introduction is marked with the most striking pastoral colouring.
In the barcarole, sung by the Fisherman, wo observe, at certain intrrrals
of the song, tho instrumental part which recals to mind, in a charac-
teristic passage, the "Ranz dc» Varhcs." Beautiful, indeed, is the
antithesis which the aong of William makes with that of tho fiihcr-
man, when afterwards, to the voices of William and the fisherman, arc
joined those of Jemmy and Edwige, a ouartelto of the finest effect is
beard. The instrumentation then recalls the most characteristic pas-
sage* of the " Ran* dee Vaches," followed by a most beautiful chorus,
which, being in a minor key, excite* in the midst of the rejoicings a
feeling of sadness in the peasants, to whom Qessler's tyranny forbids
frank hilarity. On the arrival of Melohtal, tho chorus passes into the
major key, and a change takes place in the musical thought in keeping
with tho respectful greeting duo to the wise man of the pastors. It
would lead us too far to notice every beauty to bo found in this score,
we shall therefore confine ourselves to the principal one*.
Let us observe the grand concerted piece, " Alxiamo insieme il canto,"
and more particularly tho fortittimo in which Jemmy predominate*,
and which ia followed by a piano. Remark in the eirrtta of this in-
troduction, "A! frema " the very beautiful cadenia, varied for two
voices, the first passing from the key of O to that of E flat, and the
second, on the oontrary, to that of R natural.
In the duet between Arnoido and William, we remark the instru-
mentation of the speaker, and then the beautiful change of key, when,
from the chord of B flat with the ohord of the seventh, (bey pus into
Q flat without the help of harmony, and with the simple unison of the
note*, B natural and C natural. After this, Arnoido begins with a
D flat, the cantabile "Ah Matilda" in the key of Q flat. Mozart, in
the seventeenth scene of the second act of Dan Giovanni, from the
key of D, with tho single note K, passed into tho key of F i and
Haydn alao in the seventy-fourth quartette, has employed a .similar
method of transition, which may produce the finest effect, when not
abused. It must also be observed, that the first period of this sweetest
of melodies ia done at a single stroke I there are eight bars, which do
not result, us it frequently happens from two similar phrases. The
cantdena of William Tell with that of Arnoido arc admirably coupled
In the allegro
we hear for tho first time the tune of the 1
is, as it were, personal to dossier. The cabaletta of this 3uet, 8 O ciel
tu lo sai," invites our atteutiou by its great similitude to another piece,
which we shall notice hereafter.
The music of the procossion of the three bridegrooms is the very
essence of rural simplicity. The dancing chorus in A minor is full of
enchanting grace. The joy, first mixed with melancholy, clears up,
until all forget their troubles : this is well oxprvased by Rossini in the
passage in A major, in which key tho piece ends. After a dancing air,
tho chorus "Si cinge il pro guerriero," is particularly to be remarked,
because Rossini employed the same melody as the music of the proces-
sion above alluded to, only he converts tho time 2-4 into 6-8.
In the finale, amoug other tilings, we admire the prrghiera of women,
during which the men ring in broken intervals only ; of these somo
express fear, others threats. The ttretta is full of energy, and the fact
of its being but slightly embellished by the ringing, increaso* the
horror of the scene. We observe in the cadenza that when Jemmy and
the Fisherman, with the rythm employed in the crescendo, continue
during eight bar* ulso in the key of E, sustained in this key by Rodolfo
and Edwige, the Chorus and Metcbtal ascend by degrees, syncopating
from tho upper E down to tho octavo below. The syncope tempera in
a manner certain crude combinations, giving to certain notes the
semblance of passing notes. Wo point out also in the same cadenza
the sudden transition of the chord of E to that of F, and from the
latter to the chord of B with the chord of the seventh, which leads us
back again to E.
The second act open* with the hunting music applied to the per-
sonage of Qcasler and hi* court. After a short and expressive
chorus of hunters, tliere is a chorus of Swiss, with the bell, which
finishes in a singular manner, descending by decrees from C to G
always in thirds, fifths, and octaves. These chords have no relatioi.
with each other, and consequently excite in the mind a certain feeling
of pain, as if from a change neither expected nor desired, which is well
calculated to represent that sadness which pervades the Swiss on seeing
the sun set. The great Paleitrina, perhaps with the same intention aii
Roasini, had already employed a similar suddcu transition of different
tonalities in his Slabal Mater, where, suddenly in the commencement,
we find three perfect chords, which descend oue degree.
The romanxa "Selva opaca" is one of the sweetest melodies of the
opera. Fetis, in his Treatise on Harmony, point* out in the third bar
a chord of 1st and 3rd minor, 4th major, and Geh minor, which is
resolved (the 1st remaining the same) into 1st, 3rd major and 5th. Thia
modulation is alleged by Kltis as one of tho examples which help to
prove his ingenious theory of Transcendental Enharmonic*, by mean*
of which omnitonic* arc joined to music, " and is, in the opinion of the
illustrious author, the final termination of the development of tho
combinations of harmony." In the systems of Rumeau, Songc,
Schnrter, Kirnbergor, and Catel, there arc the clomonts of this theory,
which Fetis rendered complete by establishing it on the principle of
tonality.
In the duet of Matildc with Arnold, tho agitato contains a beau-
tiful musical phrase in the eighteenth bar. The seven ttaccati,
loud ehords, which precede this phrase, produce an opportune variety
which tempers the length of the piece. As soon a* tho tenor
ha* repeated the same air as the soprano, we find an andantino
S-8, the first eight bars of whioh recull to mind the burthen which
wo have alroadv pointed out as the eabalttla of the duct between
and Arnold. The change which takes place in the tim • and
in certain notes and ia the modulation, does not at all alter
it* substance. It would, therefore, appear that the semblance of an
air docs not always proceed from a similarity of its component parts,
but from certain ipecial features, which, being preserved, maintain it*
character in the airs. The development of the musical thought in
this piece, is, however, different from that ol the duet in the first
act. The singing parts are most admirably combined. The a due,
with which tho duet terminates, has a certain similitude to Bellini.
We have no intention of saying that the first operas of the Catanian
composer had any influence on Rossini's style, but we wish merely to
state, that in this piece, he ha* adopted one of those methods which
Belliui frequently used, to give a melancholy accent to his music, that
is to say, the appogiature a* principal note* of the raolodv.
Next follows the famous ttrtttto, the finest ever composed. Tho
melody, " Allor cho scorre de' forti il sangue," give* ati irresistible
force to the severity of the outrage cipreesod in the words. Rossini
has avoided accompanying thi* melody with his accustomed
which would have taken away all its energy. The andantino, '
suoi di," reaches tho sublime. There ia no song to catch the ear, but
there are note* so well adapted to the word* that tbey lacerate tho
• m The different tonalities of E major and C major to accompany
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the tremendous exclamation, "II Padre ahimo mi malcdiva," arc
successively used in the magical effect. The progression of tho tenor
from the upper G to A abarp and U createe a shudder. Thia is an
altaia (ascension) which the a acoeaaors of Boaaini have imitated orer
and orer again, without, however, regard to ita proper applioation.
When the tenor descends from the upper B and executes the cadenza,
be employs many notes of the value of a sixteenth, to each of which a
syllable is applied. Tbia adds to the dramatic effect, which could not
hare been done with vocalisation. The harmonic* produced by tho
baas aud barytone during this cadenza, and above all a chord of the
fifth with the grave in the §mer:an4o, arc highly impressive. The
allegro of this terteito ia full of life anil warlike ardour ; but it has one
drawback, it comes loo soon after tho sublime andantitu/. Emotions
must not follow too quick on each other.
This act finishes, which ia perfect from beginning to end, with the
imposing scene of the oath. We see with what different music Rossini
baa accompanied the arrival of the inhabitants of Unterwald, of Scbwitz,
and Uri. We cannot but point out the fine recitativo of William Tell,
which begins with " La Valanga che voloe dalla eima de' monti," on
which first words Rossini has designated a mountain by the various
height of the notes. If we have only as yet pointed out the beauty of
this recitative, we have done it for want of en &•_■(■, for aJ the recitAtive*
Of thia opera are imagined in a high philosophical spirit. In the
andanU ma«to*o, in which the oath (" if ^i«ram« nto") scene properly
begins, in order to impart to it that character of solemnity which
belongs to it, Roasini employed at the onset, descending from the
•cote to the grave, those notes which compose the perfect chord of 1st,
3rd, 6th, and 8tb, passing afterwards into different keys and without
any preparation. When afterwards all say in unison, •• So qualche vil
rhi qui tru noi" at that skip from the octavo suddenly to tho upper
E flat, while the basses of tho orchestra play the first time, the D flat
and the second the C flat, the mind is filled with terror. After a few
imitations between the three conspirators and tho chorus, there is a
Terr expressive pianissimo, then wo hear a progression of different
scales descending only seven notes, which are alternately imitated by
the tenors of the throe choruses, always ono note higher. They return
afterwards to tho phrase "8e qualche vil," and after the naiusnW
there ia an interruption with a very short recitative, whioh prepares the
effect of the final cadenza. Where the unexpected passage from the
chord of C minor, by the three voices alone, to that of H flat major
given with force by all, together with the orchestra, we should be shaken
were we of stone. The third act opeus with the air of Mathilda The
agitato, although somewhat long, invites attention up to the end' The
accompaniment expres.,., with much truth, the agitation of the
mind, lhe moderato, "Ah se caro a t« son io," is composed of
eighteen bars m which there is no symmetry, but tho thoughti. well
expressed and is a good model to follow. Rossini has thrown into it
ZZl, 1 1 £nCe H, " " to the «t» lo of a mind
under the influence of a passion which knows no rule. We observe in
the second, third, and fifth bar of this moderate, how much grace and
sweet melancholy the melody acquires on the last note of the passage,
«m.Jw*t 0n an|,c'P»tl0n.°f tn« following chord. It iaworthy of 1
remark how wc 1 this capricious modulat ion is accompanied in this piece.
we have . ^7 , ' ^""i m T'"ch °<nhr " «° *«• *Z
we have . UllaUU intermixed with a wallz, in the Tyrolese stfle, sat, J
by the chorus without accompaniment 7 g
TheSffefrent^,i*J1''*r,<,U.°.With ?"™< do"c with «
Dsrt which th "! n0t, trC4ted »" they maintain the
rather at i... ^ "I"™"1' •» »hrt the music docs not injure, but
wUhouf m JSJZffSSA* °PP»rt»~ and logical variety,
I I "he E£*%2. °. L°S*' f°™ ,h'' «re»l •««rti«ma'of this pie™
the arrow s, h- .1 ■ "? "V"*"1 b> W,lli,un Te". brf<"» b* ««•
the arrow at the apple plsced on his son's head, is tnijv iub|.mi> t...
^^~rWes the word, pronounced by™ ^ilHamZdicaVc
Sir/ ^Hr^^^^*-^
example of opposition between the melodv and .iT
fitel the >^r> ftWoSt'we
L#S.i? I AjJema8"«. °J Madame de StaeL that the orchestra
Orestes i. .peakmgth, trutnThe^ he". cahTT,* t h. In0,
Next, turning to tin, abos* „.« j ■ V ... * ' ut '"*» * tell you.
out one of the most teX «d *'r 2 Wl""m ™> "e ™h to point
««au« ana moving passage, ere, tet to mU4ic<
Roasini. in writing thia piece, was no] doubt thinking of Lis mother,
whom he loved so deeply : he most certainly have ,wcpt. Wept, indeed!
He, Rossini, so ironical by nature, so Jocular, so sarcastic, has perhaps
for once taken the thing seriously ! Yes, we affirm, that Roasini must
have wept, in writing these notes. And what is there so astonishing in
it P Did not Mozart, that soul so melancholy, laugh, it is reported,
three or four times in his life ?
A fine concerted piece follows, next an allegro vivaee, in which Tell
first erica out " Anateina a Oc.aler," on a chord of U fiat major, during
which the chorus of soldiers of Oesaler holds • C natural on tlie words
" Viva Oesaler." This produces a real discord, which ~
petrated to show tho reciprocal aversion of the
oppressors.
The fourth act ia certainly not the best, and the whole fault lies with
the librettists, who were unable to keep up the interest of the drama to
the end, and imagine a oVaoueWaf worthy of ao grand a subject, Tet
such a. it is, Rossini writes: we do not fear mediocrity, but we
only get that smaller effect which proceeds from the want of dramatic
impulse. The tenor's air is very fine. The andantino expresses
magically Arnoldi's state of mind, when he comes to visit for the Inst
time the house inhabited by his father. The sweet melody of the
ritornello is twice more repeated during the air, as a dear remembrance
of happy days. The allegro or eabaUtta, in whioh the ohorus takes a
part at times, is ao full of vehemence; that it is well appropriated to
the thirst of vengeance which stimulates Arnoldo.
An elaborate tmeUimo, written as a cancn, gives Rossini an oppor-
tunity of composing good music, without the help of the dramatic
situation.
Then begins the scene of the tempest, combined with a prayer! and
the opera concludes with a general chorus of the Swiss, who have re-
volted after the death of Oessler. Rossini, not content with the end-
ing tint imagined, varied it 1
overture,
Wo are
than
ever,
no
could say at least that it
Pfj d'En^lure begs us, i„ ft note, to correct his MS. before
printing .L We prefer, however, giving it verbatim in hi* own
terms, it is -
not every
that can write
r- fJ' JA"?£8 Uali— Every one knows the Story of « L_
Cottage, tho cxmntrj box. built out of the profit* of the third
ind-aftertrarcL WeM-i
novel by " tJieU,en-iootAau^atu^
mtt (aa Madame d'Arblay gtyled herself)— every one has heard
how, when the walla were iin »n,J ttJ * 11
.•urn
en fc
down, It
-cast* had
n the walla were up and the' floors
to somebody that such a thing as a sUircaae
itten !— The cast- of St. James's Ball is not quite so
doleful ; yet wo cannot help being reminded by the concert-room
of the cottage. The fault complained of cannot be aaeribmble to
Mr Owen Jones, the architect ; but it is odd that, after a coiu-
»f mM,««" »?d «•» ™<1 *t again to determine on the
internal arrangements of a luuaie-room, there is not a single
^r,™",! ° r".'.*™ th? Ha" tlmt ]i™ B,jt complained of tL
tTfn,? l "nn°l I1''" 0ttcat\*- ™«. ^ «»*y be* remembered,
was questioned by us when Uie hall wan opened ; and the defect
in accomuiodation has been so universally felt, that on Mondav
week, ^program**, Dr. Wylde absolutely broke forth into
EgifXS* °n 'he Shan-holders to agitato for some large and
M TV 11 V3 *°? ^ *° d0 *«-, Withoutrisk Of
!lSS*]r;Srf Jonc!,• °.,eKant roon,> yet th» must u
SSfZ? he rP,4le mVT become a music-hall cfesertcd, and
concort-gwers forsake St. James for St. George, or St. Martin,
when they intend to assemble a full band and chorus. Is there
another capital in the world where so many failurea of the kind
occur as ,n London f We should be glad, in removal of a rebuke
which weighs heavy on us, to know it* name -Athrturu,*.
Alexahdrb Delias, according to somo of the Parisian thea-
trical journals, has been invited by the Emperor of Kussia to
S£ta? 10 differcut ParU of ^ empiru, eighteen
PB^dflDCHa d~F1°U>W» -*V<wM« has baen
Digitized by Google
July 3, 1858.]
THE MUSICAL WORLD.
423
GREAT (PIANISTIC) UNKNOWNS.
SiolsMTiirD GoLDBcnMtDT (not to be confounded with Otto
Goldachmidt), born 1813 in Prague, once made tho artistic tonr
of Sweden, Denmark, Holland, France, &c. A very superior
piano-player, whom it would be difficult to surpass iu the exe-
cution of passages in thirds and sixths. His compositions are
superb— his sonatas, particularly — and foremost in the music-
literature of tbe day. This great and genial pianist has been
compelled to bid adieu to art by the venial press of Paris. To
pay critics, in advance, he held beneath his dignity, and the
consequence was — a failure. Discouraged, he returned to his
father in Prague, who is a highly-respectable merchant there —
a leather-dealer. This true son of the Muscb took such a step
ten years ago (in 1847), and became immediately a business
partner with his father. Sigismuud reckoned quite rightly, that
out of his fathers stock of leather he could cut very cxccllont
straps enough to secure him a comfortable subsistence. The
so-called Parisian critics often years agone have the loss to the
world of such a man upon their conscience.— New York Musical
World.
Madlm. Nahkkttb Falk is a young pianist of whom we
haw already spoken in the Galeae Musical*. She courts pub-
licity but little, for ahe is of a modest disposition, and is about
to return to Germany, without having done all that is requisite
to found and permanently establish the reputation she deserves.
There are few pianists in Paris that can interpret as she does
Beethoven's lost sonatas, opp. 10fi, 110, 111, &c. By an artistic
caprice, she only plays to a select circle of amateurs. Wo
have heard her several times, particularly at the honse
of Mm Ilk', Jenny Rotzun, the celebrated teacher of the
piano. She received the warm plaudits of her audience very
calmly, as though accustomed to such marks of appreciation.
Mndlle. Falk is the virtuosa of domestic circles. — Revue et
Ga.ettc Musicale.
7 0 7*
ce Num6ro en ens de reclamation.
VOITTOB A DKTX PLAOBS.
]
I
|
I
TAItIF pr Paris ot jusqu 'aux fortifications.
Do C h cures du matin
ft mmuit 30 min.
1" HIl'llK.
■ De minuit 30 min.
a C heures du matin.
1'* Dsvax.
15 minutes ... If. 20c.
25 1 25
25 1 00
80 1 50
90 l eo
i*> •••••••••••• 1
40 1 CO
■46 «••••«*»•» 1
85 2 0
nstraxs survjutixs
15 centimes
par cinq minute..
Harass scrrums
25 centimes
par cinq minutes.
EN DEHORS DES FORTIFICATIONS (earn/
U Pais de Boulogne), le Taril est te mime que
celui de nnit, A partir de 6 heures du mstin
ju'qu'n B heur. du soir, en hirer (du 1" oetobre
bu 30 mars), et juiqu'a 10 heur. du eoir, en H6
(du 1" arril au 80 scptemb.)
* For the advantage of such of our subscribers as are about to fly
BAIL COURT.
(Sittings at Nisi Prius, before Ms. JcsHCE WlOHTIUH and
Common Juries.)
B10CK1.T V WISE.
Mr. Collier and Mr. Wood were counsel for tho plaintiff) and Mr.
Hawkins for the defendant, lid* was an action brought by the
plaintiff, who had been thirtv years organist for the parish of Hendon,
to recover £70 from the defendant, who was churchwarden for tho
parish, as tho amount of salary duo to him. As soon aa the first wit-
ness was called, a conversation took place between the counsel. Mr.
Hawkins stated that he bolieTcd tho defendant was not
liable, but tho parish, feeling that tho plaintiff ought to be paid,
agreed to give the plaintiff £70— a juror to be withdrawn. The Learned
Judge said he thought it a hard case so far as the plaintiff was con-
cerned, because the parish could not expect that Mr. Bloekly would
play tho organ for two years without remuneration. The defendant to
pay the plaintiff £70, and a juror to be withdrawn.
( Ji.aw.ow — (From a Correspondent). — Tho Brousii Family gavo
three Concerts in the Trades Hall, on the 17th, 10th, and 21st
ultimo, which were well received. Thoy were assisted by Miss
Jenny Cudworth, who sang " When my love sighs I hear," and
other popular ballads, with much taste and expression.
Sronn has definitively accepted the invitation to bo present at
tho iubilce of the Prague Conservatory. He has been asked to
conduct his own grand composition of Jessonda. Mndlle.
Wildhaner, who was taken ill iu Loudon, and obliged to give
up her concerts, being advised by her physician to go to some
watering place, is engaged for twelve nights at Her Majesty's
Theatre, in lbVof). — .A cue Wiener Musik-Zatung.
Viknsa. — Although the report that Liszt intends to establish
a musical conservatory on n grand scale in Vienna, is, as yet,
somewhat vague, it is certain that a plan for such an institution
has been seriously proponed, nnder the patronage of a very high
personage, and, when the new arrangements for rebuilding
part of the city have been definitely arranged, measures will
ims instantly taken to carry it into execution.
Berlin. — A benefit, under the patronage of the highest person-
ages in the state, was promised by lierr van Hulacn, the
Intendant (Jcncral of tho Theatres Royal, when the committee
appointed by the theatres of Germany met in Dresden, for tho
erection of a monument to Weber. The entertainment was to
consist of the three hundred and first representation of Der
Freischutz, preceded by a prologue, written by Herr Dtlringer,
the stage-manager, and tableaux viiants. The preparations
were sufficiently advanced for the performance to have taken
place on the IMh June, tho anniversary of tho firet performance
of Der FreiscAiUz. On accouut, however, of the oppressive heat,
so unfavourable to tho theatres, there would have been but little
chance of so full a house ns the committee of tho Weber monu-
ment could wish for tho throo hundredth and first representation
of Der FreiscAiit:. In order, therefore, that the benefit at tho
Theatre lioyal may contribute as large a sum as possible to tho
funds for the monument, the management has postponed the
performance, from the loth June to the autumn, a season fat-
more propitious to theatres.
St. PETKRSDURan. — M. Gucdconoff, the director of the Im-
perial Theatres, has asked leave to resign. M. Andro Sabourofl*,
Master of the Court of His Royal Highness tho Grand Duke
Constantino, is montioncd as likely to succeed him, with whom
will be joined a committee of competent persons. This chango
cannot fail to effect a serious reform in the mode of adminis-
tration now practised iu the theatres of Saint l'ctorsburgh.
Rohbimm Operas.— According to the Italian papers, tho peoplo
throughout the entire peninsula are returuiug to their ancient
love for Rossini's music. At Rome, the Siege of Corinth is now
the operatic rage ; whilst at Florence and Genoa, Ouitla«me Td>.
and Moise arc being performed with the utmost enthusiasm. A
few vocalists of the old school alone are wanted to make Rossini's
operas as popular as ever. Verdi's music not only wears out
the singers, but tho hearers, while the music of the Swan of
Pesaro, like port wine, is rendered more palatablo by age. One
bottle of old Rossini is worth a pipe of Verdi.
Digitized by Google
4<M
THE MUSICAL WORLD.
[July 3, 1858.
ER
MAJESTY'S
Or tolas i. and
THEATRE. — Titiens, Alboni,
Aldiehletf, Rowi. and OlugUul.
Th* following imn(*mmu b
Mondjy, July 4— La»t M^niln^ Performance, with the fol'.cwiuit combined
attraction. LUCBEZIA BORGIA, and Pal*l«Uo,» admliad UpcretU, LA RBBVA
FA l> RON A, u prcawuted Willi the (mint suooo** at Mr Baue irt'n CoDcert, «nd
* f;t»ourite Billet will: HiJune Boaati aod M*dlle- Pocchlni.
B..««, from *1 6J to 4*4 4* ; rit Stall*, 21*. ; Pit and Gallery Slatl*, 6.. ;
Uall.ry. J.. <Sd.
rill be i*»lTod
SatuMay. July 10 — Lut night but two of tb
Crtt time thi. Kiuon, BalfaTOmm of LA ZIM
On each occasion a farourite Ballet, in which 1
will appear.
to 1* made lit the Boa-ofiie* at the Theatre.
ROYAL PRINCESS'S THEATRE.
UNDER TUB at AN AO EVENT OF MB. CHARLES KB AN.
N Monday, and during the week, will bo presented
Shakapcre'a P>»y of TtlE MERCHANT OP VENICE. Shy lock, Mr. C. Kaan ;
Portia, Mr*. C Kcaii. Preceded by tb* new fare*. «otltl>:d DV1NO FOB LOVE.
0
JJOYAL OLYMPIC THEATRE— On Saturday evening
comedy, entitlod* OOINQ TO THe'baU TTcoiSude^ith^HE WNDmTlL
Commence at hair-paat T.
MARRIED.
On the 3rd Feb, at St. Janet's charch, Paddington, by the Bcr.
Benuchamp Tjrwbitl, John Dunatan, E.q., Governor of Cheater Caetle,
to Emily Catherine, eldest daughter of Cipriani Potter, E*q., of InTer-
rie«s- terrace, Bayawater.
Otf the 27ih June, Augu»ta,
Beole, K«)., of Hegrnt-itrcet.
DIED.
THE MUSICAL WORLD.
AY, Jrxr Sue, 1858.
Music has taken go large a hold on the popular mind in
this country, that its capacity for good or for evil can no
longer bo doubted. It may confer important social benefits,
or assist in the propagation of a taste less vulgar than
depraved. High art and low art are not the only distinctions ;
there is also bad art, which possesses a more dangerous
fascination for the educated than for the uneducated dosses.
Low art may be vigorously represented, and in this form can
Jo no harm if it does no very great good ; but the tendency
of the other art to which we allude is the more pernicious,
inasmuch as it is specious, and attempts to para for that
which it is not. Against this we should chiefly be on our
guard, for it spreads like a fungus when once it has taken
root. We sincerely believe that in no country is the love
and appreciation of good music more general than in
our own; but, «.n the other hand, it is equally a
fact that nowhere else is there so much bad music
cultivated, so much quackery fostered and cherished.
The middle classes are the great stronghold of true
art amoug us, the aristocracy its perhaps unconscious be-
trayers. It devolves, tben, upon those who pretend to in-
fluence public opinion, to encourage the middle classes in
their predilections, and to watch with anxiety the progress
of such established institutions as provide antidotes for the
poison insidiously circulated by all sorts of dishonest prac-
titioners. At the present time such a surveillance is of the
highest import, since the stream of melody is in peril of being
choked up by the sewage of a veritoble art-Babylon, and, if
the evil be not arrested iu time, may l..icome as muddy and
corrupt as that of the Thames itself. There is, however,
some hope. By alow steps the noble and wealthy begin to
take an interest in what are termed " classical " concerts—
in plain English, concerto of good music, where what the
post has produced and the present is producing of worthy
can be heard. A well-known institution, where the quar-
tets, and other compositions for the chamber, of tho great
masters are performed, often with rare perfection — just as
their orchestral works are given at the concerts of the Phil-
harmonic, and their sacred compositions at Exeter and St
Martin's Halls — has had a hand in this, and might have done
still bettor service but for certain eccentricities of manage-
ment The more the upper classes are attracted to such
entertainments, the better chance of their being gradually
weaned away from others of a less healthy character — the
better chance of their engaging professors of real merit for
their children, professors who conscientiously regard the trust
reposed in them, and would disdain, under the pretext of
teaching a refined and elegant accomplishment to ground
their young charges in the shows and tricks which degrade
both music and themselves, and only excite pity in the
minds of intelligent persons, unacquainted with the principles
of the art, and tanght to believe that such questionable
displays are its legitimate manifestations. Pater-Familiat
may well curse the music-master (" maestro," but too often ' ),
and doubt his wife's sagacity, when he finds the money be
has laid out, and the annoyance to which (being non-
musical, from the point of view at which he has been taught
to contemplate the divine art), he has passively submitted,
so barren of results — when, instead of being ravished at his
daughter's talouts, his friends either talk all the while she is
playing, or steal politely out of the drawing room, long before
the hardly practised "morceau" is concluded. All this cornea
of bad art being tolerated by those who can distinguish the real
from the sham, and whose influence, social or public, might be
exerted to so much real advantage — from the toleration, we
repeat, of bad art, and the favour so lavishly bestowed, by
members of the aristocracy and their snobbish imitators
among the ahipocracy and shopocracy, upon the musical
charlatans, chiefly foreigners, with whom this metropolis
absolutely swarms. A moment's reflection might convince
our leaders of fashion that these foreigners, for the most part,
despise us as heartily as they humbug us readily, and only
settle in England because at home they enjoy no considera-
tion, and are unable to obtain employment The patronage
thus unwisely and indiscriminately administered not only
impoverishes our own meritorious professors, but indirectly
influences the teste for music, and its consequent progress in
this country.
In taking a general survey of the season now on the
wane, we have a right to conclude that some advance
has certainly been made in the proper direction, but
that the worst kind of art has prevailed almost as much as
ever in high places. Can anything be more trivial
Court-concerto ? Can anything be
tertainmento for the benefit of '
artists," which we continually see announced as taking
place in the splendid mansions of the Duchess of Fittbattle-
axe, my Lord Bareacres, my Lady Kew, and the rest
Of our fashionable dilettanti 1 Surely nothing. The very
dregs of art are there made to jiors for Johannisberg
and Chateau Margaux. There we find Herr B(P)lock,
"il Signor" Cipollani, and M. DuriUon d'Engelure,"*
• Only » Dame lake— no relation— of our foreigu contributor.
Digitized tf Google
July 3, 1858.]
THE MUSICAL WORLD.
425
; undisturbed sway ; whilo the young Fitzbattleaxes
i\ instead of becoming, thanks to their musical
j graceful and welcome ornaments to society,
bores on that yery account — their polished
instructors having taught them nothing but rubbish, whether
for voice or instrument. And yet we find these worthies
reaping a large harvest of guineas at their annual mutinies,
which are attended by all the crinoline and perfumery of the
btau monde, who sigh and simper over the last nocturne of
M. d'Engelure, weep with the new canaonetta of Sig. Cipollani,
and shiver under the influence of Herr Block's most recent
" Pluie." And this sort of stuff is admired and applauded,
and promoted and taught for the advantage of young ladies
destined hereafter to become the pests of genteel society
to administer that dose which is to embitter the tea and
disenchant the muffins of their scented, kid-gloved, white-
choked visitors.
Seriously, although much good has been done this year, it
has still been balanced by so much evil, that wc are almost
afraid to say the art has moved a -head. Nor can musical
progress ever be very decide*!, unless it takes in social influ-
ences— unless the enormous patronage accorded to foreign
mediocrity finds some check. The only way of doing this
" is to tempt the upper classes to the Philharmonic
, to those of the Sacred Harmonic Society, to per-
of the stringed quartets and pianoforte music
of the best masters, ana to all entertainments where music
is represented nobly and devotedly, without charlatanism or
pretence of any kind. Let well-meaning professors unite in
putting their shoulders to the wheel ; and, with the help of
enlightened amateurship and honest criticism, much may be
effected in furtherance of this greatly-desired object.
We intended to favour our readers with a returns of the
It's theatrical proceedings, under the influence of
But the past week gives us nothing to talk
about. Barred from the past, we will look at the future,
and call attention to the announcement that Mr. J. B.
Buckstone is to take his benefit on Saturday next, the
10th instant.
May Mr. Backbone's friends be warm, and may the
weather be cool, on that occasion. The ill wind that
brought harm to "little Bucky" would be without the
amiability ascribed to ill-winds in general — it would blow
nobody good. Not only is Mr. Buckstone the pet comedian
of the public, but he is an object of affection to all who
know him, and the name of these is legion. His appear-
ance on the stage is the signal for applauding mirth;
his rising from his seat, at the table of the General
Theatrical Fund Dinner, gives the cue to mirthful ap-
plause. He is better off than the " Hare with many
friends for he has not a single enemy. The friends of the
hare deserted her, and she was slain by the hounds; but
there are no hounds to trouble Mr. Buckstone, even if his
friends treated him with the cold shoulder. But his friends
will do nothing of the sort A state of the thermometer
injurious to Mr. Buckstone, would cause such a wide-
spread grief, that it would recall the days of the Lisbon
earthquake, and supply Dr. Bachhoflher, of the Colosseum,
with a subject for a new Panorama.
Let, then, the breezes be of the coolest temperature that
comfort allows on the night of Mr. Buckstone s benefit. Let
no ill-timed rain render the pavement sloppy, make cabs
the difficulty of street circulation by a
conglomeration of umbrellas. If, by the chance of fate, there
must bo rain of some sort or other, lot it be in the shape
of a smart shower a littlo after seven o'clock, and drive
into the Haymarket the few stragglers who otherwise would
have remained outside. May the evening be just such an
evening as a bentfeiaire, who knows what is good for him,
would crave from the gods.
The benefit on the 10th will be of no ordinary kind. It
will terminate a season of five years' duration, the
history whereof will be given by Mr. Buckstone in
a special speech. Mr. Buckstone's oratorical powers are
well known. Only fancy how nobly they will be
employed in narrating the events of a season of five years
under his own management. Persons absurdly young, or
with ridiculously short memories, should be informed that
great improvements have been effected in the Haymarket
since the reins of government were placed in the hands of
Mr. Buckstone. By him the stage was enlarged and the
salle beautified. That appropriate tnite-en-echie, which gives
a new zest to comedy, and, in some cases, has helped very
lame pieces over rather difficult stiles, is, in a great measure,
owing to his spirit of reformation. While, however, he has
complied with the exigencies of the age by his attention to
scenery and costumes, he has taken care that the Haymarket
should never be perverted from its ancient and
purpose as the theatre of English comedy. By a mo
of prices, which maintains the exclusiveness of the stalls,
while it facilitates patronage of the pit, upper boxes, and
gallery, he has moreover shown himself a wise financier
on liberal and enlightened principles. But though, oncoming
into his theatre, he enlarged his stage, and beautified his eaUe,
he does not think his work so complete as to make all reno-
vation superfluous. He locks up his doors for further improve-
ments, and astonishing will be the effulgence of beauty 1
he opens them for the winter.
On the 10th of July, recollect— on Saturday
night week, Mr. Buckstone's benefit will take place.
We are not at all grieved to learn that the concert given in
St James's Hall, for the benefit of the Royal Academy of
Music, on the evening of the 23rd ult, was comparatively a
failure, even in a pecuniary sense. It deserved to be
nothing else than a failure, since it was no Academy
concert at all, but a concert "for the exhibition of " Lord
Westmorland as a comjweer. The two-guinea tickets, it
appears, found no market and the " Lady- Patron esses "
had either to return them, or to erase the aristocratic
numeral " 2," and substitute the mobocratic " 1." So that
the general public who could not see the Queen (for which
they exclusively came), had to pay just as much as those
who, favoured by Lady Patronesses, were contiguous to
Majesty — viz., one guinea — in return for which they got
Lord Westmorland's Mass and a touch of rheumatism. We
entirely coincide with the following remarks by which The
Atktnamm, of the 19th ult, anticipated this incongruous
entertainment :—
" Royal Academy op Music. — Wo return to the Academy Concert
at St. Jmii'i Hall, to be gifen on Wednetday next in the royal
pretence, became the programme thereof i» too lingular to be paaaed
o?er. A large portion of the first act ia to coosut of a Mast by the
Earl of Westmorland. Would not inch ramie hare come forward
more modestly and more gracefully had the noble amateur given it at
a benefit concert of hit own, far the Academy, if hii bounty to wiT
it ? It wu set forth (in the circular quoted by ue, a»U, p. 800) t
the entertainment, commanded by Her Maj
Of the Roy ai j
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426
THE MUSICAL WORLD.-
[July 3, 18&8.
first act bat the illustration of Lord Westmorland as a composer *
The advantage thus taken of an interesting occasion renders it impos-
sible for any lover of music to keep silence. The more that ire esteem
and would nourish amatcurahip, the less can we consent to see it
itself of social position to thrust out Art from Art's right
" its hardly-earned honours. Is it really a fact that the
has been, and is, so poor in composers that to cko put a
tit for Koyalty to hear, the Committee is obliged to apply
to one of it* amateur patrons — Dot professional impila, past M
present — for a novelty ? Something like this we have again and agsin
said, and haro been considered illiberal for saying it. Kemark, too, in
confirmation of crery past stricture of oars, by whom the principal scio
parti in this illustratiTo concert are to be sustained: — Mesdames
KotcWo. Tisrfot, and Budersdorff. Mdlle. Tietjene, Miss Tync, and
Miss Dolby (the one Academician 1), Mr. Sims Itccvcs, Herr Relclmrdt,
Signori GiugUni and Belletti, and Mr. Weiss. This, however, is not
all. It is aaid that the stranger artists have been invited to give their
serv ices gratuitously. Let us take, in contrast to proceedings so shabby,
in every sense of the word (and in which we are satisfied Her Majesty's
name has been used unadvisedly), those of the powers who preside over
the Prague Conservatory. Their fiftieth anniversary is to be held on
the 7th of next month and the three following days. " The concert
music," say foreign journals, " will be executed by pupils now belonging
to Iho establishment— the tolo parts by artists who haro hero received
This is as it should be."
number our
to Mm subject i—
further alludes
'Wo gi
The first is, that
nour or two on the authority of our contemporaries.
Professor Bennett has formally withdrawn himself
tli the Royal Academy of Music. This will sur-
prise no one who reflects that he is the one composer of European
reputation whom that luckless establishment has ever turned out j and
that, therefore, he had uo figure nor plaos in the 'illustrative' concert
got up by the noble amstour whose Mass was brought forward. So
unanimous, indeed, Is the feeling of every one with regard to
tikis discreditable exhibition, that it will not surprise us — still
lass bo any cause for regret — if sueh pony life aa lingered in
the Academe is shaken out of it by Wednesday's concert. Had
sntists, as a body, more moral courage to resist intimidation in the form
of cajolery, sueh things could never happen. While, however, it may
be feared that the present n not the last case of the kind by many on
which we may have to nmmadvert, we shall not censo to fight the battle
in defence of their independence, ungracious though the task be."
A II this is much better and more for the advantage of art
And artists than the strange attempts of the Athenmim to
proro Herr Rubinstein " an nndoubtod man of genius," to
whom "grudging justice" has been paid in this country.
If Herr Rubensteiti has been misunderstood in London, it is
Herr Rnbenstcin's own fault — no one else's. He hats played
the rnume of great masters in a style that we sincerely hope
may never be sanctioned here, however it may fit the pocket-
borough of Krinr Liszt, or the " capital of European civilisa-
tion "—however it may suit the paradox of Weimar or the
■pnjnllonaijt (to coin a word) of Part" — or however it may
edify that pompous gentleman who, under the signature of
"J. d'0^tig^Te,', is at the present moment mo verbosely and
so inefficiently performing the duties of M. Berlioz in the
feuilleton of the Journal da Dtbats.
Mao. Szarvadt left London for Paris on Saturday morning.
Hear Frakz Awr, tlio popular composer of German ZtWcr,
has arrived in London.
Mr. Ci.kment Whitk.— This esteemed and deservedly popnlar
singer and composer is still at St. Francisco, in California, where
his songB and ballads are becoming quite the vogue. Mr.
Stopheu J. McCormick, of Portland (Oregon), a distinguished
American poet, is writing the words of six songs, and has chosen
Mr. clement White to set tbcm to music. The first — " All hail,
to the day that brightly breaks "—an American song of praise, is
already in the prats, and report speaks both of the poetry and
music in the most flattering terms.
MISS ARABELLA GODDARD'S CLASSICAL
CONCERT.
Ox Saturday afternoon Miss Arabella Goddard gave one of
her most interesting performance* of classical pianoforte music,
and achieved perhaps her greatest success before the pub[ic.
The following was the programme :—
rani i.
Quartet in K flat, for pinuoforte, violin, viols, and
violoncello (Op. 63) — Miss Arabella Goddard, Herr
Joseph Joachim, Herr GroOYic, and Signer Piatt i
Grand Sonata in A minor (Op. 12), first time in
public- pianoforte. Miss Arabella Ooddard
Variations on an Original Air, for tenor and piano-
forte-Herr Joseph Joachim and Mi** Arabella
Ooddard ... ... ... ... ... MS SJ« •!
PART II.
Suite de Pieces, in V (" Suites Anglaisos," No. 4)—
pianoforte, Miss Arabella Ooddard ... ... J. 3. ]
Grand Sonata in A minor, for pianoforte and violin
(Op. -17), dedicated to Kreutier — Miss Arabella
Ooddard and Herr Joseph Joachim
The rooms (Willis's) were crowded to suffocation, with
members of the aristocracy and fashionable world, distin-
guished professors and well-known connoisseurs. ,We have
rarely seen such an audience assembled at a concert — never
at a mere chamber-concert. Nor hare we ever witnessed
greater, more sustained, or more richly warranted enthu-
siasm. Every piece in tlio programme had a special in-
terest, and every piece was thoroughly appreciated. As wo
have written a great deal About Dussek and Schubert lately, not
to mention Bach And Beethoven, we Are At a Joss for further
sentences. Moreover, we can find nothing new to say about
Miss (toddard's playing (unless perchanou she would, for once
in a way, lay herself open to criticism, to which she seems per-
versely disinclined). Under these circumstances we must be
content to sum up at once in a verdict of TjnquaHried approval.
The great novelty was the pleturesquo and very original sonata of
Franz Schubert, whose numerous works will afford onr yonng
English pianist a new and wealthy mine to explore — and espe-
cially his six grand solo sonatas, of which this one in A minor
is the first. The next in importance was the interesting and
thoughtful composition of Herr Joachim, in which the variation
form is developed in a very elaborate and ingenious i
The quartet of Dussek, a masterpiece of grace, was also i
as good as a novelty, «o raroly is it publicly performed. Bach's
suite is one of the freshest and most vigorous from the SniU*
Anglaite*; and about the Kroutzer sonata wo need say nothing.
Ilcrr Joachim played superbly, both on the viola, in his own
piece, and on the violin in Beethoven's sonata, which was a
triumph of skill and expression, on the part of both executants,
and created nothing short of a furore.
The
the *ef,tno in Schubert's sonata, the <ji:/ue in Bach's suite (an
incomparable display on the part of Miss Goddard, who deserves
to be appointed High Priestess to the Patriarch of Munte), and
after every movement of .
description.
The Bradfoui> CnoRca.— The members of the Bradford
Choral Society have been singing (twice) at the Crystal Palace.
They also sang at a concert in St. James's Hall, on Tuesday
evening, got up under the auspices of Mr. Samuel Smith, the
active manager of the Bradford Music Festival. Last night
they were invited by Mx. Henry Leslie, to hear his choir in
St, Martin's Hall.
Digitized by Google
3, 1868.]
THE MUSICAL WORLD.
HER MAJESTY'S THEATRE
Zucrtaa Borgia was repeated on Saturday, and the Queen
and Prince Albert attended, with their illustrious guests, the
Duke and Duchess of Brabant. The Royal party arrived about
nine, and remained until the end of the ballet, La Heine det
Songe*. in which Madlle. Marie Taglioni took her leave for the
season. Tho admirable and gracious dantetue was applauded to
the echo, and ftud with bouquets, and honoured with a recall
and an enthusiastic reception.
Tho performance of Luisa MiUer on Tuesday evening does not
call for any special remarks. The night, however, was cele-
brated by the rtntrit of the eminent dancer Mad. Rosati in a
divrtummtnt from the ballet La Sonnambula, lately produced,
or reproduced, more properly, at the Grand-Opera of Paris with
entire success. The music is not, as stated by some of our con-
temporaries— who should be better informed — by Auber, but by
Hemic). Mad. Rosati was assisted by Madlle. Pocchini, and the
dancing of the two great artists in amiable rivalry excited the
audience to au unusual pitch of delight. Of course each dan-
>eu*r was on her metal, and every device, rinette, art, and
artifice, choregraphic and histrionic, was made use of in tho
struggle for pre-eminence. At present we shall indulge in no
'' eoparlsona,'' but merely affirm that the lily and the rose might
as well be compared together as Mad. Rosati and Madlle. Pocchini.
As Cowper says of the two rival flowers, or makes flora say to
"Be yosrt the rarer,
And roar* the tl
And 'till a third
Let each be deemed a Quoen.
The music of the new ballet, at least so much of it as we have
heard, is very charming.
On Thursday 11 Tntatort, with La Sonnambula.
The last of the morning representations will be given on Mon-
day, when Lucrmia Boryia and La iSerra Padrxma will both be
heard. The success of Paisicllo's operetta, when first performod
at Mr. Benedict's concert, makes the promise of a second repre-
' welcome.
ROYAL ITALIAN OPERA.
Ok Saturday, La Traviata was given, and was followed by
new dancer, Mdlle.Zina, is making way
La Britiiienne. The
fast in the estimation of the subscribers.
The Hwuenot* was performed on Monday, it being tho first
e«tra night this year. In consequence of the late period at
which the season commenced, only three more of these per-
formances can tako place.
On Tuesday, Rossini's Otdlo introduced Signor Tambbcrlik in
his great part, the Moor. It was his first appearance since tho
early part of Inst year. The house was full, and the reception
given to the popular tenor was overwhelming. Tho cast com-
prised— Desdemona, Orisi ; Iago, Ronconi ; Roderigo, Signor
Neri-Baraldi ; Elmiro (who .should be called Brabaiitio— why
e's name?), Signor Taglialico ; and Emilia,
. Otello of Tamberlik is altogether a powerful i>orformance.
Tho music suits him exactly, for though occasionally florid, it is
not in the bravura style, like that of other tenor parts in Rossim's
operas, and is, on the wnole, in the composer's largest and best
manner. Breadth and grandeur are almost everywhere required
to do justice to the music of Rossini, and those are qualities
eminently appertaining to Signor Tamberlik's singing. The
opening air, " Ah t si per vui," was sung and declaimed
splendidly, and showed the singer in full possession of his
powers. Of course the grand duct , "Non m'inganno, al mio
rlvnle" — the counterpart of tho great scene between Othello
and Iago in Shakspere's play — sung by Tamberlik and Ronconi,
created the old furore, and was vociferously encored, Tamberlik
taking a U sharp in the final movement with immense power.
In the last act, Tamberlik surpasses himself. His acting is pro-
foundly impressive, and his singing magnificent. But our
readers are already acquainted, from numerous notices of
RoMixd'at^to, with *U t£e "
few years ago Grisl resigned the part of Desdemona to
some other prima donna, but the result was not satisfactory.
Grisi should cover abandon Rossini. No living artist can even
now approach her in Rossini's dramatic soprano music, and.
luckily, few attempt it We have not been so charmed and
satisfied with any performance of Orisi's for years, as with her
Desdemona on Tuesday night. Indeed, hating an occasional
high note, which lacked tho linnet-like clearness and brilliancy
of her early days, we found no difference between the Desdemona
of the present year and some dozen years since. The same ex-
quisite quality in the middle voice ; the same inimitable phrasing
and expression ; the same tenderness, pathos, passion, power ;
the same abandonment and impulse in the acting ; the same
case, grace, nature ; tho same earnestness of look and projiricty
of deportment, were all evidenced from tho first to the last scene,
and rendered the entire performance worthy of a white mark in
tho memory, to which, in after days, wo may recur with feelings
8 memory, to which, in after days, wo
admiration and delight.
of
Ronconi finds the music of Iago too florid, and the port un-
worthy of his talents. Scarcely a single opportunity to shine is
afforded the actor by tho librettist. In the duet with Otello,
and that with Roderigo, only is occasion presented to him of
producing a great vocal effort. Of both of these opportunities
Ronconi availed himself, and hi tho grand duet with Otello,
sang and acted with intense fire and passion. Signor Neri-
Baraldi gave tho music of Roderigo with correctness, and was
in overy place, careful and painstaking. His voice, however, is
not sufficiently flexible for the music, which is written in the
composer's most florid style. Signor Taglialico was exceedingly
impressive as the old Magnifico, and delivered the malediction
in tho first finale with grand effect. Mad. Tagliafico was all that
could be desired in the small bnt most important part of Emilia.
We have heard the band go better, and had several times to
find fault on the score of loudness. The air sung behind the scenes
by Otello in the last act, was rendered almost inaudible by
the obstreperousnesi of the accompaniments. Mr. Costa will,
doubtless, remedy this.
The scenery is beautiful, and tho costumes as fine as need be.
One word to Signor Taratverlik as to his attire. All is admirable
and appropriate except the turban, which is so evident a mistake
that we wonder how ho could have fallen into it Otello is a
Venetian general, and should be dressed accordingly. There is
no defending it — no arguing about it, and the sooner Signor
Tamberlik doffs the Moorish turban and dons the Vonetian
bonnet the better.
M. Flotow's Martha was produced, for the first time, on
Thursday evening. The success achieved by the opera in Paris
last season, with Mario in the principal character, no donbt
impelled the management to introduce it on the stage of the
Royal Italian 0|iera. Moreover, the librttto presented a fair
field for the scene-painter and costumier, no small inducement
iu an establishment of which spectacular display constitutes one
of tho principal attractions. The orchestra was necessarily of
secondary consideration, the music of Martha being simple and
unpretending in tho extreme. On the east, thorefore, the
scenery and dresses, Mr. ( Jye relied principally for his success.
Nor was ho disapjiointed. Martha was received, from first to
last, on Thursday night with genuine applause.
It is not necessary to describe the plot, which has already been
done at length by our Paris correspondent when Martha was
brought out in the French capital last winter. Besides, the
story is well known from Balle's opera, Tht Maid of Honour,
which, with the exception of one scene concocted in the alembic
of Mr. Fitxball's fanciful imagination, is identical with that of
Martha. The plot is taken from the ballet Lady Htnritttts, pro-
duced many years since at the Orand-Op6ra, Paris, so that Uio
tale may be said to be as old as tho hills.
The music is slightly constructed, and presents no very salient
points of orchestration or harmony. Tho melodies, however,
are pleasing and graceful, although seldom striking. The scene
of the Statute Fair, with its truth, life, variety, and chang_
would require the pen of Auber to do it full justice,
to M, Flotow, nevertheless, to admit that his music ia lively, and
tho interest ia not allowed to slacken through tl* entire scene.
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It is due
428
THE MUSICAL WORLD.
[July 3, 1858.
i effective moreeaux in the opera, and those moat likely
to take with the public, are the romanza, " M'appari tutt' amor,'"
Is the air for ditto, "Solo, profugo, rejetto;" the
•u, v.u. mi di ra," by Plumkett ; Nancy's air— made popular
in Vienna by Madlle. Jetty Trefftz" singing— " II tuo stral nel
lanciar the air in the fourth act, for Plumkett, " II mio
Lionello perira and the air for Henrietta, " Qui tranquillo."
Some of the oonoerted music, too, is very pretty. We
would name the quartet, " Dormi pur, ma il mio npoato ;"
the morceau (TtruetnhU, " Ah ! che a vol perdoni ;" and
the duet "Oh ! qual roce," in the third act, between Hen-
rietta and Lionel, as among the most effective piece* in the
opera, and which cannot fail to prove attractive off as well as
on the stage. So much at present for the music of Martha.
The cast included Mesdames Bosio, Nantier-Didiee, Signors
Mario, Graziaui, Tagliafioo, and Soldi. Marin was encored in
the romanza, " M' appari tutt' amor," which he sang with exqui-
site tenderness and reeling ; and Mad. Bosio received the same
compliment in the "Last rose of summer" (in Italian, "Qui sola,
vergin roaa,") which everybody knows has been employed by
M. Flotow with so much effect in Martha. The quartet in
which Lionel and Plumket attempt to teach Henrietta and Nancy
how to use the spinning-wheels, was also redemanded; but this
was in great measure to be attributed to the capital singing and
acting of Mesdames Bosio and Didi&e and Signors Mario and
Graziaui.
The divertxuemtnt in the Statute Fair — most admirably danced,
by the way, by MdUes Zina and Delachaux and M. Desplaccs—
was entirely out of place in the reign of Queen Anne. M Flotow
lost a good opportunity of introducing some of the old English
dances in their proper situation.
There was a crowded house. Her Majesty and Prince Albert
were present, and remained to the end of the opera.
Martha will be repeated to-night.
CRYSTAL PALACE.
Tnx last of the rehearsals by the metropolitan contingent of
the Handel Festival Chorus, preparatory to the grand per-
formance yesterday at the Crystal Palace, took place on
Wednesday evening at Exeter Hall, under the direction of
Mr. Costa. Nearly 1,400 singers attended, among whom were
the members of the Bradford choir. Among the company
present were the Archbishop of Canterbury, the Bishop of
London, Lord Stanley, the Bight Hon. Spencer Walpole, Sir
John Burgoyne, the Lord Mayor of London, &&, Stc. Most of
the pieces which constituted the programme of yesterday's
concert were rehearsed, and all went satisfactorily.
The Choral Demonstration which took place yesterday at the
Crystal Palace was on a scale of extraordinary magnitude. The
chorus numbered 2,000 voices, and the instrumental force com-
prised 400 players, including the bands of the Sacred Harmonic
Society, the Boval Italian Opera, the Amateur Musical Society,
the Crystal Palace, together with the Crystal Palace Wind
Band, and the bauds of the Coldstream and Grenadier Guards.
The wonder is, indeed, considering there were so many bands,
and that the Royal Italian Opera reckons eighty in its ranks,
the number did not far exceed four hundred. There were,
moreover, twelve harps, and the monster organ of Gray and
Davison added its musical thunders to the aggregation of sounds.
The chorus was composed of the fourteen hundred members
of the London Amateur Division of the Great Handel Festival
Choir, the leading professional choral singers, two hundred
Yorkshire choralists, including the celebrated Bradford Choir,
with deputations from many of the leading Provincial Choral
Societies, the Cathedrals, and various Continental Choral and
Part-song Choirs.
The programme was as follows :—
Fsbt I.— Chorale, the Hundredth Psalm. Chant, " Yenite, exuite-
mus Domino"— Tslli*. Trio, " Lift thins eyos ; " Chorus, " Ho, watch-
ing over Israel" (ElijaM— Mendelssohn. Chorus, " When His loud
voice" (Jephtha)— Handel. Chorus, "The Lord ia good" (Eli)—
Costs. Quartet sod Chorus, "Holy, holy, holy " (Khjah) Mendels-
sohn. Motet, "Ave verum corpus" — Mozart Sons sod '
" Philistines, hark t" ( Eh}— Costs.
Pabt II.— Chorus, "Oh, the plessure of the plsins" (Aeis and
Galatea)— Handel. Part-song, "Farewell to the forest"— Mendels-
sohn. Chorus, "To Thee, O Lord of all" (Prayer— Mose in Kgitto)—
Rossini. Trio and Chorus, " See the conquering hero cornea " (Judas
Mae cabseua)— Handel. Solo and Chorus, " Calm is the glsssy ocean"
(Idomeoeo)— Moxart. Chorus, "Hear, Holy Power" | Prayer— Masa-
niello) — Auber. Song and Chorus, "God save the Queen."
The performance throughout was extremely grand and im-
pressive, almost every piece being received with the greatest
enthusiasm. The solo vocalists were Mad. Clara Novello,
Mrs. Lockey, Mad. Lemniens Sherrington, Miss Palmer, and
Mr. Sims Reeves.
The finest performances were Mendelssohn's quartet and
chorus, and his part-song. Both were encored in a tumult of ap-
plause. Encores were also awarded to the song and chorus from
Mr. Sims Beeves singing magnificently, and to the trio and
chorus from Judas Maccabams. Mr. Costa conducted the
whole performance, and was received with uproarious cheers on
osceuding the platform. Mr. Brownamith presided at the organ.
The number of visitors had not been ascertained when we left,
but the general opinion inclined to fix it at more than 2o,oon
a far larger number than nttended on any day of the Handel
Festival.
A concert by the " Tonic Sol-Fa Association " was held last
week, and, as last year, attracted an immense concourse, 30,000
people being present. The seventy-four public and private
Bchools of all Christian persuasions in which the system is incul-
cated sent delegates, and nearly 3,500 children and 600 adults
stood up in the grand Handel orchestra to sing. The perform-
ance, if not perfect, was really extraordinary, and such was the
delight of the audience that they attempted to encore every
Eiece. Fortunately there were a few thousands present who,
aving more forbearance for the juvenile executants, or, con-
sidering that enough was as good as a feast, discountenanced
this double taxation on the singers ; so that the chorus was
compelled to repeat four pieces only. These were, Anthem, by
B. A. Smith, " How beautiful upon the mountain Spofforth s
glee, "Hail, smiling morn a chorus, "The Echo and the
National Anthem The usual demonstration followed the last
performance, in which the strength of the lungs of the youthful
choristers was more powerfully manifested than even in their
singing. The conductors were Messrs. J. Sari I and W. a Young.
ASSOCIATION,
jncert, on Wednesday evening (at which
Jo
Weber.
Wobbc.
Mozart.
Motart.
LucaMarcnxio.
VOCAL
Tnx sixth and last
Madame Goldschtnidt and her husband were present) was well
attended. The following was the programme.—
PAKT I.
Hymn of Praise (
Miss Stabbach, and J
raHT ii.
Overture (Henry the Fourth)
Sceiia, " Ocean, thou mighty monster," Miss Stsbbsrh
Glee, " When winds breathe soft "
Concerto, E flat, pianoforte, Mr. Chnrle* Halle ,
Aria, " Non mi dir," Miss Louisa Pync
Madrigal, " Fair May Queen"
National Anthem ... ... ... Arranged by 1
Conductor— Mr. Benedict.
Herr Joachim conducted his own overture, which was very
imperfectly executed, and which wo shall not presume to judge
after a single hearing under such unfavourable circumstances.
Mr. Hall6 played Mozart's concerto in E flat (the same which
was performed by Mr. Sterndale Bennett not many years sine*
at the Philharmonic Concerts) in a very masterly manner, and
with the utmost success. The Lobaetang did not go ss>well as
we could have wished, or as it might have gone in a room better
adapted for Bound. Miss Stabbach obtained great applause in
Weber's tcena, and Miss L Pyno sang Mozart's " Non mi dir"
charmingly. The madrigal was better sung than the glee by
the members of the Vocal Association, which would gain con-
siderably by disbanding some third of its numbers, and thus
ridding itself of "black-sheep" in the shape of utterly incom-
petent singers.
Digitized b\
(
July 3, 1868.]
Herb Reicbardt'b Concert, on Monday morning, at the
Hanover-square Booms, was an entertainment far above the
average, both as to variety and excellence. It commenced with
Mendelssohn's Trio in D minor, for pianoforte, violin, and
violoncello, the executant* being Miss Arabella Goddard, Herr
Joochim and Signor Piatti. Need we aay how finely the trio
was executed by three such incomparable artists. A romance
of Schubert's on the violoncello by Signor Piatti, and a solo on
the pianoforte by Miss Arabella Goddard— Wallace's " Robin
Adair"— both brilliantly executed and both loudly applauded,
were the other instrumental pieces. Herr Reichardt sang the
aria from Bnrvanihe, "Wehen mir LUfle Ruh," two Under,
(" Morgingruaa1' by Mendelssohn, and " Es glfinr.t un Abenson-
nengohJe" by Fesea), and a new song composed by himself, "Da
hist mir nah und doch so fern" (by the way, he sang the English
version "Thou art so near and yet so far," by John Oxenford),
besides joining in the trio of Maskers from Don Oiotanni, with
Mesdamea Lemmens Sherrington aad Sulzcr Belart, and in a
trio by Kreutzer, with Madame Lemmens Sherrington and
Herr Pischek. Herr Reichardt, who has been heard too rarely
this season in the concert room, sang with great taste and ex-
pression, the aria from EvryatuJie and his own song more
particularly creating a decided impression. Madame Sulzer
Belart made her first appearance before a London public. She
is the wife of Sig. Retort, of Her Maje«ty's Theatre, and had
earned a reputation as a concert-room singer in Paris,
is light, French in quality, and she sings skilfully
>d the hackneyed air from Robert le Diable, " Robert,
toi, que j'aime," and was evidently very nervous. Madame
Lemmens Sherrington, who is singing better — with more voice
and greater finish— than we have heard her since she first sang
at St. Martin's Hall, gave Benedict's fine air, "A la clarte de
millo feux," with extreme brillancy, and Herr Pischek sang
" The Recruit" in German. Messrs. Benedict, Ganz, and F.
Bercer conducted.
M. Jl'LMEX at Southampton. — Great preparations were
made, under the management of Mr. Qubbins, for Jullien's
grand summer ftte, which took plaee on Thursday and Friday,
at the South Hants Antelope Cricket Ground, engaged for the
occasion. The file consisted of three open air concerts by
J ul lien's celebrated band, including several vocalists of celebrity,
among whom were the Misses Hansford, Measent, Birch, Sea-
latzek, Kyles, and Laacelles. Between the first and second
parts, Chinese Magicians exhibited their feata of legerdemain,
«c, and the entire entertainment concluded with a display of
fireworks by the pyrotechnist, Mr. Darby, of the Surrey Gardens.
These concerts, judging from the programme and the general
arrangements, were on a scale never before attempted in South-
ampton. The number of the tickets sold was very large, and a
vast audience did honour to the summons of the popular con-
ductor.— Southampton Herald.
Pebv(TNCTOEY. — -What ii the meaning of the word "perfunctory ?"
Does it not imply the performance of duties merely for the take of
letting through them — in other word*, hasty, superficial, unconscien-
tious, or, at all events, incomplete performance ? We believe thst,
in the Mutual World, thi* magnificent poly a; liable ia used a» signi-
fying anything to which the Musical World may happen to object, and
wa lad, to our horror, that the stigma of " perfunctory" hs* bean
applied to some remarks which we published lsat week on the subject—
not of Rubinstein, but of Rubinstein's critics. Which among these
were right, and which ware wrong, we did not undertake to aay ; but
wa informed our reader* that the pianist in question was to play at
Mr. Benedict's concert on the following Monday, when, for half tbey
would haro to pay at the Philharmonic, tbey could hear him and judge
for themselves. Now, what do our readers suppose the Musical World
baa discovered from our remarks and recommendation as given above ?
That we bad some pecuniary interest in Mr. Benedict's concert (whioh
we hadn't) i or that we are no judge of pianoforto playing (which,
as we will prove to the Muiical World wo art) ; or that we are a
Ruwian at heart (which wa are in one tense, aud not in another). As
to pianoforte playing, the oDly performers for whom we have ever
expressed any very extraordinary admiration in these columns are
Professor Bennett, Miss Arabella Goddard, and Madame Siarvady
(W. Clauts). Now, tinea the Musical World has said that each of
these pianists ia an admirable pianist, therefore tbey are admirable
pianists; and therefore wa had a right to admire tbem without fear
of being taunted by our esteemed contemporary with want of judgment.
An to what we are " at heart," we can only aay that we think neither
better nor worse of a man on account of his baring been born a few
leagues further north-eaat than ourselves ; that s fine sonata ia a fine
sonata, whether played by an Englishman or a Easaian, provided only
it be played well ; and that to care about the nationality of a great
artist appears to us about at reasonable at to inquire whether he baa
been vaccinated or has had the measles. In music, which is at once a
unircraal language and a universal literature, such distinc
especially out of place. — Illustrated Timtt.
THE NEW ORGAN AT ARCHBISHOP TENISON'S
CHAPEL, REGENT-STREET.
(From an Occasional Contributor.)
This organ, a rebuild, by Gray and Davison in 18
noticed in the Musical World of April 10th in that year, 1
to use a marine phrase— just been in dock for a complete over-
haul and improvement, resuming its place on Saturday, the 6th
ultimo, after an absence of four weeks. This organ, though an
excellently fact u red instrument, was, in certain particulars
hereafter to bo explained, unsatisfactory. To persons familiar
with tho general history of the organ, and the progress of the
art of its fact ure, it is well-known that pipes of the flue species
improve in quality of tone with age. Reeds, on the contrary,
deteriorate. A diapason of " Father Smith," or Ranatus Hams
ia at the present time invaluable, whereas a trumpet or hautboy
of those fathers of modern organ-building in England, is worth-
loss beyond that of its price as old metal for the melting pot. In
like manner the flue-work of the existing organs of the makers
of the succeeding age — Schrider, Bridge, Byfield the elder,
Snetzler, eke, Ac., still remains excellent, but the reeds have
generally become bad, and in organa that have been well cared
for these Btope have mostly been renewed.*
The organ at Tenison's Chapel was a Byfield, of the date of
1760 ; rebuilt, with additions, by Gray and Davison in 1866,
abandoning all the old instrument except the case and a portion
of the pipes. Unfortunately, the great organ trumpet, then
suspected of being only very slightly defective, was (from
motives of economy, being an extensive stop) retained. This,
however, proved an error, for its disagreeable tones wore found
to prominently pervade in every combination with which it was
used, just as a few drops of bitter aloes would influence any
favourite beverage. The removal of the pipes of this stop, and
replacing new, was one of tho objects of the recent work. By
reason of acoustic peculiarities in the structure of the edifice, and
the position of the i
it to thit rule. In Snctzler's fine old organ of
the pariah Church of St. John, Hackney, built 1758, the original reeds
of the groat organ remain, aud are ttill spirited, crisp, and rich. The
noble organ of St. Sepulchre's, Snow-hill, the original part of whioh
wat constructed by Ranatus Harris, anno 1G67, had ita reeds renewed
by Byfield, in 1780, snd these are to tint day very fine. A curious in-
cident it related of this excellent artificer in reference to this organ of
St. Sepulchre's. Byfiold was son-in-law of Banatus Harris, was his
workman, and subsequently succeeded to tho business. Bosides the
removal of the great organ reeds at St. Sepulchre, in 1730, be at the
same time built to it a awell organ— one of tho earliest swells on
record— and tho fame that baa ever attached to this instrument it
moro attributable to Byfield's work of the period referred to, tlian to
that of ita original construction. Although he had built many excel-
lent organs, the old man considered this his choicest work, and regarded
the instrument with a tort of parental afleclion. Ho being its
appointed tuner always preferred to tune it himself, and forbade any
one else to loach it, alleging thst lie never could attend to a second on
tho same day, inasmuch as he could not bear to hear any reed work
after it. Indeed, his partiality wat carried to far as to request that
his body might, after his death, be interred at near to it a* possible,
and which request was complied with :— his remains lie in the south-
western part of the churchyard, where they were deposited about the
year 1760. The organ of St. George's, Doncatter, burnt with the
church, in 1852, and which liad ever been reputed as the f
ment in the kingdom, was built by this Byfield, in ci
brother-in-law, John Harris, anno 1789.
Digitized by Googl
430
THE MUSICAL WORLD.
[July 8, 1866
. To remedy Una defect
object of tho work. The pipes throughout
i been re-voioed to a more delicate intonation, painstakingly
exeouted by Mr. Abbott, ono of the moet skilled artiriocra of
the builder's establishment. The sesquiaitra atop (great
organ) has been toned down by the abstraction of the tierce
rank and tho substitution of a principal, making tho compound
of that register, principal 12th and 1.5th, breaking at middle C.
Those acquainted with tho effect of tuning by equal temperament,
for which new method (at least new in England) of tuning this
organ is arranged, will at once porceivo the improved concord
that must result from the sesquiaitra as now compounded.
At the name time, the opportunity which the organ being taken
i" pieces presented, has been availed of for effecting a variety of
other improvements, among which may be mentioned, in the
swell, the hautboy — heretofore stopping at tenor C — has received
the pipes of the lower octavo, thus carrying it down to the full
compass double C. The chorus of this division has been
brightened up by tho addition of a two-rank mixture stop, a
compound of tho loth and 32nd ; here also omitting the tierce.
A karolaphon, a new solo stop of delicious intonation, tho inven-
tion of the builders (Messrs. Gray and Davison), for which the
firm obtained the Great Exhibition Prizo Medal, has also been
introduced here. The bourdon has been made to draw in two,
thus making the bass of it independently available by means of
the coupler for the pedal, a work trilling in itself, but giving a
result equivalent to a second stop on the pedal, supplying a
suitable pedal bass for soa organ, for which purpose the large
tones of the 16 foot 0|jens are inappropriate.
Tho synopsis now stands thus : —
Two rows of keys ; great orgsn snd swell i tho com pat a of csch 0 C
to F. All tho stop*, with tho exception of thecrsmouaand ksrolsplion,
which Uu«r are minus the lower octave, extend entirely through the
icslc. Pedals C 0 C to E j two octaves snd a third.
GREAT UUGAJi. SWBLL. l'SDAL.
1. Open diapason. 1. Bourdon. Opou diapason, 16
8. Stopped Uispason.baM) 2. Open diapsson. foot.
3. Clarabella, treble. I 3. S topped diapason >
4. Principal. 4. Clarinet flute, / Three composition
6. Twelfth. -1 6. Principal. pedals to the
0. Fifteenth. 6. Fifteenth. Great Organ j
7. Seaquialtra, three ranks. 7. Mixture. two ditto to tho
8. DoJciaso. 8. Karolaphon. awell.
0. Trumpet. 9. Cornopean. Three coupler*.
10. Cremona. 10. Hautboy.
The pipes of the first six stops of the great organ formed a
portion of tho original organ of Byfield. These, mellowed in
their tones by age, are of excellent quality. The open diapason
(the front ornamental pipes), is an extremely beautiful one, and
with the various improvements now effected the instrument
becomes a very ohoice one of its class— deep and rich in its
volume of tone, yet quiet and of much variety. The total outlay,
inclusive of the work of 1806, has been soraowhat near .£400 ;
and the value of an cntiro modern tenor C swell of six stops,
whiek formed part of the former organ, and fell into the hands
of the bnilders by the terms of their contract.
This work has been carried out at the instance of Mr. Frederick
Crane, of Regent-street, the now rotiriug churchwarden of tho
parish of St. Jamos's, trustee of the chapel, through whose
exertions the instrument was rebuilt in 1S56 — oxertions induced
only by tho desire that the congregation worshipping in this
favourite little "tabernacle"* (with which he has had officially
• This chapel fonndod— at well si tho free grammar school in con-
nection therewith— by Dr. Tentton, tho first rector of St. JaineVi,
afterwards Primate, and li rat opened for Pirine Service anno 1702, wai
then, and for many year* afterward*, called " Tho Tabernacle." The
statutes of tho foundation direct that "prayers be said therein every
morning and every evening throughout tho year," and provides two
C-..rgTmcn for the performance ol the duly, which i* faithfully ful-
filled at 9 s.m. and 71 p.m. : with four terriecs (0. 11, 3, and 7) on
Sunday*. The Rev. J. G. Cowan, lato the evening preacher at the
mother ehurch (St. JsnWs), is tho chiof minister; the Rev. W. J.
Riehardaon, reader and a».i.tant-pre*cber. An additional curate (tho
Kev. E. Lacy) also ministers here, whoao stipend is provided by the
■o much to do), should have the praises they sing harmonised by
a musical instrument composed of sounds sweet and beautiful as
the highest skdl in the art of the facturu could give voice to.
It may, however, bo remarked here, that although this
organ is perfectly complete in itself, as it now stands, yet, as re-
spects extent of stop, and variety, it can be regarded only as an
instrument of the secondary class. But in planning the rebuild-
ing of it in 1 sVi, provision was made for facilitating the subjoin-
ing (at any future period) of a choir organ, of soma
eight stops, to be contained in a separate case, and stand in front,
after the style seen iu many of the collegiate chapels of the
universities, and as adopted in tho restoring of til
gan at the
parish church in Piccadilly in 1802, with a result so highly ■*><
factory, and at tho same time so ornamental, to that elegant
interior. For carrying out this extension Uio further sum of
£-i (0 is required, and it is hoped, it some day or other will be
accomplished : when, by transplanting to the new department
the ■ 1 ulci.wo, ercmona. and karolaphon— which stops inure pro-
perly appertain to a choir— and substituting on the slides they
other stops essential to a further varying of hanaov-
ations, (hia instrument will stand in the foremost
of tho metropolitan church organs.
congregation. A minimum portion, only, of the accommodation of tip
chapel is reserved for letting, all boiidei ia open free. No aid from any
of the Boeietiea hat ever been availed of for this chapd. At the period
of lbs general falling in of the Hegent-ttreet lease*, early ia the next
century, Teniion'a chapel snd school becomes a rich foundation.
ADVERTISEMENTS.
M A R T H .A..
Boosey AND Boss beg to announce that they have pur-
chased the Copyright of tho French and Italian versions
of Flotow's Opera " Martha" ; also of tho new music lately
added by tho Composer. The only authentic edition of
the Opera, as performed at the Royal Italian Opera, is that
published by Boosey and Sons.
Th« Jbllotring Songt art now ready :
Jlf ITALIAN.
POVERO LIONELLA, GEMK, SOSPIEA, Bccitativo, s. d.
and
IL SllO LIONEL PEttIRA, Bomanza , ... 1 6
Sung by Sig. Onuiani.
IL TUO 8TRAL NKL LANCIAR, Aria ...
Sung by Mad. Nantier Didiec.
M' APPARI TUTT AMOR, Cavatina
Sung by Sig. Mario.
CHI MI I HI. A DI CHK if BRICCHIKR,
Sung by Sig. Qraxinni.
QUI SOLA, VERGIN ROSA, Romania in F and D 1 0
Snug l>y Mad. Uosio and Sig. Mario.
LO SO HEN, Duet 3 0
Siing byMad. Nantier Pidife and Sic. Grariani.
THE COMPLETE OPERA
MAY 111 HAD,
WITH ®« lYAUAN W@R@3,
Price 16*. and 90*. eacK.
... 3 0
... 1 0
... S 6
A CHEAP EDITION FOR PIANOFORTE
WILL BE READY IN A FEW DATS.
.Price C*.
FOR THE PIANOFORTE.
VARIOUS ARRANGEMENTS ARE IN THE PRESS.
THE TRADE
Arc iv-peetfully informod that their translations and
adaptations most bo made from the German copy, and
that the small Paris editions, in French and Italian, can
onlv bo imported by
BOOSEY AND SONS, 24 asd 28, H0LLES-STREET.
Digitized by Google
July 3, 1858.]
THE MUSICAL WORLD.
431
MUSIC FOR THE HARP.
Nocturne,
Spring,
A ituua.
Whiter,
La
Ifl
I*
LcJ^r.
%, Rhanaody
. Mar-irka , .
Impromptu ..
JOHN THOMAS.
3 0
8 0
S 0
3 0
4 0
3 l»
3 0
Th» T«w, i»
Ad cti do S.ittzliourg, Romanco
II Pecniela, R/:ori»tic.ii . .
L'Arpcvuio,
L'Ottai ,
I* CuiiututU. ,,
Fii.l Cuucorto, Harp r«t lOn-bcatr
I Acooti
a.d.
1 •
2 4
3 4
3 ft
a <i
i I
v 0
WELSH MELODIES.
1- Liwrii ou (The A»h Grove). , ,. »■ ..
3. Ciycr.Ru AUrdyll (The Bulla >.| Abord.vy)
3. Tor Al»w (.swoct M..lt-ly— Sweet Richard)
*, Oodlad )r JIjiiI (Tbc niiu;ol tho thin)
i. Oorbofrfrd gwyr Hartoch (The March a the ru-i. of Hatlvch)
0. Bidinir over the Mountain (Melody by Johu r
. d
1 fl
S 0
3 0
3 0
i 4
3 0
7. Hurra Rbuddlan (Tho Plain oi Rbuddbu.)
9. Nir.li Htidol (Tho alluromm.t or l,i»c) I
* Godjud yr Ilodydd (Tbo rUiutf of tho Lark) 3
l'J orn.t.lcr»rowaanh««klu
1 1. Merer. Mow an nio.»n'» DauKl.tcr)
12. Adieu my naliro country (Melody by John
0-d.
B •
0
ill!
TJ« rr*o,c rorrVrfic.. of Welsh Mclodiet to le W, W«*«f> in o«
PARISH ALVARS.
I<% Pmi*c do* Ft*o»
Cmrlc PirntcB* Cbtmw, Mairb ..
Bout enU du P. ruVi, Man.*. . .
II P*r.:.v*!!o
BnuTcnir ile Ttttrlionl
March fc.vour.to du .Sultan
Grand Study It. iimUtiuo of tho
Ncuf Rntuanota, No. 1 , ,
l>itto No, I . .
Ditto Nc 8 ..
8n<uTcmr tVEraanl , . . .
TroU Mchxhci ong iiiaks
HorvtMulo .. , ,
The Lament, flcniiu.ee . . , ,
HouTcuir du Gemma di Ycryy
Two Nocturne* by John Field . .
Dtux IU>m»nc<* do Hchubert , .
v ... I
"1°
a. d.
4
:
I
3
■
I
3
3
S
4
1
3
■J
|
I
I
1)
Variation* on " AUn Oloji" BelUul . .
Variation" on an Air from Nona*
Variation* <.:i :ut Air from CUpuUUl ..
Hluatr.itb<oa of Gonnan Poetry, No. 1
Ditto ditto No. 1
Bidparlan Gipsy Danco fLc Voy^fo No
ssoyvemr du rkMphore (Lo Voyage No. Z)
Air llct rcii d» FblStpiua (Go Voyage No. 3)
Air Alnicrd.-n (I* V ivaco Nu. 4)
Hnttau'a Parade March (U Vr-yaao No .'.) ..
LTi»u»:iu Grec do rVuiLirino Voyajrc No. 0)
Ituruaiicai un rarolca. No 1
Ditto No»..
Ditto N". 3 ..
Oracd PanUlato. dodtoatcd to TliAlbcrg
Gran 1 Panratalc on Italian Air
Gr»nd_F,uitaUI« on
« .!.
3 0
PI
N. C. BOCHS A.
Logo do I'OpcVa Italicn
1. Dab I con to (Nonna)
2. Forao ua deatlii (Farlaina)
S. L'amo, afa. I'amutOipiilotli)
4. Ab, corno uaacuodcre 1 2cloiiru)
g. Com' e ballo I I.ucrcziaJ
t. Ah, quaudo to refiio talaroa (Uonle di Firiffl)
J. LimododcVkODcCLDlalidAiotre) ..
i. d.
ft. Tna red.>ubM Gwinla Fidanuti Coraa)
0- Ah eonaoUrml aflrvttUi (Linda)
1». Ab ! no maUdotbi In odtu (La Kidan/al >
11. Oh luce 41 iiticBl'anima (Ltii'la) .. ..
13. Horchc brilfanto (Cniaui)
13. BoUTtnir do Nalwicodono»Tr ,. .,
14. Quick March (MnrU dl Rohan) ..
15. r*,,u.on)r de t'Op.jra Maria dl Rohan . ,
La Morlcrnc Italia, morccnu brilknt
Tbo Garland of Shammcka, chnr«ctcrl»Uc I*
F*UU MaoHoh.^. No 1 (Soonambula)
!« Sang* il« Li HoLn irobiila, No. t ..
Mircha do la Stmuaoibuia. No. 3
1Kb aon fcrir
11 aagroto p.r caaor fclicc (r.«ciiil-i BoruU). .
Bouradr ti ]'Eapat|i>o1c. bol.r. (Moicadautt)
6 0
4 0
3 0
* 0
5 ft
4 0
3 4
5 ft
2 ft
a o
do I'Ojx'm Comlij io dc Taria : Tibtxa brUlautca tt non
1. Galop «>jr U Clioiurdco BiircurmclGi'tiilcleMllitalrcadaii* Ludovla
3. Li \ loloUo : Pltoo atr*ible ol WiHautu >ur uuo C
3. Quick March, on Aim In Aubcr'a FlorclU and '
4. Petit MoKoau a U Val^ aor La Folic
i. Hairaidlc Mirtialc aur Uctfll bra 'rrio, " NoUo
i«h 3 ft
lo. "Not
6. B»rc»ro|:o U LVuploU tivoria do L Eclair
7. \x Joii Rieii. Btt^itullc .ur dc<Tb«tiiC«dui
S fl
J. R. CHATTERTON.
t. d. I
3 0 I Com« )*r nu- a.r«vo, ttavat.na (Sonnainbula)
led lave tbc Queen" and j tlU minUoeiicea of Waica, FauUsIa, Introducing popular «
•• .. ii ii . , 3 0 J
a J.
..3 0
..3 0
CHARLES OBERTHU R.
t-j
Tlio Nnn'a IVaycr
TbtGundi Her ..
The rV.|.iitr a IMIgbt
Th«OI|«y01ri
■&SES&r* :: v ::
a. d.
3 «
2 6
3 0
3 «
2 «
i 6
Au Rord do la Mer, Noctunio
K.iip!iui\ Etudo ..
Onna'a Etude de Concert
Iji Uon cnao, Bktt. h
LaRc lr N i t,
.. ..3 4
.. ..3 4
.. ..3 4
:: :: 5 •
B00SE7 & SONS' Musical Library, 24 and 28, Holles-strcct, Oxford-street.
Digitized by Google
432
THE MUSICAL WORLD.
[July 3, 1858.
T
CROGER'S sujxrior CONCERT FLUTE, with eight
complete, price three guineas.
Kingdom.
T. Croger's price list for musical instruments, with tesUmonisle, and illustrations
of twriitv-tlve sorts and die* of the new patent Metallic nannr,nlcr.ii«, m,sv 1*
lTd 'LoodoT" N*™1 lUoalkc*<>,5f' 4' llertKird-cottsges, Hertford road, Klngs-
W VINCENT WALLACES LATEST PIANO-
• FORTH MUSIC —Robin Adsir, 4a. ; LaGreelella, nocturne, 3a ; My Love
is like the rod, red Rose, Mid Cnnve o'er the pitrcstn, Charlie. 3s. ; Styrienoe, Si ;
Fantasia on R -y '» Wife, and We're ft' noddin', 6e ; Qalop Brillant a* BaJon, la j
Kiidoch of Kinlocb, and I'm o'«r young to m*rry rat, Je ; The gUxnay night U
gathering fast, and The Less o' 0»wrle, 3a ; Aula Robin dray, and The Boatie
rows, s«. ; John Anderson my jo, and Thou hut ever lift me, Jamie, 3a. ; Charlie
la my darling, and The Campbells are coming. 3a. ; Rcalin Castle, and a Highland
Lad my Lore was born, 8a, ; Home, sweet home. 3s. ; The hanks of Allan Water, 3a
BRINLEY RICHARDS' LATEST PIANOFORTE
MUSIC — The young Recruit, 2a j Chime »«aln, ImuUful Ml*. 3a. ; Nel
car p.o non tni eento, with variations, »*, ; Ths Neleds Dream, la ; VTarbllugs at
Bve, is.; Tl.o Echo Nocturne, S».; Maria, nocture... Op to. Ss ; Serenade.
Op. S4, Ja.; The Firewall, romance, U ; The Fairies' Douce. 2s ; lu Alseuce.
romance, Ja ; The Classical Pianist, usod at tlio Royal Academy of Music, i rota.,
an.- 1. !)!«. *VL ; The Student'* Pmetloe. in 1 vol., 14s.
London: ROBERT COCKS and CO., Publishers to their Majesties Queen
Victoria and the Kmperor NapoWon III., and of all Muejc-eellrra.
PIANOFORTES. — DEWRANCES COMPENSATING
PIANO may now be aesn at the depot, SS, Sftho-equare By the appllcctiou
of this principal a heavier string can he used, the result of which is, that the full
power of a grand U obtained from a cottage. Instalment, at the same time the
wire* and the frame on which they are strung expand and contract with change
of temperature equally and together, > i that the necessity for frequent tuning, aa
in the ordinary instrument, is entirely obviated For rti'nesa and remnd uoss of
tone, with extraordinary powers of modulation, these iuetrume
equalled, at the same time the price is no nigber than that of an
■ pil-.e
THE IMPROVED
EVANS, inventor of the
calls attention to the improve
snbjoinod testimonial from Mr. Alfred
HARMONIUM. — Mr. W. E
(exhibited in London lu 1MU
. uadein this lust,
la one of the msny tc
Vats, Kixc's Boan. .
March l»th,lSM.
ou my
itave ever
very truly,
ALFRED MKLLOJf.
jailtn'8 lUustratcU GEatnloguf
Of Port man Uaus. Despatch Boxes. Writing and Dressing Oases, Travelling Bags
with square •■jmuliig* and .'■00 oilier articles for travelling, by post f.» two stamps.
ALLEN'S PATENT SOLID LEATHER PORTMANTEAU', with four Coin,
partnienta.
ALLEN'S PATENT DESPATCH BOX, with and without Droeeiuir Case.
ALlJtN S PATENT TRAVELL1 NO BAO. with ..plan, opening. Those
are the best ol the kind yet invented.
J. W and T. ALLEN, Manur.viurers of Portable Barrack-room
. ISandK.
GREY HAIR RESTORED
CO LOUR.— Neuralgia, Nervous H
TO ITS ORIGINAL
_, and Stiff Jolnls
cur.d by F. M II KRRINfJ'S PATENT MAGNETIC OOMBS, HAIR AND PI.KMII
HliUSuKS. Tliey require no pni|iarAtion, sre always rvwly fur use, snd cannot
get out of order. Brushes, lus, aud IS* ; Combs from 2a M. to Jos. Orey hair
snd bsldneas prevcuted by F. M. H. s Patent Preventive Brush, price 4s awl 6s.
OOoos, n. Hasinglnll-sU- t, Isnithw. Illustratod pamphlet* "Why Hair
become- Orey, and Its Remcd . ' gratia, or by post for four sUnipi. Bold by all
chemists sua perfumers of repute,
T A DIES abould visit this Wholesale and Retail STAY
-Li BODICE, and PETTICOAT WAREHOUSE for Cheap Paihbtuable Ooods. '
s. d. s. d.
Self.IaciDK ]K>tent front nuitenlDg elastic nt.»)s and bodlc. » 4 11 to 10 «
Fiimily and nursinirstaya, self^sjjinting | |„ n 0
Paris wove stays, all at sea 5 11 ,, IS 0
For laul and court dresses, ladles should purchase their jureus ut
CarUr-*, IS. Isjdgate-etreet, where every new atvle can fw obtaJ
ADIES' VIGORNIA CRINOLINE ^YATCH-
i 8FRINO JDPON, MUSI.IX AND Mill PETTICOAT WAREHOUSE
a. d. s. d.
4 CtoSs 0
T «„ 11 0
« »c 10 «
ti St. Paula, KC
Parisian Eugenia hoop skeleton skirts ,
FuU-eise Vigornla crinoline petticoats
Ftooch watch sprii
Cl
»••*>■■>•• asses
■ ■eeesesssese. assise
•* •
FREDERICK DENT,
•. W»t«h, and Dock Maker
TO THE QUEEN AND PRINCE CONSORT,
artS fHaktr »t tljt 6rtat CIstk tot tire Smuts ot
34 and 36, Hoy
ONE OF THE FINEST ORGANS IN
TO BE SOLD,
BVTTAKI.E FOR A
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL.
Apply to the Publishers of the " Musical World."
THE LONDON SEASON.
The exuberance of the feeungs sxnid
youthful to shine to advantage under the
devote increased attention t
of gaiety, induces the Hair and
e gsie of many friends, i
the duties ofthe Toilet
. and,
It la on these
Pr.KSONAI. REQUISITES
upon the Hair, the Skin, and the Teeth.
ROWLAND'S
shine pre-eminent in their e
ROWLAND'S MACASSAR Oil.
tnt and transparent preparation far the ',
it-r and l«auufier beyond all precedent
ROWLAND'S RALYDOK,
for the Skin and Complexlou, la unequalled for lie rare and inestimable qiasliuss
The radi*ut bltiom it imiiarts to the cheek ; the softness and delicacy which It
andarms; It
is a
induces of the hands i
of soothing irritation.
cacy which It
and removing
render it In-
HOWI.AND'B ODONTO,
or Pearl Dotitifrico. for |>re«erviug snd beautifying the Teeth, imparting to them
strengthening the Gums, and for rendering the Breath
sweet and pure.
a penri bke
Bold by A. ROWLAND and SONS, SO, Hntton Garden,
and by Chemists and Perfumera.
".* BEWARE OF SPURIOUS IMTTATIONa
CRYSTAL PALACE— ORGAN PERFORMANCE —
Mr. W. T. BEST, of St. George's Hall, Urerpool. will perf rm ^c^th.
ilOB IMMEDIATE DISPOSAL-An Old^sUblished
X BuHnewi la Munc, Bwkn, toid Bta
oAoe, aod a gooi Dewanuter trade.
Olcmceitor, or Mr Graj, Va ucr, Croydon,
OOSEY AND SONS' CHEAP MUSIC— R & FratWs
100 Operatic Airs for the Flute, la. ad. ■ Cass's 100 Sacred Melodies for the
Concertina, la fld • Case's loo Popular Melodies for th* CoocerUnn, Is. ; Boossy's
100 Dances for dm Violin, la. ; It. .»<■?'» onnipleto Operas for the Violin, la each ;
Booaey's conipMe Operas for the Pianolbrte, In cloth, from 4a to *• Od. each ;
Laurent's Album of Dance Husk. is. ; the Verdi Album (25 songs), 0a. ; Mendels-
sohn's Hongs Without Words (0 books!, fa. Boossy and Sons' Musical Ubrsry,
Ij^ASY MUSIC FOR CONCERTINA AND PIANO.—
J J2 number*, price la, each, IVpiilar Recratloiia, arranged by George Caao.
(Each oootaaiaaS or 0 |n.:<s ) 1, Rlpoletto: "La dotins. e mobile, and "Quea^-a
c< ■ pi<.:| l:i> ' ' II Tn.vat.r.'. '* U beapii,** and "Ah! che la niorto" (Troubadoar'e
KonirX a. Ludn di LAmn»«nnoor: "Km i*ocnnro»»." Mid "Tu o-he T>id aMpicgiasti-"
4, &*. unambula : "AH it- lost now." and "Still to urntiy." ft. Norma: "l>eh!
uon to " C. Sol ik t* on of the im«t popular Valsoa. by V Albert, 7, Polka;
"LLi.L\nt»" by U'AlberL 8, W*e (*ang by MfvUnio Ckaaicr). Veoz&uo, 9,
French Aira: "rartoiit pour la Sync, ' "La Mank-il'iiae," and "Moartr pour U
patrie," 10, Irish Aim: "The Harp that once through Tara'a Halli,_ "84.
ratricis'a Dar." and "The Laat Roae ot Summer. ** II. Scotch Aire;
Bella of Borland," »a-.«u u,rrf.*i
at%lea »
I«in '.c».h' "Bl'
rye." 12, American A Ira : "Minnie**
Be^My aud Soua, Hollea-#tirct.
Published by Joint tloosrr. of Osatlcbar-hlll. In the parish of Baling, in the
County of MiddUsex, at the offioe of Boour A Soxa, 28, Uol les -street . Bold
also by rtsJED, IS, John-street, Great ForUand-atrcet ; Ali.iv, Warwick-
line: Vieitua, II olywell street ; Kutu, Paooal, A Co , 4S. Cbeapeide;
O. HcnatmxAsx, »8, Newgate-street; Joes Hit arit ran. Newgate street ;
IKiutr Mar, 11. Bolbom-bara. A cents for Scotland, Patejuwx A Soxa,
Edinburgh and OUusrow ; for Ireland, II. Btrsasi.L. Dublin ; and all Muaic-
sellers.
Printed by Wilusm Brncxa Joirssox, ' Nassau Steam Press," «0. St. Martin's
U»9, fn the P«1^. of St. Martin ln-the-FiefcU, In the OouBty of J
" r. July 3, WSA
uiyuizeo
by Google
€Jpt ftXmtml Wlwfk
•Thi worth of Am
8UB8CEIPTION:-8tamped for Postage, 20«.peri
to BOOSEY ft SONS. 28, Holies Street, Cavendish Square.
VOL. 36.— No. 28.
SATURDAY, JULY 10, 1858.
PBJCKftC
ia*y W
AURENTS ROYAL QUADRILLE BAND. — New
Offlee, lit Mean. Booeey and Sot... 84. HolkaMlmt, whore foil particular.
A YOUNG MAN, who is engaged daring the day, would
Ilk* to ami with employment from J till 10 in the erouing. Be would
keep a art of book., or mako lumaelf uacful 10 anv at»ctty for a emal
tloo. Adirtu A. B., ore of Maura. Booaey and Bona. Hollee-Mreet.
. nvrn-li.lv
T°
PIANOFORTE MAKERS AND MUSIC8ELLERS.
EXPERIENCED TUNER and REGULATOR, who thoroughly under.
"* I* open to an cn^ngemcut. For reference :u to
BIRMINGHAM TRIENNIAL MUSICAL FES
T1VAL, In aid of U*i Fund, of tho OBNERAL HOSPITAL, on the Slat of
Auips.t. and the lit, 2nd, arid :ird of Septombor next, rrcaident— The Hart of
DARTMOUTH.
H
EREFORD MU8ICAL FESTIVAL, August 24Ui,
JStb, Mb, and t7th. Prtocinni performer.— Madam a Clara Norello, Miaa
Loulae Vlnninr. Madame Weiaa, Mm. Clara Bepwurth, Mix loaodle., Madame
Vlanlot. Mr Sima Reeree, Mr. Mootom Smith. Mr Thmrma. Mr. Wola*. Pro-
» may be obtained, after July Mb, of the Conductor, Mr, Townaheud. The
MADAME DE LOZANCS MATINEE MUSICALE,
•» which aha will introduce, by general deatro. Mai* of bar meat xtimirad
— .lahaomre. on Monday. Juty l!tlh. nt half-p«t two, at Willi,'. It^inw,
Mad Rudaradorff ami Mvilhv "
II err K Menem, and Mr
at Mad. <te uaiio'i, S3,
M
ADAME RUDERSDORFF, MISS PALMER,
MR. OEOROE PKRHF.tr, MR. THOMAS, SIONOR RANDEOOER, and
R MOLIQCK. — Theae diatmfruiahed artiates will make a tour through
Scotland, and Ireland during the month* of October end November,
reapoctinr etupgetnenta for oretortoe, croon t*. Jic. . to be
TO LITERARY
X BALAMAN ie prepared to m
'liiinung Autumn, in the Prorlnee.,
•V'Tho Dramatic Cori>po»itiotia i f Handel and hi.
Dramatic Coropoaltiotie of Carl MiirU Von Weber." with Vt
"'"mratiotia —For tcrme, datea, and Syllal/iia, add man jr., naker-atrret. P rtrav.
i»re, W.
INSTITUTIONS.-Mr. CHARLES
N0A0EMENT8 to rtclirer. during tbo
hia new and
('RYSTAL PALACE FritUy next, July 16. — GRAND
' FESTIVAL CONCERT, under the direction of M. Benedict, In the large
Handel Orchoatr*. Tlie following eminent artiste, hare already accepted etigngc-
U:— Modaine Lemmens-aherritigbm, Miaa Stabbach, Mum Loulaa Pyiie,
tut Weiaa, Miaa Dolby, and Madame Gaaater — her flret apiieurauc* at the
Palace ; II err iHck, Mr. Weiw, and Mr. Slina Reeve* Tim Band, including
elouna, 10 eocond vk.Hna, SO altce, ?S vkiloneelk*, and CD double tauu
th equal pr .portion of wIik! InatntmenUX will number upward, of 300 per.
rrmerm, and be ccmptwod of the elite of the probjaaiuu. Ti e chcira. Including
the Vocal Areodaliou, «U1 number eew 'oeiukata, being a total of 1,000 n*T*irmcr»
la the comae of tbo concert Bach', triple concerto fr>r throe pianoforte., and
Maurer*. guartcttc for (..ur violin., and orchaatr*. Coniloctora, M. Bmedlct aii l
Mr. Manna. Price or Ikketa. Sa. «d. until Wednesday, the If lit of July; after
that date the price wit I be 1*. tteaaon ticket boldera hare the right of ad
«th.oecaaoi— Seat* and Ticket* to be ohr.mod at tbo Ofiej. Ko. %
Ball. Rcaorrod eentx, Sd. extra each etall. Ato « mu«U>eeller* and p
■■la
CRYSTAL PALACE— Reserved Scat Tickets, 2s. 6d.
each, for Ma BENEDICTS FESTIVAL CONCERT on Friday next, ltth
July, are now on aale at the uaual agent*, at the CryrUl Patoce, and «t No. *,
. and principal
MAPLESON AND COYS
mmm mummm^h asihcy,
OFFICES :
CLARENCE CHAMBERS. IS, HAYMAEKXT. LONDON,
Mbbhiu. Hiplexos * Co ure the coniUtuted erenta to the flnt celebritiee of
the day, aji:l the rcgUtcra now comi-riMi particulifcr., etc., of upward* of 1,500
rooall.Uand liutrumentalnf.. Complc'.e OPERA OR CONCERT COMPANIES,
■uUUn, (lerman. Fronoli, .^V.^lUh, icrmed on the ahortoat uotlee. In-
MrstcaL Rrr
Signer Sciiirn, 1",
cheater -aqnare.
Mxcicit. RcrrarjL— Jolin
Soui-iTon — Chorlea Maildock.
Bankeiu.— Union Bank of "
THE 8WEDISH NATIONAL SINGERS, at St James's
Hall.— Thaw celebrated ainger*. who had the honmir to appear bef-ire Her
Maieety. at Buekmajham Palace, In their National Coatumea. willglie a Sertee of
MORNINU and KVKNINO CONCERTS at the above Hall, aaaurted by the cele-
brated Vicliulat. Madlle Sophia Hnmler. and the eminent Flute-nli.yer, Mr. Ebeo ;
leay^jnd
erery erenlirg durinif the week « eight o'clock (except Sawrday) M
Pert -.irmaneea 0.1 Monday, and 8aturd«y. at thnw o'eioak. BtalM (numbere,
Unreewrred Smta.^.To^lery, K, to be he/1 of all nrinelnal MuMeaeller.,
Vf R. LOUIS RAKEMANN begs respectfully to a
1V1 that he will gt«* a Ooncert of CLASSICAL CnAMIIKU MCSIOon 1
morning, lith July, al Willi.'. Room., Klne .tree*. St. Jamea ^ a»iate.1 1
Wlowing artiata :— Violin, Mr Jnat-pli Joachim ; Vlo"*— Mr. Webb ; Vloiow —
M. F.u,ue ; Ptanourte— Mr. Cliatlca II all* Programino .— fj/iartet In O minor for
pianoforte, rlolln, rlola, and TtoUincc'lo. Mozart . Sonata quaai Fmntaala. Op. 57,
Beetboven ; Prelude awl Fugue for rioon. Sob. Bach ; Fantaaia for | UueSHea
1. i.iialro main, in Y minor. Moxart ; Oaprioeio In B for pianoforte, Mcnde'eeohn :
Sonata for piano and no' in In A. Beethoren. Ticket., lulf-a-guinca for Rkaerrad
Beat*, and 7a. for Unrcacrred Seata, may be at the principal Muaicaelkni
V.
vsdih tux rATBOitaox or
OF
THE
ROYAL
wllh'hi.l
MUSICAL ENTERTAINMENT,
DR.
MARK AND HIS LITTLE MEN,
upward* of thirty I r.*tnim«n»taJi*U, and ft meat rflortiv* '
whvi* formlBtf a mont com pie t« ;uwl uniqtja
JUVENILE ORCHESTRA,
Little Engliab. Iriah, and Sootch boy., from fir* to etxteen yean of age, who play
operatic eekcttona. aotoa. duet*, quartrta. quadrille., man.- lie*, and polkaa ; and
ainu wnga. cboruaea. to., in a nviet eSoctlTe manner, and to whom ho g-r»e a
gravuitctu gv-tteral and muaieal education in order to Hltutrote hia b'gkly appro-red
ayatem of muaieal education, iuA with wbvui Irt) travel, about the countiyto
excite an interest for and bolp to eaLabiiah muaieal Inatitutiona oalled Ooo-
— of Muaic" for UUk) children in tTcry town. city, and Tirlnge of tbi*
All letter, addraea. plcaae. Free Trade Hall.
Digitized by Google
434
THE MUSICAL WORLD.
[Joly 10, 1858.
MR AND MRS. GERMAN REED'S NEW ENTER
TAl N M BNT — The now Serioa of Ulustratlons by Mr and Mm Rood (lute
Mitt P. Horton) will be repeated every evening (except Hoturvlay) at Eight-
^ a ird iy Afternoon el Throe. Admission, Ut,, 2a, and 3a. ; Stalls secured without
axtra charge at the Royal OaUery of llluitrntlon, 14, Rcgcnb-atrovt, and at
Cramer. Hcalo. and Co.**, SOI. Rogout-stroet.
TWO NEW VOCAL DUETS, BY J. DURRNEK. —
HOPR and SPRING-TIME. Also, by the same composer, ttao much
,«lmir*d Songs— " Land and Boa," ' The Kelpio'a Bride,- and •Rosebud* ou Uiy
■ in : R. Mill, and ton*. W, N.w -
]*rffo ',11
THE PEOPLE IN CHURCH : their right* ami duties in
X connection with the Poetry and at'ialf of th* Book of Common Prayer, by
JOMAU PITTMA.V. CTtapol-maaier to lh» Hon. Hoe. of Lincoln. Inn.-l«id»n :
Bell and Balby. l»o. rioevstrctt.
T?OR ORCHESTRA. — Grand S»'l.<ctiona from II Xranrton
J. and La Traviata, arranged by
for aeptett, price 4». each. Also,
Miller Valse, by Laurent, price 3b
Tho usual allowance to the prr-fitaMou.
.•A. Hullo* -•■.ii • '..
each
I'LflLve extra.
[irlee 7a. each ; or
Quadrille nnd Luiaa
eatra, and tt. 6-1 for aeptett.
■a, Bvwevy and Bona, -4 ami
MARTHA. — Tho most favourite songs are, " M' upparri
totf amor," aung by Mario, la, ; "(Jul sola, vergln rota," sung by Boaio, la. ;
"Chi mi dim" (Porter sciigj, sung by ilrariani, :2s. (A. : "11 too stral i»cl lanclar.''
tut t" amor, " sung by Marl
" (Purler scng), aung by
s»itwr by Nantier Dldice, la. The <
ready, Laurent'* Martha Quadrille
Sana Mualcnl library, II olios-street.
Qui solo, vergln roaa," wn c l.y Boalo, la.
KianL 2b. ed_ : "II too ntral (Ml lancfar,'
implcte Opera, in Itilinn, 90s. Alao, just
>nd Martha Walt/, Its rah Booney and
MUSIC FOR BRASS 15 AND— limeys N.wv Brass
Band Journal la published every month, r r r'url.t performer*, price 4a. ;
and fur sixteen perfoni ier», price 7a per uuml»er. The iLiHtrttnt'-iititlon la as
follows :— 1st and lud Cornet a, B Ha' ; 1st and 9>id Vulva Bugles. B flat; lat and
Snd Al thorn*. E fl u ; Althorn, B flat; EnpbuitU.n, B flat (eight performers);
Soprano Comet, R flat ; lat and Snd Trumpet, K flat ; lit ami Snd llorua, E nut ;
lot and 2nd TroiuUnie* — Rienlsutlnii. K nut ; lirnma. ail lib. (aixteen perloraiera)
The numl<cr for July coubdua the "Maud Valse "and "Marguerite Polka," by
Laurent. Full isartleular* gialis. B*>-ey ami H-ai*. '.'4 and 28, Holles-stroet.
THE MODERN GUIDE TO THE STAGE, OR,
AMATEURS' INSTRUCTION BOOK, uVwrtblng ami te.n l.io.- all tin- ..tt*
aaal It*****— PhyaloaJly and BccuUonary, In l».ve, Despair. Uriel". Jealousy,
Madness, R*m<n*s Hag*. Hatred. Hoveogo, Joy, Hypocrisy. Tyniouy. and
VBUny; witli all lb* more elegant point* in 0|»ra Burlesque, atid C. incdy.
• UIUUI f ">lbil as** tlfay (iwajv VI«||IHtl |-" ■»** V*t * 1 1 V|1I It aH4IKrV^J[\ HIIU tULUl,
neecaaary to speedily qualify youiiit per-enui of butli aexea for tiua lucrative and
pkaaant prormaron Alvo the Name** and Residence* of Managers and their
Theatre* all over the Kingdom, the Colonies, and the United Huitea. TbU new
work (warm from the preaa), and never before in pnnr, will 1m» aent to any
PIANOFORTES. — DEW RANGE'S COMPENSATING
PIANO may nr-w be aoen at the denote :u, Soho-a.piwe |iy tbe appUeatlon
orthia luHucipal a heavier atrlng can bo uaed, the re*»\l nr wliScb ia, tlial the full
of a (rran.1 ia obtained from n eottatre Inrtn'.nKiil, ul the same time the
power of a frrand ia obtained from a eottatre Inntri'.nKiil, ul the aame time the
wire* and the frame on wliie'.i they are Mtnmg expand and cisutract with cHxnge
of ten.|K-rature cpiallv ami togetbi-r. »< fl at the iu«-»:tv lor frequent tnnlnj aa
In tl io ordinary Imtmmeut, i» entinly oViLvicl V«r fu new ami nim tneaa of
" ntiali '
tone, with exlraortlluary |«>wcra ol uiodulation. Ih.-rr luamuncrita aro oultr llu
eipiallcd, ut the aame time the pile* ia m> la^he* tlun th:it i*f ao onlinury pi mo
THE IMPROVED HARMONIUM. — Mr. W. E
EVANS, Invent T of the English Hainioniutu (exldliited tu laimlon in 1H4IX
"' > to the improveuiei.u he hat lately nude In thl« loatnitinnl. The
i Mr Alfred Mellon i» on* • I the many be baa received
Tm V*ut Kiso'a Roan, Ciiatiaa,
Marci 19th,
Bnaj — I ha»c much pletwiru in (jiving vuu n-.y opinion hjwi your
i ; it i* the heat instrument of the kli d 1 Fiave ever bearl
To Mr. W. E. Evana. jPLnUX)
»1, Norfolk-atreet, Sheffield.
M O D E R A T E_l_ Y EASY.
A FULL MORNING AND F^ENINO CHURCH'SERVICE,
1. To P~um an I Jubilate
■i Introiv, Miaerere, Doxology, Nlcene Creed, Snnctna, and Gloria in Kxcelaia
.1. M.xpuneat and Nunc Dtmlttl*
Or commit* l u fnr ftW, p< ter Hw.
.\«}i^lw<Jii4.^vi A mi aeeoinpiuiimont lor ti c Organ or Pianoiorta, by R R
IVXlix, J.fr^^'l™' "f " 0 Maneheater Mvlrignl 8.viety.
- d
4 0
4 0
4 0
13
OOSEY AND SONS' CHEAP MUSIC.-R. S. Pintten's
t'jneeruna,
100 Dance*
Booaey
Laur ti
•olin '• Boogi Without
28, HoDeaVatTMU
&Utn's ZllustratcU tEaialoguc
Of Portm.uit.'aii*, Beajmtcb Boxea. Writing and Dvcaaing Caaoa, Tnvellini; Baga
Willi Miun openlnif*. iu.d MO otliexartklea for traTclling, by port for lwo*tami>«.
ALLEN'S PATENT B0I.1D LEATHER PORTMANTEAU , with four Com-
[•artmenta
AI.LRVS TATENT DESPATCH BOX, with and witbi.mt Droaatiitf C*a».
AI.I.KN'M PATENT TUAVKLI.INtl BAO, with square openiag. Ttiaaa artlclaa
are the licat ot the kind yet iuvevitod.
J. W >uad T. ALLEN. Manufaetute.. of Portable Bair.vek-r..>m 1
Military t >utflttera (ace «epiui>le Catalogue), la and ri. Strand
GREY HAIR RESTORED TO PI'S ORIGINAL
COIjOBR.— Neuralgia. Nervuita Hmulache. rthoumatlani, and Stiff Joir.u
cured by V. M. HKnRINU's PATENT MAGNETIC O iMBS. HAIR AND FLESH
BRUallEB Tl.uy i-equlre no preparaticai, are alwuya ready lor uae, and oanuot
get out of order. Bnidiea, ID", and IA*. ; Corabi from 2b 61. to 20*. Grey hair
and baldneaa prevented by P. M. H '» Patent Preventive Brush, prise ta and aa.
Offieo*. 32, Baainghall-itreet, LoDdoO. Illualrstol pamphlet* "Why Hair
becotnea Gn.-y, and It. Remedy. ' gralia. or by |«t for four Mam pa. bold I.
clu'rolita au.l p '
I perllimora of repute.
[ by all
MR. HOWARD, Surgeon-Dentist, 52, Fleet-street, has
Introduced an entirely new .lcstTtptloo of ARTIFICIAL TEETH, fixed
without eprln^Ti, wirea, or ligature*. They ao perfictly resemble the natural
teeth aa liottol«dk*tll.guiahedfpom the origitiabi by the closeat observer. They will
never change c loar or doi ay. ami will be foimd superior to any teeth ever before
uaed. Thin method ihee not irvjulnt the < xttnelion or roots, or any painful opera-
ted, will support and preaerve loetli that an- l<»wi, and ia guaranteed to restore
arti^ adatlmi and mastieatl .n. Doraytd t«tth »1<ip|wJ awl irndcred aouad and
useful in mastlcatuou. .V2, Elect- street. At 1™. Irom In tiU i.
LADIES should visit this Wholesale and Retail STAY,
BOIUCK. and PETTICOAT WARKHOUSE for Cheap Poahla.ua.le 0««1j.
a d. a. d.
Melf.laclT,.. pateut frunt-fwionliuT elatrHc rta>-» and todicea 4 II to 10 «
Family and nursing stays, aelf-aaJuatinK » « „ SI 0
Parts wovelUya, all siaea .'• II ., || 0
For ball on.1 ccau-t dresses, ladies ebuuld purehas* their lupous ut William
Carter's, a l.udu*to-*-.re<:t, whrr* every new style can be obtalnoL
LADIES' VIGORNIA CRINOLINE WATCH-
SPRING JUPON, MUSLIN AND STEEL PETTICOAT WAREHOUSE.
ad. ad.
Parisian P.ug.lulo heap akelown akirU * 6 to 24 a
*~ •*•*•• ••••••• -a...e T n 51 o
WI I.LlAWf CiVftTEn, li Xu^tc'.irtwt; two il«x.*rt from St. IW* E C
Kn^T^viiwv of tlie aboro (tee.
FREDERICK DENT,
airoiwuirtfr, Wiitch, ami Ootk Maker
TO THE QUEEN AND PRINCE CONSORT,
artf fiflakfT cf trjt CrrM xTlorlt tot tfjr JLtmun of j^atliamfrt!,
61, Rtmnd, nnd 34 and 36, Royal Exchange,
THE LONDON SEASON.
The exuberance of the fedinira imid scene*
di m uiy Ii.
induce* the fair and
yotrthful to shine to advantage under the gas* of many friend*, and, therefore, to
devote Increased iittent ion to the dutlo* of the Toil.t It 1* on theae oocaaiona that
noWIAND'S PERSONAL RCQTJISITBS
ahinc pre-en.iucut in their opcmtlou* ui«u the Hair, the Skin,
ROWLANDT. MACASSAR Oil.
ia a '
ROWLAND'S KALYDOR,
fur the Hkin and Complexion. l« nuopialle 1 lor ita rare and ln«itln>abl* niiahtiea
The nidiitll blom It imparts to tbe choek ; the auftnett and delicacy which it
induces of the hands ;ui I arms ; its capability of aooUitng irritation, and remortng
cTitancfma defecla, discoloration*, and .Ul unsightly appearance*, render it in-
<ll»|ie»i«aWe to every Toilet.
ROWLAND'S ODONTO,
or Pearl Dcul.lnce, lor preserving and beautify iug the Teeth, imparting to them
a | •earl-like whiteness, atTcngtlieiung the Ouns, and for I
sweet and pure.
Bold by A. ROWLAND
Digitized by Google
July 10, 1858.]
ON " PERF UNCTION."
To the Editor of the Musical World.
Ma. Editor, — One of your contemporaries being, I observe,
at sea, respecting thu signification of the word perfunctoru, he
ought, witii all others in the same condition, to be informed that
perfunctory means "fighting the thadov>" or in other words,
trying to take careful scientific aim at an object, and hitting
something quite beyond it. The phrase "fighting the th^/ou;
is, however, most expressive of its meaning. The word can bo
very effective in the repertoire of a satirist ; its full value would
be known to newspaper writers, wore they not generally better
acquainted with cigars, brandy and water, and flippancy, than
with philology. Yours, respectfully,
BKETHOVE.N I A X.
[We appreciate the civility of our correspondent, but not his
interpretation of the word *' perfunctory."— Ed. M. »'.]
BRADFORD NOT YORKSHIRE
To thi Editor of the Musical World.
Sir, — On looking over your last Saturday's publication, 1 liud
that in your notice of the" rehearsal for the performance* in the
Crystal Palace on the 2nd instant, you state that i'uO Yorkshire
vocalists were present, including the Brail ford Choral Society.
Allow mo to inform you and the metropolitan public generally,
that the 2<x> named by you were Bradford people, and did not
comprixe the pick of Yorkshire vocalists. It is the impression
here that the invitation was for the same |>enw>ns who sang at
the great " Haudel Festival if h>, the Bradford people have
done nore injustice to the sing- ; • of Leeds, lluddeinhcld, and
Halifax. 1 (ad the 200 singers from Bradford been tested, apart
from the rest, they would nave proved their utter inability to
take part in such an affair, and also that lin y were totally unfit
to represent Yorkshire, as they falsely have done.
If you, Mr. Editor, or any of your correspondent* can explain
the matter, you will oblige the writer and ft great number of
your musical friends.
Yorkshire, July a, 1868. Faiuixay.
THE LATE LINDLEY OR THbTkKSENT HAITI.
To the Editor of the JUntical World.
Sir, — Will you please favour me with a reply to the follow-
ing question ?' By so doiug you will much oblige your obedient
servant, A Lover of Music.
" Wat the late TAndlry or JW/i the he*t player ■„# the riuh«eeilo f
Manchester, July 8.
[Apply to Sig. Pintti.— Ep. X. W.)
THE HACKNEY ORGAN.
To the Editor of the Musical World.
8m,— Resiling the interesting communication on Organ-, in your
last, and observing that the reeds of the Hackney organ ore cited as
the original work of Snetzler, 1 should (eel particularly interested in
knowing oa what information your correspondent (who seems quits
"up to the mark" in organ matter*,) has based his obaerration. I
have always understood, from books sod otherwise, that none of
Soettler's work remains in that instrument, the present organ being
the manufacture of England, with improvements and enlargement by
Gray.
There is a curious and little-know n organ st Great St. Bartholomew,
West Smithfleld, containing some exceedingly good reed-work —
very good indeed for the age of the organ, which most have
been erected sbout 1728, snd by Harris and HyGcld, I believe.
At St. James, Garlickhithe, there is a very curious organ, nearly in its
original alste, without pedals or COUpsan, or, Indeed, any modem
appliances (it hos a swell), nil the key* black uud white, reversing thu
modem arrangement. This little known orgsn is one of Smith's,
snd hss good work in it, but the remark of your intelligent corre-
spondent is quite borne out in this instance, as the reeds are not over
The city churches no doubt contain many organs
count of their age and singulsrity. There is a Tcrv
gsn of the 18th century at St. Mattliew's, Friday"-
It possesses still s "mounted comet." a stop rarely to be met
with nown-days, and which had for many years, in this instance
been eo completely in disuse, that we may truly say that it was
discorered bv the present rector and a friend, gentlemen who have
loth the will and ability to protect and care for the church organ.
I should also like to call the attention of your " orgsn hunting"
readers to the instrument at that once noble and yet interesting church
(used by the Dutch as their place of meeting) in the Auslciifriars. The
organ there is a very ipjaint, odd looking one; there U not such another in
London. It is of the 17th century, and would, no doubt, repay ox-
aminstiun by those who bare sulilcient fortitude to brsve the Dutch
vergers and service.
The collection of facts, uiiecdotes, and descriptions similar to thoso
given ' y your correspondent, would be indeed interesting to those who
love the organ and have a taste fur the antiquities of its hUlory. Tha
en-ting works, elaborate as they are, aro not free
on tins point, while materials ciist that would form the I
a little volume, very interesting and useful to the musical antiquary.
Would tliat your correspondent would favour us with one.
Diapasos.
PR. MARK'S GRAND MUSICAL JUMI.EE.
(Kroni the Manchester Examiner.)
This event came off at the Free Trade Hull, on Monday,
TiK.^Uy, and Wednesday, and wi«s most successful, both with
respect to thu performances of Dr. Mark's Little Men and the
attendance, upwards of 2lH,OtlO people, young and old, having
been preaeut in the course of the thn-o days. The
opened with an evening concert ou Monday, on which i
a number of highly gratifying testimonials were presented to
Dr. Mark. After the first piece in the second part, a deputation
from the parents of the " Little Men" appeared on the platform,
and Mr. William Fogg, in their names, read the following
address to Dr. Mark :—
"to na. uahx.
" Dear Sir, — We the parents and guardians of your happy Little Men,
feeling exceedingly anxious to present you with tome suitable memento
of our gratitude to jou, and our entire approbation of your unwearied
efforts to promote the comfort and welfare of those dear to us, hsvo
availed Ourselves, of this OOCSsJon— the 28th of June, being your birth-
day—as a lilting opportunity to present you with a gold watch and
chain. At the same time, also, we would beg your acceptance for your
worthy pjrti.tr, Mrs. Mark", of a silver tea service, ns intended to
assure her of our universal approval of her motherly care and solicitude
for her adopted numerous, and we fear at times, troublesome fund v.
To Mrs. Mark, sir, we would bare you to convey our warmest attach-
ment and united thanks for her great kindness to our children —
she being to them, in their many wanderings through the towns
of England and Scotland, what a mother would be at home. Her
worth is best knowu to them, as they have experienced her kindness
nt all tmies, ami have cheerfully related to us, at home, how very
much they arc attached to their adopted mother. We must, therefore,
beg of you, sir, that she will be pleased to accept this our poor return,
for her kindness and care to the children, extended as it is overs period
uf two, in some cases more, years. To yourself, as the originstor of a
new plan of musical education, we tender our best thanks, and only
regret that in words or by any testimonial, we shall entirely fail in
expressing to you our approbation of your conduct. The highest com-
pliment we ciin pay you is tins : — that a more liberal, kind hearted, and
well-beloved guardian the boys could not have, and tliat as your con-
duct is for kindness to them before this audience, so it is in your own
private lodgings, when the eye of the public is fsr away. Wishing you
many happy returns of your birth-day, and hoping you and your worthy
partner may live long and enjoy many blessings, we beg to subscribe
out selves, yours."
{Here follow the signatures of the Parents and Ouardiant of the
Little Men.)
Mr. Fogg theu presented Dr. Mark with a valuable gold
watch and chain, the watch bearing the following inscription:
" Presented to
parents and guardians
appreciation of his t
confided to his csre."
ing the following inscription :—
" l*rcsented to Br. Mn. Mark by the parents of Dr. Mark's baud of
Dr. Msrk, on his birth-day, June 28, 185H, by I
arts of Ins Little Men, in testimony of their gratrful
unwearied kindness and solicitude for the children
s."
also presented to Mrs. Mark a silver tea-pot, betir-
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THE MUSICAL WORLD.
[July 10, 1858.
Little Men, to testify their gratitude for her un
the comfort and happiness of their children."
Immediately after the presentation a most interesting scene
took place, all tho Little Men themselves coining forward, headed
by the senior boy, presented to Dr. Mark a silver b&ton. The
senior Little Alan read tho following address : —
"to dk. mix.
" DliS StB, — On behalf of myself and fellow pupil* wo beg of you
to accept of this silver b<Uon, n« a small token of our gratitude and
love. We also beg to offer you our united thank* for the many scU of
kindness that we are daily receiving at vour hande. We thank you,
sir, not only for your bountiful supply of the neccsiarie* of life, but for
your unceasing care of our health, and constant endeavour to provide
for our instruction, amusement, and happiness. Ws pray Cod to bless
sad reward you; and wo wish you many happy returns of your
birth day.
"Presented June 28tb, 1868."
(Htr* folio* tht nam*, of Dr. Mark', LUtU Me».)
The baton bore the following inscription :—
to Dr. Mark by his Little Men, as a token of their
• | Trade Hall,
to him.— Free
Dr. Mark, evidently impressed with the sentiments conta
in the addresses, stated that, both on Mrs. Mark's and his
behalf he felt deeply grateful for the honours conferred upon
him, and for tho kind manifestations of feeling towards him with
which the presentations had been accompanied. At the con-
clusion of the last performance on Wednesday, when tho hall
was crowded in every part, another testimonial wag presented
to Dr. Mark by Mr. Dible in the name of the superintendents,
teachers, and scholars of the day and Sunday-schools of Man-
cheater and Salford, of which the following is a copy : —
"TESTIMONIAL PKE8BNTBD TO DB. MASS BY THB SirPBBIKTBXDBKTS,
TBACUBBS, ABU SCHOLARS OF TUB DAY AMD SI'S DAT-SCHOOLS
IX MANCHESTER AXD SALFO&D, JUNE 30, 18M, AT THB FBE8-
TKADK HALL, MA3CUSSTSB.
" Dear Sm, — For the extraordinary pleasure which your grand
musical jubilee ha* given to so many thousands of the children snd
parents connected with omr schools, we, the undersigned superin-
tendent*, teachers, and scholars, beg leave, most respectfully, to return
rou our sincere snd heartfelt thank*. The facilities which you hsve so
liberally afforded of allowing every one (st a mere nominal charge) to
enjoy this great and really intellectual treat, is a proof of tho deep
interest which for years you have taken in the promulgation of vocal and
instrumental music ; and we fully endorse your noble wishes, that
music may become more familiar, not only amongst the wealthy,
but st every cottager's fireside. That music will become more
popular every year is a fact which cannot bo disputed; and in
making Manchester your permanent home, we greet you with the
warmest welcome*, feeling convinced that you are tho right man in
the right place, snd that by your endeavour* to disseminate a love and
taste for music amongst the riling generation, you will be hailed by all
with tho liveliest gratitude, and receive every encouragement. In
presenting this testimonial to you, dear sir, wo aro deeply sensible of
the responsibility which attache* to all who are engaged in the tuitioo
of youth i snd we sincerely trust that your unceasing labour* will be
crowned with triumphant success ; and that your praiseworthy effort*
■nay induce the Council of National Education to make the study of
in it* national school*, and thna give their powerful aid to one who- ha*
laboured for so many years to establish musical institution* through-
out this great empire. In conclusion, accept our best thanks ; aud
allow us to express the hopo that, as a resident here, your future career
msy bo both prosperous snd hsppy, snd wishing you, Mrs. Msrk, sud
all your Little Men every success,— We ere, dear sir, yours truly,
"THB 8c PEBINTBXDBXTS, TB4CHSBa, AXD SCHOLABS OP TI1B
Schools op Mar-chests* asd Sai.pord."
If anything had been wanting to assure Dr. Mark of the
favourable opinion entertained respecting him by the citizens of
Msnchester, it has now been furnished in the complete success
of his musical jubilee, and in the enthuaiaatic reception given to
him in connection with his concerts), which were intended to be
introductory to the opening of his new musical institution in
this city, in which laudable enterprise we wish him the
RECOLLECTIONS OF CALIFORNIA* AUSTRALIA,
BY A MUSICIAN.
(Cooiimcd from pnyt -120.)
Three concerts satisfied the Marysvillians, and after a long
cabinet council our determination was made to penetrate the
northern mines, yea, even unto Downieville, the Ultima Thvle
(at that time) of civilisation. Our ideas were rather indistinct
as to tho propriety, or even feasibility of going there ; we know
that there was a long journey to be made on mules, that our
luggage would have to bo packed upon the same useful animals j
that there was no pianoforte there, and no waggon road to take
one by. However, when you have made up your mind to do a
certain thing, the beat way is to go to work with energy and do
it without further bother. I had heard that a billiard-table in
sections had been packed there, and that with great difficulty
a printing-press (tho advanced guard of civilisation) had been
conveyed by a teamster named Hastings, who had gained con-
siderable renown by the feat ; and as Hastings had a farm near
Captain Slitters, I took a trip to Hock Farm, where I was most
kindly received by the hospitable old gentleman, returning his
hospitality by tuning his pianoforte, and through his good offices
found ray teamster, who, after great demur, and considerable
diplomatic tact upon my part, consented to convey a square
pianoforte to a mountain top, three miles from Downieville, from
thence I was to use my own ingenuity in conveying it down a
nearly perpendicular pass into tho town below. I had to pro-
vide him with ropes and blocks, had the piano securely packed
in an iron bound case, with rope-beckeU or handles at the sides
and ends, and sent two men with him to assist. We then started
in a large-open carriage or rather waggon, accompanied to Park's
Bar, the first mining camp upon our route, by the votary of
Flora, Pomona, and Ceres, and another friend, a Scotchman, a
Mr. Peter liobinson, one of the kindest hearted, merry sonls on
earth, who is now gone to his long home. Light and green be tho
turf that covers him, for good and noble was tho heart beneath
it. Leaving Marysville we entered a large prairie, which was
already stripped of its spring carpet of beautiful flowers, and saw
in the distance upon our lefLriaing out of the flat prairie, like
Gibraltar from the sea, the Buttes, as they aro called, a group
of sugar-loaf-shaped elevations, that in the rays of the setting
sun ato of a brilliant purple, and present a mass of gorgeous
colouring that would have rendered Turner distracted. Looking
a-headwesaw the lofty suinmiUof the Sierras, crowned with snow,
the greenish whiteness of the east most beautifully contrasting
with the glowing west. At least fifteen miles of the flat and unin-
teresting prairie hud to be passed, and we began to enter and
gradually ascend the mountains. Tho road was very good aud
crowded with every conceivable kiud of conveyance, vehicular,
oqueatrian,aud pedestrian. Swart miners with their noble beards,
with rolled np blankets, and the long rifle slung behind them,
and bowie knife aud revolver, at their sides passed us,
some winding cityward with the produce of a year's
labour and risk of life, to lose their all at the gambling
table, or revel like hogs in what they termed Y'a iolly
good bender," while the anxious faces and clean shaved ap-
pearance of the new comers seemed to excite in them feelings
of ineffable disdain. As we advanced, the trees (all oaks)
increased in Bi*e. and trickling rills of water gave life and
verdure to the dried - up earth j while around the roots of the
trees the sweet prairie flowers seemed to nestle, as if imploring
protection from the parching heat.
It was evening when we arrived at Park's Bar. and wo were
for the first time among gold-mining operations, which are here,
as at most camps upon the Tuba and its branches, what are
called river claims. Now although the precious oro, root of all
evil, prix pecuniarum, (or which ever of the thousand and one
terms of endearment you like to call it), has often been the
stimulus to bards, inciting them to " High oh ! Peans," (as a
mercantile friend of mine pleasantly terms them), yet, anything
more unpoetical than actual gold mining it is not easy to con-
ceive. The mountains around are of course gloriously beautiful,
with their growth of giant oaks and pines, but Heaven keep me
from the occupation of sitting on the banks of a muddy stream
with a tin water-dipper in one hand, and the handle of n cradle
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THE MUSICAL WORLD.
437
in the other, the sun baking your brains, while your lower ex-
tremities are in the water, and you sit bobbing away, like a
mandarin in a tea-shop. Talk of gold mining, pooh ! the tread-
mill is a jovial instition compared to it. And then the delightful
occupation of fluming, viz. : directing the stream of a river into
a new channel built or cut to receive it, and adding insult to
injury by making the rapid stream turn water-wheels to pump
its own bed dry, while you (up to your middle in ice-cold water)
denude its bottom of the precious metal deposited in beds and
crevices (or pockets as thoy are called) and entail upou yourself
inflammatory rheumatism to the end of your days. ''Go, get
thee gone, I'll none of thee !" Our method of advertising a
concert in the small mining towns had. to say the least of it, the
advantage of novelty. It consisted of the primitive method of
calling tho stragglers for miles around by firing a cannon at aix
o'clock, a method adopted of making a gathering when at first
the Indians were troublesome. This is much cheaper than printing
or advertising, and the programme chalked upon a board has
all the utility of type, as well as the charm of novelty. I am
not aware if this plan would succeed at the Hanover-equare
Rooms, but I think it might be perfectly in keepingwith a "Verdi
Night" at Exeter Hall, or the idea might be valuable as a ucw
" wrinklo" to Jullien for a newpolka. At all events,itscldom failed
to draw us full houses, and if our audiences were not clothed in
purple and fine linen, and did'nt look a bit like lilies of the
valley, Solomon in all his glory never enjoyed himself half so well.
I cannot take my leave of Park's Bar witnout giving my humble
meed of praise U> the perseverance, puncturabuity, and marvel-
lous agility of the fleas. Their industry is positively miraculous ;
sleep was out of tho question, and wo arose in the morning
looking as if wo had been stabbed all over with darning
needles; and their vast numBers I can only account for by
adopting the ingenious hypothesis of a friend, who firmly be-
lieved that they had an affection for the Spanish language. It is
barely possible, thongh, that the large numbers of mules may
have something to do with it. Suffice it to Bay, that one night
niado ua heartily sick of our /eabotomizatijn, and we gaily
started in our waggon the next morning for Foster's Bar, still
higher in the mountains, from which point our mule journey
was to begin ; and having started the pianoforte up tho opposite
bank of the Yuba, to meet us at Downieville, as the sun was
just piercing the tops of the pines upon the summits of the sur-
rounding mountains our cavalcade departed, and we travelled
for thirty miles or more upon a very rough road, and through
forests of the most noble timber that can be conceived. To
give somo idea of its usefulness, I need only mention that I
have seen a shingle (a strip of pine about a quarter of an
inch thick,) taken from a sugar pine, over a hundred feet in
length, witnout a knot or blemish in tho straight grain ; while
as to girth of trunk, I measured one glorious monarch of the
woods, by extending my arms, and, going round it finger to
finger, made nine marks, or, la rough measurement, eighteen
yards in circumference. Nor will this appear an exaggeration
to any of ray readers who have seen the Mammoth Tree in the
Crystal Palace, which, cut at eight feet above the ground, was
of much larger growth, being at first, before the shrinking of
the bark from dryness, about twenty-two yards in circumference.
The various shrubs which an- so prized in England, as ornaments
to shrubberies, now began to be very plentiful ; various laurels,
hollies, azaliaK, rhododendron:;, syriujjas, and two new shrubs,
the manceuita, and the buck-eye, or dwarf horsc-chesnut, giving
beauty and perfume to the sense* ; while innumerable flowers,
including the perennial lupin, larkspurs of many varieties, with
their kindred plants, the glorious white garden lily, and the
Turk's cap, or tiger lily (which grows like a Chinese pagoda),
columbines, yellow pan-tics, mallows, convolvuli, and hundreds of
varieties of beautiful flowers that I could not name, gave a
beauty to the silent woods, — silent as death save when a
dry branch falls with crackling sound, which can be heard "in
the dim aisles of the forest " a great distance ; for singing birds
there aro none, if we except the owl, who can scarcely be said to
belong to a musical family. It was night when we arrived at
the summit of a mountain overlooking Fosters Bar, and, to our
dismay, found that heavy rains had washed away the steep
road, until it was reduced to a mass of overhanging rock and
rugged ravine. Below, over tho tops of the pines, we could see
thelights in the village, which made our forlorn position doubly
provoking. There was no help for it j no horses could descend the
I ' Lsi, and we had to leave them, with all our luggage, thn waggon,
and the driver to keep watch, until we could send him help from
below. Thou the Count aud I, taking the little woman in our
arms by turns, essayed the pass, and such a trio of grunting*
and groanings was never heard, as wc toiled down the abomi-
nable abyaH. Soon, however, the trouble was over, aud upon
arriving at the foot, wc were literally in the arms of two friends
from New York, who bad been settled at the Bar about two
years— commencing business, one with a fiddle, the other with a
head full of legal lore ; neither a very promising capital, you
will say, but they had gone to work with a will, had built a
beautiful cottage — which was instantly given up to the comfort
of tho lady — who was looked upon by the rough-hearted
denizens as something almost divine, there being but three
females within thirty miles. Nothing could be kinder than
the behaviour of the miners to us all. They sallied up the
mountains, with torches, to relieve our driver and his charge. For
at least six hours wc were immersed in a grand chat and pow-
wow over matters and things at home; and in this hospitable
place we stayed two days to recruit our strength, and bo ready
for fresh toils. Upon preparing for our equestrian journey, no
Bide-saddlo was to be found for tho lady, so she had to equip
herself, en cavalier, borrowing a pair of indispensables for tho
purpose, and about ten o'clock of a fine bright morning we de-
parted, amid the good wishes of our friends, three amiable-
looking babes in the wood as we were. The bridle-paths were
so rugged that any quicker progression than a walk was out of
the question ; ana as we often met returning mule-teams with
1>»KK»8«» S required no little ingenuity to avoid them, for they
are no respecters of persons, and seem to take an equine delight
in rubbing against your legs with the boxes and bales which are
suspended at their sides ; and when this takes place upon a narrow
bridle-path, on tho sido of a mountain seven or eight hundred
feet high, it is positively dangerous. We had made about eight
miles by noon, and stopped at a ranch (Aitgiiei, farm) to
rest, and then pursue our journey, which would be for fif-
teen or sixteen miles through a wilderness, with not an
habitation till we arrived at the close of tho first day's journey
— a resting place exulting in the euphonious appellation of
Nigger Tent. We had got about half way, when I (being in ad-
vance) caught sight of an encampment of Mountain Indians, a
very different race from the filthy Diggers of tho Plains. As we
approached, about a dozen gentlemen stood up " with bended
bow and quiver full of arrows," and seemed disposed to dispute
our passage through their camp. I drew my revolver, and called
to the Count to do the same, since if wo were to be spitted like
larks, we might as well have a shot for it. Bat, just like him,
although he had an abomiuablo thing like an ugly pepper-box,
ho had carefully locked it up in his trunk, and of course he did
not know where that was ; so there was no help for it, and we
preceded till I caught sight of an object that made me scream
with laughter. This was a lady, evidently a belle of the tribe, who
had procured a Yankee sun-bonnet and a little child's tippet, and
in this airy costume (and nothing else) she was parading up and
down with an air of dignity that I defy the most crinolined
damsel in Ixmdou to equal. Laughter, they say, is catching, for
the rest of tho tribe (who no doubt wero jealous of the finery)
grinucd like monkeys, and seeing our lady in pantaloouB, who
really made a pretty-looking boy, with her broad straw hat and
curls, squeaked out repeatedly, " Damn, damo," and established
friendly relations in an instant. Tho bows were put asido, and
we tried to get up a conversation, which ended in their very good
humouredly sending one of their party to guide us on our way
and make friends with an outlying party which we passed
further on. And so ends our first and last adventure with " y*
salvages." As we advanced the scenery grow wilder and wilder,
and wo were evidently attaining a considerable elevation, for in
the ravines, hidden from the hot sun, masses of frozen snow lay,
which gavo us an exquisite beverage in the icy streams which
trickled from them. We at length arrived at the close of our
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[July 10, 1858.
first day's journey, miyhtily tired, and found Nigger Tent to be.
a large hotel, built, of course, of wood. It wax perfectly
embowered iu a lofty forest, and wade a most picturesque
appearance. We were the solitary travellers who had
arrived, and wo found that salt pork was all "that the
market afforded." This, transformed into rashers, did well
enough for ua men ; but the landlord (a quiet, sententious young
fellow of about two-and-twenty), said that he would get some-
thing more delicate for the lady, and walked otT into the woods
with a long rifle. Wo shortly heard two ringing idiots, and back
he stalked with a couple of plump robins (not the little English
birds, but gentlemen as big as rook*), which he bad shot
cleanly with a bullet through the head, as they were preparing
for a cozy night upon the top of a huge pine-tree. These diekey-
birds were a great comfort to the internals of the lady, who for
the previous two hours had been making the woods ring with
solfeggi — which practice is a great assistance to the appetite.
We were too tired to sit up late, ami laid in a large stock of
•Jeep to prepare for the next day, starting bright and
early the next morning for our final destination. The country
now became wildly beautiful, and when wo arrived at the
•ummit of Goodyear's Hill (as a lofty descent of five miles in
length is termed), the sceno was sublime iu the extreme This
place, Goodyear's Bar, is at the junction of one of the forks of
the Yuba, and has been a great natural place of deposit for the
glittering ore. It has quite a large mining town, and every de-
scription of mining is carried on there Our descent of the
mountain was not only toilsome but |jerilons, aa a false step on
the part of your mule would have precipitated you down a pre-
cipice that seemed fathomless; but the sure-footed little animals
carefully picked their way and landed us safely at the bottom,
when, upon surveying the towering alps around" us, it seemed as
jf we had come down the side of a house, and were dci>o«iUd iu
the area.
{To ttr continued.)
THE COUNTRY AN~l7 MUSICIANS.
(From La I'ram* ittuicait.)
Thk emigration of artists is complete. Iu a few days more,
there wi 1 not be oue lea in Paris, except M. Auber, who alone
braves the heat of the Boulevards and theatres iu the dog-days.
The Conservatory gives its bantlings a holiday; the professors
bang their lyre at the head of their l*d, and are off. " O,
country ! meadows, valleys, mountains, streams, hill-aides, and
shepherd's pip**. I sah.u- yon ["-exclaims, with tender emotion,
the musician, who, during six months of cold, Ii.-ib, in Tain,
courted his rebellious fancy, or submitted to liHten, at all hours
of the day and night, to the gamut executed by his pupils.
O country!— with thy chirruping grasshoppers, murmuring
waters, warbling birds, sighing breezes, aud answering echoes -
witn thy leav.* trees, alleys, shepherds, goats. COWS, and every-
thing clue that lives in the open air, far from cities and their
\v ii l*aVl'me"ts -once more I salute you |"
"ill any one believe it: In the midst of this general
exclamation, one voice is silent ; among all the generals
■DO soldiers serving in the same armv, n single captain, or,
I should rather say, field-marshal, 'remains insensible to
Wie beauties of the country. It is M. Auber. M. AuIkt
l* a child of Paris Ik. not speak to him of flowers, save such
as blossom in the Passage de I'Opera ; bin verdure, his trees,
and his palaces, are those which MM. Sochan, Desplechin
Thierry, Oambon, etc., daub on the canvas scenes of the Oisira
and the Opera-Coraiqne, "Why should I travel?" asked
' „J °"e dsy» " u»ve 1 not iu the theatre everything Nature
can offer 7 From the ocean, with iU vessels tossed aliout bv the
winds, to the cascades of Switzerland ; from the palaces of
Ltoleonda and the Greek and Roman temples, to the simple huts
ot Brittany ami Normandy ; from kings and emperors, to the
angler with his rod ; and from the wildest mountaiu* to the
most smiling plains, I find everything at the Opera. Besides,
i ii ,'B .f^'bing I do not meet with in your woods, and that
w the little frisking feet, the shapes that twist about like spindles
ThXWv^
1, a^u
perliapi
fomluess of tl
countries, and incomparable castles, I should always miss an
orchestra aud voices to lend them animation. I am so accus-
tomed to all the whistling, singing, scraping noises of the opera,
that the country without au orchestral accompauiment would,
for me, resemble a churchyard. I am shown a mountain lighted
up by the rays of the sun, with processions of soldiers and
peasants ; it is very fine ! But when a gigantic finaU bursts
upon this effect of light, it is sublime ! Such is my creed." In
fact, M. Auber has never been beyond the Bois de Boulogne all
bis life,* or, if be has, by chance, wandered as far as Fontaine-
bleau or Coiupicgiie, he has thought, on again beholding the
Boulevards, that he had returned from a journey of a thousand
Such illusions should be res|iecled. Who knows 1 It
i antqiathy for travelling, and this doating
capital, that M. Auber is indebted for the fact
of having preserved the freshness of his melodic ideas, and the
springtime of his mind.
As for M. Meyerbeer, he cares neither for town nor country ;
he lives for music alone — his own, of course. He has taken a
liking to Spa, and if his sovereign conferred on him the right of
hanging or decorating the editors of La Franc* MuticaU, it is
from Spa that lie would date his decrees. It is to Spa that the
managers of the Opera and the Opera-Comiquc proceed regu-
larly, at the very least, once a year, on a pilgrimage, to entreat
the learned composer for a score.
Like M. Auber, Signor Rossini has a decided predilection for
the Boulevards. He does not, however, object to be under the
t»ll-.sjnvadmg trees ; as inspiration comes from God, and God is
everywhere, no could, if he pleased, write n chef-iT<rutrt with
equal facility in a garret, in a gilded saloon, or oti a grassy bank.
He has a charming little retreat at IV- . . where he receives his
friends. He is fond of long walks, accompanied by light, joyous
conversation. What astonishes me, is the sympathy of the
author of Ouil/aunie Tell for street organs ; what astonishes mo
still more, is his particularly liking those with damaged barrels,
playing, iu all sorts of keys, the overture to La Oaaa, the airs
from II ISarbwre, or any other of the inspirations of his immortal
genius.
Signor Verdi would give all the palaces of the world for a
cottage and ten feet of green sward. When he is compelled to
inhabit Paris, Milan, Naples, or Venice, to superintend the per-
formance of a new opera, there is no getting at him.
to him of Busseto, his dearly beloved village, and he wUl I
agreeably. It is the place which sheltered his infancy, and con-
sists of ten houses in the open plain, traversed by the high
road ; a little church, ornamented by an organ to which
he confided his firat melodies ; cultivated fields, without
shade, and, in the distance, the Po with its roaring
stream ; such is the rural residence of the author of 11
Truvatore. Once at Busseto, Signor Verdi is the most
amiable man in the world ; once there, he forgets music
From morning to evening, be follows tho little paths leading to
the cottages of his peasants. II speaks to one abont bis corn,
and to another about his vines. He is everywhere saluted with
profound res[M-ct. When the first shades of night descend on the
earth, choristers, echoing each other, are heard in the immense
plain ; they might be taken for orpheonitU organised in com-
panies; they are the peasants, vinedressers, and harvesters,
repeating the airs of Xabiicco, Ernmi, I Lombardi, Maebttk.
1 due Foscari, 11 Trovatore, Rigolello, Luita Miller, and
/ JfatnaJieri.t They are celebrating, in their fashion, their
lord and master. Their voices answer each other at
distances, and produce a delicious con
really happy on this vast estate, which he has
fruits of his genius. He loves the o|k.-u air, space, i
He would certainly die of ennui if he were deprived of his birds,
his trees, and his fields.
M. Halevy works incessantly ; he would love the beauties
of Nature, but ho has not time. He can scarcely go and
inhale, for a few hours, the fresh odour of the rosea, at
his villa at Marly. Amiable in disposition, and always
ready for work, he has scarcely finished one production f
Sig. Verdi is only
bas acquired by the
, space, and liberty.
• Whs M. Auber
id III
'-Ed.
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July 10, 1858.]
THE MUSICAL WORLD.
439
ho wants to commence another, not perceiving that he is
using up too quickly his strength, both physical and moral, by
such intellectual labour. Mr. Hal6vy works with the same
pleasure in town as in the country. He does not liko
and, if he smiles on the green trees, it is because be has
him numerous friends, who carry his mind back towards Paris,
by talking to him of present successes, past failures, and the
other common topics of the day. Fosse saed of an excellent dis-
position, particiiLirly impressionable, he surround* himself with
flowers. His saloons are a perfect garden, where tin- violet and
jasmine blossom all the year, so that, even at the Institute, he
can still fancy himself in his beautiful villa at Marly^
Nkw York,* 15/A June, 185b. — I will, to-day, give you a few
particulars concerning the operatic incubation, the offspring of
the combined efforts of Messieurs Lnruley, Wikoti', Ttarnum, and
the manager of our Academy of Music. The participation of
the last-named gentleman in the scheme was confined to his
letting his theatre for a very handsome profit. The direction of
the matter was in the hands of the other three. 1 havo not the
honour of knowing Mr. Luroley, and have, therefore, nothing to
say about him, except that he here bears the reputation of being a
very skilful impresario. A s to Messieurs Wikoff and B.T.Barouin,
it is a different matter. Mr. Wikoff was once actively connected
with the stage. It was he who brought Fanny Elsslcr to thu
United States. Since then be has entered into politics, without,
however, estranging himself from the lyrical and dramatic world.
You know, by reputation at least, the illustrious B. T. Bamum,
the inventor, longbefore Eugene Sue, of the man-fith, the keeper
of General Tom Thumb, and the speculator in the concerts of
Jenny Lind and J allien. A pure Yankee, profoundly acquainted
with the science of humbug, there is no kind of deception he has
not rendered successful. It was be who, for three years, exhi-
bited all over the Union an old ncgress, taken from Virginia,
and metamorphosed into Washington's nurse. It was not until
the poor old creature's death that tlic trick was discovered, and
that the public were convinced the pretended nurse of the father
of American independence was seven or eight yearn younger
than her supposed nursling. Hut the farce had been played, and
the clever charlatan laughed in his sleeve while counting his
dollars. I pass over several other very adroit tricks. Every-
thing, however, becomes used up in this world, and, perhaps, in
the United States more quickly than anywhere else. Finding
himself blown on, Barnum launched into a gigantic speculation
in clocks; but, alas! he must have soou perceived, when studying
the mechanism of his wares, Hint the hour of his downfall was
about to sound, and, one fine morning, after having been a
miUionnaire, he should awake a ruined man. Feeling that it
would be long before ho would again attempt anything in Ame-
rica, Barnum left for England, and nothing liad been heard of
him for some time, when, a few days since, he valiantly re-
red on the breach of publicity, holding in his hand tho
ir project of which we are about to speak.
Leeording to the programme, it was intended to import into
America, in the month of September next, the entire company
of Mr. Lumley, of Her Majesty's Theatre, London. The idea of
bringing not only the principal artists, but the Jantcutet, cho-
risters, instrumentalists, and tutii quant i, whose travelling
expenses the American public would have to defray, without in
the least requiring their services, struck me, at the very flint, as
a very rash one. Moreover, it was a bad uotion to wish to
increase the expense of an Italian opera by that of a ballet
company. The little pecuniary services of Ronzani's company,
in spite of the unusual talent or Madlle. Laiuoureux, and that of
the other artists, proves convincingly that thu New-Yorkers can
only appreciate dancing when seen in tho pantomimic feats of
the ltavel Family, and accompanied by performances on the
tight-rope.
But the most eccentric feature in the project was the notion
of making the American public pay Loudon prices (26 francs
ft* i centimes). Mr. Lumley s company may be very remarkable,
but were it still more remarkable than it is, I very much doubt
• Corresimndence of La ~
if it would over have worked a miracle of this description. Cheap
prices of admission are here a tine qud non of success. There is
a certain price beyond which no one will go. The itnpritarii
of Mario and Grisi, as well as of Rachel herself, were under the
necessity of conforming to this exigence, and, despite the high
opinion I entertain of Mr. Lumley'B company, I take the liberty
of believing it would not obtain higher prices than the eminent
artists I have named.
It may, perhaps, be objected that it is difficult to reconcile a
relatively moderate tariff of prices with the exorbitant salaries
given to certain singers. At first sight, the objection might
appear well founded, but we must, above all things, take into
consideration the internal arrangements of American theatres.
There are not, as in Europe, several classes of set seats, they
are all of a uniform price. It is a democratic custom,
established in America, and the theatres are built with a view
of accommodating as large a number of persons as possible.
This system certainlv leaves much to be desired, as far as the
case and comfort of the spectators are concerned, but this is not
the question. To mention only the Academy of Music, which is
more especially the subject of my remarks, I was present last
winter at certain jwrformancea of Let Hwjuenott, Robert le
Diable, and Don Giovanni, of which the receipts amounted to
more than 4,000 dollars, which, believe me, sir, left the
impritario a very resectable profit
In conclusion, the Wikoff, Barnum and Co 's programme
required, to carry it into execution, eight hundred subscribers,
at a hundred dollars for twenty representations. Not ten came
forward. Finding this was the case, the manager of the
Academy quietly left for Paris, for the purpose of forming a
company, which will not bo the less attractive because it is not
Mr. Lumloy's.
[And the first person he applied to was Madlle. Piccolomini I
Oh veracious correspondent ! You have not killed Mr. Lumley,
" Old Double" still pants.— En.]
Hupdbrsfield Choral Society. — At the annual meeting of
tho members of tho above society, on the 22nd alt., at the Crown
Tavern, Westgate, John Brooke, Esq., of Annitage Bridge, was
elected president in the room of H. r enton, Esq., deceased.
Lkkus Musical Festival — (/rem our ton ttpomieni). — This
great Yorkshire event is beginning to ass'ime nu importance
which will, in all probability, excite the interest oi musical people
throughout England. Tbo Festival committee, at the very
outset, decided that their arrangements should lie carried out by
a thorough-bred English musician; ami although it was not
their original intention to make t.he Festival exclusively £n ,lith,
yet circumstances have arisen, and practical arguments have
been adduced, to favour the idea ol excluding from
the festival all foreign principal vocalists. This is the
wish of many members of the committee ; but before
such a step is decided on, tho general committee are to
meet and discuss the whole question. Should they determine
to make their Festival English in every sense of the word, it
will, I am sure, give immense satisfaction to the profession and
all genuine musical people. Most persons are aware that the
enormous sums demanded and obtained in this country by
foreign vocalists, are ruinous to nearly all musical speculations,
and it is, therefore, high time the system, which is alike hurtful
to native talent and to art, should bo abolished. So far, tho
vocalists engaged are English, and include the names of t'lara
Novello, Miss Dolby, Sims Beeves, Mr. Weiss, Mrs. Suuderland.
Mrs. Weiss, Miss Palmer, Mr. Wilbye Cooper, Mr. Santloy, and
Mr. Winn. Miss Arabella Goddard's services are also secured,
so that we may look for some classical piano-music — rather a
novelty at a Festival. The Town Hall has been proved to be
excellently adapted for sound. A choral rehearsal was held
last week, and no doubt now remains on that point. [We fear
our correspondent is in the habit of building castles in tno air. —
Ed. Af. W.)
The Three Musical Festivals.— The Festival of the Three
Choirs takes place this year at Hereford, in the last week of
August. Birmingham Festival follows, and is succeeded by the
Leeds, all occurring within three weeks.
Digitized by Google
440
THE MUSICAL WORLD.
[July 10, 1858.
HER MAJESTY'S THEATRE. — Titiena, Alboni,
Kpexln, Ortolan!, end Piccolomtal ; BclletU, BenevantAno, VlalatU,
Ro«ai. Aldighieri. and Glugllni.
The following nnag*mn>tj> h»«« l«n made —
Tueaday, Jalr ISth.— Leat nigbt but one of (b« Subecription, LUCRE2L4
BORGIA, end Uirertieaemeut rrom LA HoXNAMBULA. with Madame RomU
(her laM eppeAranoe but oaifl) and Madllc. Poccbiui (h*r List appearance).
Thtiraday, Jol» 15th — SUiNOK OIUiiLlNI'8 BENEFIT. Ptret time tbb
vtm. LUCIA DI LAMMBRMOOR Klgardn, Slg. GlugUnl. Alter which, a
IJt.crtUMincct from LA SONNAMriri-A. In which Madnroo Rox-iti will mut«
her but appearance. PncaU-IVn OnttUI LA 8ERVA PA DRONA. rV-rpto«,
Madlla Piccvlominl To ooocludo with a eoene from Reaalni'e ITALIAN A IN
AI.OIKRI. Iftclu.Ung the celebrated trio "Papi^tac!" by dig. Oi.irfliiii, VUMU.
Saturday, July Kth.-Leat night of the Subecription, IL TROVATORE, The
Salional Anthem, id J DivurtiaKmcnt, lo whirl, M-dile. Buecbett. will m-mr.
■ to bo made at tho Box -office >t the Theatre. "
ROYAL PRINCESS'S THEATRE
UNDER THE MANAGEMENT OF Ma CHARLES KEAN.
ON Monday, and during the week, will be presented
Bhnkepere 'a piny of THE M KUCHA NT OP VENICE. Sh/lock. Mr. C. Keen;
Portia, Mn. C. Keen. Preceded by the uow Pare*, entitled DYING FOR LOVE.
ROYAL OLYMPIC THEATRE— On Saturday evening
next, July 10, the |«rfornitneo will comniouoe with A HANDSOMft
HUSBAND. After wlikeh OOINO TO THE BAD To conclude with THE
WANDERING MINSTREL, Oummeuoe at half-poet 7.
GREAT NATIONAL STANDARD THEATRE
SHORE DITCH. — Proprietor, Mr. John Doucuta.
SIR WILLIAM DON, BARONET. Such u thu excitement canard by the
extraonLlnary talent and occentrlelty of the Barooct'a performance, that the
Manager fevlM hlmeulf compelled, in compLanco with the pubtle wLah, moet
iinequtr-x«bly cx pirated, to renew the engagement for another week, pteitively
the teat In which this truly talented rcntleman can appear, an arrangement having
boeu completed with Mr Benjamin Wcbetrr, Madame Celrate, Mr. Paul Bedford,
ani MiM Mary Keelry. U.e principal arlt»t.» of the ADELFH1 COMPANY, who
amaaif, vz0* ^ dr- °f THE ottEE" DU3Ht*
BIRTH.
Od the 6th iut., lire. John Maofarren, of a daughter.
DJKATH.
W, A»ery BaihoeU. Eeq, (huabend of Calherine Hares), on the 2nd
THE MUSICAL WORLD.
LONDON, SATURDAY, July 10th, 18C8.
Satispvisq aa was in vpry many respects tho "Grand
Choral Demonstration," which took place on Friday week in
the central transept of the Crystal Palace, and excellent as
wan the performance on the whole, it gave birth to certain
strictures which cannot lie set aside aa altogether unfounded.
Every lover of sacred music, aa well as every well-wisher to
the Crystal Palace, and every real friend of the Sacred
Harmonic Society, looks forward with unfeigned interest to
the grand festival which is to take place next year in com-
lucmoration of the centenary of Handel's death. What was
called the Handel Festival last year (as the projectors
candidly stated from the first) wax, after nil, only it
preliminary to the great event which is exported in
an equal moaauro to surprise and delight tho musical
world of Europe sometime in .June, 1859.* Nothing but
Handel's music was jierforined, and aa no one expected, or
had a right to expect anything else, no one complained. Had
the music of any other comjioser been introduced, indeed,
there would have been good reason to condemn the whole
affair as a mere pretext for gaining money, with the
name of Handel as the tempting bait of the advertise-
ments. But, whatever the authorities of the Crystal
Palace might have felt disposed to venture for such
i " »** "P—!*? on *• 18»h of April, the day on which the
died ';
an object, the Sacred Harmonic Society was not
likely to lend itself to anything of the sort ; and
accordingly the programme of each of the three days' per-
formance was devoted to an oratorio by Handel, which was
given entire. The success passed expectation ; and though it
was pretty well known that this wax not intended as the
bond fide Handel Festival, so unprecedented was the effect,
and so wonderful the excitement, that it ia likely to be
remembered as " the Handel Festival " during the life-time
of the present generation. Honour accrued to every
one concerned in the celebration, and none who took part
in it would willingly havo been absent The "Great
Handel Festival" in short (or the preliminary to the
"Great Handel Festival"— it little matters which) was
not only the prominent incident of the musical season of
I.Vj", but an event which interested the community at large
to so unexampled an extent, that it occupies a conspicuous
place quand tntim among the memorabilia of that year.
We believe we may state with confidence that not one
person who assisted at any of the performances is likely to
forget the occasion during the term of his natural life. So
brilliant a triumph — for it was nothing short of a triumph of
music over apparently insurmountable obstacles — made people
altogether overlook "the fact that it was less directly an
act of homage to Handel tlutn a joint speculation of the
Crystal Palace Company and Sacred Harmonic Society.
Handel's music was executed so finely, and on so prodigal
a scale of magnificence, that, whether speculation or homage
was intended, the result could not be otherwise regarded
than as highly creditable. A more splendid demon-
stration had never been made ; and at the end of that
memorable day on which I trad in Egypt was performed,
people Went away saying " How wonderful 1", and " "We shall
never hear anything like it again !", almost in a breath.
Wonders, however, are not seemingly destined to cease in
this century of centuries ; and among other wonders tho
Pihecy of " The Great Handel Centenary Festival " is to be
lied. It will take place in 1859 at the Crystal Palace,
while the little town of Halle (in such close approximation with
the Jesuits of Leipsic and tho demagogues of Weimar) is strug-
gling to make some little demonstration in honour of the man
who, 1 73years ago, first saw the light of heaven within its walls.
The little town of Halle will break its bttle egg, while the big
Crystal Palace carvea its gigantic turkey. The Crystal
Palace,by the way, could contain within its windows the whole
population of Halle, without disturbing the statues, or de-
priving Herr Manns of a single square foot of his import-
ance. How many Englishmen, Handelians even to tho core,
are likely to make tho journey to Halle, when they can
witness so much more vast and imposing a ceremony at
Sydenham, remains to lie seen. Moreover, the Kings of
Prussia and Saxony have been so apathetic in the cause of
Handel's monument, that wo can't see why the English,
among whom Handel lived, wrote, died, was buried and
honoured, should concern themselves in the matter. If Sir G.
Smart and Professor Bennett, who (as co-representing music
in this country) sru at the head of the London-Halle Com-
mittee, or Mr. Henry Leslie, in whose person is concentrated
the very essence of our musical amateurship, can supply us with
cogent reasons, we will go to Halle, nevertheless, and leave
the Crystal Palace and the Sacred Harmonic Society, Mr.
Orove, Mr. Bowley and Mr. Costa, to get on as well as they
may without us ; but in default of such reasons, we shall
Btay at homo and be satisfied with what wc can obtain near
Forest Hill.
Digitized by Google
July 10, 1858.]
THE MUSICAL WORLD.
441
But to quit episode, abandon conjecture, and return to our
" strictures." We are to have tho real Haudel Festival in
1859, and this real Handel Festival is to surpass the great
event of 1*58, just as Sir William Don, the divert ing
comedian, exceeds General Tom Thumb in stature. That
this is no chimera may be gathered from the fact that
not only the London contingent of the liandel Festival
Chorus, under Mr. Costa, but the various provincial con-
tingent*, under local directors, have been kept in constant
Jractico ever since last autumn. We, in tho Metropolis,
ave had frequent occasion to hear tho rehearsals at Exeter
Hall, and frequent occasion to inquire why (being held with
a view to the Great Handel Festival) tiny should not have
been confined to Handel's music. Many surmises have
arisen, without any satisfactory conclusion. At length a
" Grand Choral Demonstration by the Great Handel Festival
Choir "was announced to take place in the Crystal Palace,
the object of which may be beat explained by the following
extracts from a circular issued by tho Crystal Palace Company
and the Committee of the Sacred Harmonic Society :-
"The performance of this day (July 2), list s peculiar importance in
reviving t he impressions of tho Handel Festival held iu the Crystal
Palace id the month of June, 18S7, and in iti anticipation of the Great
Handel Comawmoration, which is to take place next year."
" Hie present performance is intended, as a demonstration of tho
perfection to which, by the unwearied patience and attention of
Mr. Costa and his provincial coadjutors, during the past year, the
band and chorus, especially the latter, hare been brought. The same
vigilant superintendence and the same continuous rehearsals will be
kept up until the time of tho Groat Handel Festival, which is intended
to be far more ioipoeing'and complete in its effect thau cither this day's
perturmanoe or those oT 1857." '
A perusal of tie above extracts naturally led to the con-
clusion that the "Grand Choral Demonstration" would
consist of one of Handel's oratorios entire (by far the most
appropriate offering), or at least, of a selection from tho works
of Handel. Otherwise, what possible bearing oould it have
on the Handel Festival past, the Handel Festival to come—
or on Handel, ex cathedrA, anyhow ? Nothing of the kind,
however; the programme comprised three pieces by Handel
out of a selection of sixteen — the rest consisting of excerpta
from Tallis, Mozart, Rossi ui, Auber, Mendelssohn, and Costa,
with the " Old 100th " to begin, and the National Aathem
to finish.
Now this was surely not a programme to offer the
public in connection with the name of Handel, and more
especially in professed anticipation of a festival to commemo-
rate the 100th anniversary of Handel's death. It was just
such a programme as might have been presented by Mr.
Benedict's Vocal Association, Mr. Henry Leslie's Choir,
or the Bradford Festival Choral Society, on any ordinary
occasion. Wo have not a word to say against the execution,
nor a hint to prefer against the general conduct of the
Handel Festival scheme, which we devoutly hope may prove,
successful beyond expectation. But we wish to convey
our impression (doubtless tho impression of many besides
ourselves) that such a performance as that of Friday
week had nothing whatever to do with Handel, and should
not therefore have been put forth under the shadow of
hisname. Tho " Grand Choral Demonstration" has, we know,
been the subject of very general comment ; and it is with
sincere good will toward* all who are and have been officially
concerned in the Handel Festival, that wo venture on
this protest. Let us hopo that what we have said will be
understood as it was intended.
MR CHARLES HALLO'S CLASSICAL CONCERTS.
The last of Mr. Halle's " Classical Chamber-music " concerts,
on Thursday afternoon, in Willis's Rooms, attracted an enormous
audience, and brought the concert-season to an end with the
utmost brilliancy. The following was the programme :—
Grand Trio, in C minor, Op. 66 ... ... Mendelssohn.
.Sonata, pianoforte in U minor, Op. 34 (No. 2) Cleruenti.
Solo, violoncello, " L'Abbandono," melodia ... Piatti.
Sonata, pianoforte and violin, in G, Op. 96 ... licethoren.
Concerto for two pianofortes, with orchestral
accompaniments, in K flat ... ... Mozart.
Executants, Miss Arabella Goddard, M. Sainton, Sig. Piatti,
and Mr. C. Halle. Conductor of orchestra, M. Sainton.
The trio is one of Mr. Hallfi's " ehevaux ofe bataille," and with
two such coadjutors as M. Sainton and Sig. Piatti, it could not
fail to go well. The solo sonata of Clemeuti was the same
which was introduced at the first of the seven of matinfes held
by Mr. Halle at his own residence, and which created so vivid
an impression both on account of its own intrinsic worth as a
composition, and the performance of Mr. Halle. Sig. Piatti's
solo was the perfection of violoncello playing, whether as
regards tone, phrasing or execution. Beclhoven's sonata, one of
the most fanciful of his later works, was marvellously well given by
Mr. Halle' and M. Sainton. The highly-finished mechanism and
vigorous unaffected stylo of the admirable French violinist,
legitimate representative of tho school of Baillot, were the
theme of general admiration. With Mr. Halle he was well
matched, and the entemble was irreproachable.
The most interesting feature of the concert, for more reasons
than one, was Mozart's concerto for two pianofortes and
orchestra. Tho revival of this fine, fresh, and vigorous compo-
sition (" brave music," as poor Mendelssohn would have called
it) was creditable both to the research and to the spirit of Mr.
Halle, who deserved no less praise for the means he took to ensure
such a performance as was most likely to elicit tho admiration
which is its due. In selecting Miss Arabella Goddard for his
partner, Mr. Halle associated himself with the most accom-
plished pianist of tho country which he has adopted for his
residence. The execution was just what might have been
anticipated from such a union of talents, faultless in every
respect. Never was performance listened to from ono end to
the other with an interest more intense, or a gratification more
unqualified. The orchestra — excellent, though small, and ably
conducted by M Sainton— did full justice to the accompaniments,
while Hummcl's ingenious eadtnia* interpolated in tho last
movement, was played by Miss Goddard and Mr. Halle with
such extraordinary precision and accuracy that the two instru-
ments sounded like one. The applause at the conclusion of this
very exciting display was enthusiastic. Everybody was en-
chanted, and no wonder. This was the first time Miss Goddard
and Mr. Hallfi had ever performed together in public ; but after
such a triumph, it is not, we think, likely to be the last. There
is a double concerto of Dussek, for example.
ITkrk Ri.-mnstkix has returned to Moscow.
Siosob Jean Ciiuxfo, first trombone at the Theatre Royal,
Turin, gave a concert at the Hanover Rooms on Monday. Sig.
ChiamiM) played a solo on tho trombone with considerable effect.
The most attractive vocal pieces were the air, "Deh vieni,"
charmingly given by Mad. Liza Hay nee, and Venzano's valse,
brilliantly sung by Mad. Rudersdorff .
• Originally allotted to one performer, but re-arranged by Mr. Halle
lor taut particular occasion.
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412
THE MUSICAL WORLD.
[July 10, 1858
MR HENRY LESLIE'S CHOIR.
Tins Icntli and last concert of the season took place at
St. Martin's Hall on Friday evening in last week. The
programme was as follows : —
Past I. — Part-tong, "Oh! who will o'er the do^ns ro free" —
Fe»r*«ll. Madrigal, "Flow, O my te«r»"— J. Renet, a.D. 15tK>. Song
to May Morning — Henry I**lie. Madrigal, " In going to mv lonely
bod"— Edward™, a.d. lSfiO. Sonata for Pianoforte and Violoncello -
Part-song, " Orphrna with hi* lute" O. A. Mae-
Trio, " O happy fair"— Shield, a.u. 17R5. Part-song fur male
"When evening'* twilight" — Hatton. Part-song, "The
Golden age" — Bartholomew. Rule Britannia —Dr. Arne.
Paut II. — Madrigal, "Sweet honey-auckiug bee*" — Wilbye, a.d.
1601. Part-toug, "The dawn of day" — W. Ken. Romance, for
Violoncello, with pianoforte accompaniment •- Ilcnry Lc«lic Part-
song, " A»c Maria"— Ilcnry Smart. Glee, by the Choir, " The mighty
conqueror" - Webbe. Madrigal, "My bonny la.a .he amileth" -
Morloy, A.U. 1595. Part.«>ng, "The cloud-capt tower*" — Stevens.
Ood «ave the Queen- Bull.
That the last concert would prove unusually attractive, was
no more than what might have becu expected. There was,
however, an after attraction, of which the public were unaware.
Mr. Leslie had invited the Bradford Choir to hear his Choir, and
the Bradford choristers had offered to siug one or two of their
own pieces ill return. St. Martins Hall was crowded in evory
part, and hundreds were refused admission.
The instrumental pieces were found an agreeable relief.
Stemdale Bennett's fine sonata, magnificently played by Miss
Arabella Qoddard aud Siguor Piatti, was loudly applauded, and
the two were unanimously encored iu Mr. Hunry Leslie's
graceful romance. At the end of the Concert the Bradford
Choir, under the direction of their indefatigable conductor, Mr.
Jackson, sang several part-song's, which were received with
rapturous applause ; and then Miss Arabella Coddard, Mr.
Leslie's pianist fur the evening, performed " Home, sweet home,"
with variations (Wallace's).
This treat was all the more delightful since it was totally un-
When the young pianist made her appearanco in the
relcomed with thunders of applause, both
i the Bradford Choir and the members of Mr. Leslie's Choir ;
and at the end of her performance (the merits of which we need
not describe,) the hall rang for several seconds with hearty
cheers, such aB could only have proceeded from lungs freshened
and invigorated by the keen breezes that sweep over the Yorkshire
hills. " Three cheers," from the body of the hall, for the Brad-
ford Choir ; some part songs, the com|«)sitiou of Mr. Jackson, —
sung by his own men and women ; aud, lastly, "three" counter
" cheers" from the orchestra, for Mr. Leslie's Choir, brought this
exciting cvoning to a close in an exciting maimer.
Mr. Leslie and his singers will now, no doubt, not repose upon
their laurels, but earnestly pursue their studies until Autumn
leaves descend, when thoy will again ascend the platform iu the
great hall of Mr. Hullahs harmonious castle.
Madams Szahvady's Third Matinee was given on Friday,
the 25th ulL, at the Han over-square rooms. The following wan
the programme :
Sonata in O, pianoforte and yiolin, Madame Szarrady and lierr
Molique— Mozart. Suite de piece", No. 5— Sterndale Bennett ; Rondo,
Ltt Vmdangeuttt — F. Couperin (le grand) ; and Lied ohne Worte,
I'olltiliid, pianoforte, Mad. Siarvady — Mvniloltaohii. Grand trio, iu
B flat, op. »7, pianoforte, violin, aud violoncello, Madame Snrvady,
Herr Molique, and Signor Piatti— Beethoven, Sonata, in C *bsrp
minor, op. 27, pianoforte, Madame Snarvardv— Beethoven. Berceuse
—Chopin^ Air-Fcrgole..) ^and Capriccio,' La VnUU, pianoforte,,
The room was very full, and the performance* of the fair
Bohemian pianist were received throughout with the most flat-
tering demonstrations of approval. W0 have already announced
her departure for Paris.
Tar; —
Mad. Jinny Lind Uouhchmuu gave a party at Roeliampton, on
t"cir1au-'c'oul°(!' lf'r*tU"l, ''ae*n( now 'j^]^jVCTW>'dcd
HER MAJESTY'S THEATRE.
On Saturday, the Ilwfuenott was given, with the quarrel
scene from La Sonnombula. The Queen was again present,
Madlle. Titiena, doubtless, being the attraction, although, by
express desire, the scene from the ballet was performed between
the acta of the opera to afford Her Majesty an opportunity of
«e«-ing it. The illustrious lady and the royal party appeared
infinitely amused with the pleasantries, and enchanted with the
dancing'of Madlle. Pocchini and Mad. Bosati. The engagement
of both these eminent dantvte*, we are sorry to say, is drawing
to a close. On Tuesday, Madlle. Pocchini makes her last appear-
ance, aud on Saturday Mad. Rosati bids us fan-well. The
vacuum left will be filled up by Madlle. Boschetti, who created
so favourable an impression last year aud the year previously.
The subscription season, too, is approaching its termination,
Saturday being tho last night. A series of extra performances
at reduced prices is announced, and La Traviata will usher in
the supplementary season on the 20th.
On Thursday Don Giovanni was repeated, and appears to
have lost none of its attraction. The opera was followed by
the JirtrtiMement from /. i Sototambtila, Next season, we
think, Mr. Luinley would find it advantageous to give the
whole of this ballet.
To-night, La Zingara (The Bohemian <?»rQ, will be given,
with Alboni (and a new caeatina) as the Gipsy Queen, her
first appearance in the part. Such an addition to the cast will
greatly enhance the attraction.
ROYAL ITALIAN OPERA.
The second performance of Martha on Saturday, has not
altered our opinion of the music. That the opera is likely to
achieve a continuous run we are inclined to think ; but, when
we consider the excellence of the cast, the splendour and com-
pleteness of the getting up, and the novelty of hearing one of
our most popular national melodies sung by so great a f
artist as Madame Boeio, such a result is not surprising.
// Trovatore was givon on Monday evening for the second
"extra night." The house was not crowded, but the opera
obtained the usual success, thanks to the splendid acting and
singing of firisi and Mario, as Leonora and Manrico. Madame
Nantier Didido was Azueena; Sig. Graziani, Count "
Sig. Tagliafico, Ferrando.
" eueore" in * II bfden," a similar i
and Mario in the "Miserere,"
acclamations after " Di quella pir
Otdlo, 0O Tuesday night, was a still greater success than on
the previous Saturday. The house was one of the most crowded
aud brilliant of the season, and tho aristocratic audience seemed
really to appreciate Itossini's splendid music. The general per-
formance, too, was even better than on the first night — GrUi.
Tamberlik, and Bonconi sharing the honours among them.
The fact that (Hello is announced for repetition this evening U
significant of its genuine success.
Martha was given for the third time on Thursday. On Mon-
day. Fra Diavolo, for the third " extra night"
*na; Sig. Graziani, Count Luna, ami
Sig. Graziani obtained the stereotyped
similar compliment was paid to Grisi
irero," and Mario was recalled with
ITALIAN OPERA AT DRURY LANE.
The Litest novelties have been La Sonnambaia and Don Pat-
quak. In the former Madame Viardot appeared as Amina ; in
the latter, Madame Pcrsiaui as Norina. Madame Vianlot's
acting in Bellini's heroine is remarkable for its elaboration and
finish; while her singing is characterised by intense expression
and wonderful skill. Fow Anurias have been received with
greater enthusiasm in any theatre, and no success could
be more decided. Amina, it may be remembered, was
the part in which Madame Viardot made her first
appearance at the Royal Italian Opera. Signor Naodin
was better as Elvino than as the Duke in RigoUuo, or
Arturo in / Puriiani, but still not satisfying. We cannot say
much for Signor Mattioli's Rodolfo. Why should not Signor
Badiali have undertaken a part which Tamburini did not <
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July 10, 1858.]
THE MUSICAL WORLD.
443
and delighted us. It was not perfect, but the vocalisation was
occasionally so brilliant, the embellishments were bo ingenious,
and the character was so well conceived, Uiat we could
not help acknowledging the presence of a great artist,
Sig. Rovero— one of the old Coveut Garden company, in the
days before the fire — made his first appearance as Dou Pasqualc.
His humour is natural, but dry, and he rather enforces respect
for his talent than excites laughter. Signor Badiali'a Malatesta,
so far aa the singing was concerned, was admirable, Signor
Badiali, however, has little humour, and humour is what the
character chiefly requires. Signor Xaudin wing the music of
Ernesto obstreperously, and obtained an encore to match, in the
familiar serenade. Why did Ma<lame Fersiani introduce Signor
Alary'a polka from the Trc AVm, instead of Donizetti** own
Jinalef The change was not for the better.
MR. ELLA'S MUSICAL UNION.
(.fVosi the Alhcmium.)
Ox Tuesday, Mr. Ella's concerts, called " The Musical Union,''
came to an end ; — now is the time, therefore, to give our reason
for abstaining from all report of them during their course. The
Director prefaced his protptttH* for the pant Reason by declaring
" that no anonymous critics were admitted to his concerts," — a
somewhat startling statement, even had he not ph ased to follow
it by publishing a string of anonymous laudations which have
appeared during ten years past in the journals, and before this
a list of the names of the persons by whom he assumes the
paragraphs to have been written— everything like animadversion
of course being carefnlly suppressed. It is useless to reason
with one SO perversely ignorant of the rules regulating inter-
course, so resolute to make laws for himself. But, for prin-
ciple's sake, and in support of the honour of the press, it may Ixj as
Well to remind all concerned that such unauthorised parade of
names is equivalent to the behaviour of one who plucks off
another man's mask at a masquerade Wauso he conceives that
he knows the face beneath. Among gentlcmeu this has been
always considered a mortal offence. The person committing it,
however, is the only sufferer in social esteem. That Mr. Ella's
position in the world of art and of artists is not what it was,
every one is aware ; and his own consciousness of this will not
be mended by the fact that its decline has not come on him
without his being warned again and again. In the future
interests of Mr. Ella's private speculation — for his ''Musical
Union," stripped of all pretexts, is nothing else — he would have
done well to have been leas liberal of praise to himself, and more
considerate of the courtesies of common life.
Miss Kkjible's Morsino CojicKRT was given at Bridgwater
House, the residence of the Earl of Ellesmere, on Wednesday,
the 30th ult. Madame Viardot, Mr. Santley, aud Signor Mario
assisted the young lady as vocalists, and Mr. Charles Halle, Ilerr
Joachim, ana Sig. Piatti, aa instrumentalists. The concert com-
menced with a very fine ]>erforuianco of Beethoven's sonata in
O, op. 30, for pianoforte and violin, by Mr. Charles Hall6 and
Herr Joachim. Miss Kemble contributed two lUikr — " Trockuo
Blumen," by Schubert, and " Fruhlingslied," by Mendelssohn;
two songs from Shakespere, "Orpheus with his lute," by Miss
Gabriel, and Dr. Arne's "Where the bee sucks," besides joining
Sig. Mario and Mr. Santlev in two duets. Miss Kemhle's
nervousness has not yet left her, and is specially observable in
ber solos; but that she has the right stuff in her we have little
doubt. Mario sang the romance, " Angiol d'amore," from the
' litely. The other points of the concert were
Songo du Diable," two solos on the piano-
Mr. Charlw Halle, and Pacini's aria, " II soave bel
" by Madame Viardot—* splendid oxamplo of florid
vocalisation. Nor must we omit Mr. Patey. who has a good bass
voice, rind deserved the encore he obtained in an air by Haiity.
A duet by Duasek for harp and piano, capitally played by
Mr. II J.' Trust :.nd Miss Marian Prcscott, was one of the
instrumental features of the concert.
Mad. Bala's Ccxckrt.— This annual entertainment took place
in Willis's Booms, on the afternoon of the 30th ult., and waB
not only under distinguished patronage, but attended by at
rous and fashionable audience. The vocalists who
Mad. Sala were, Misses Louisa and Susan Pyne ; M
Weiss, F. Penny and Guerrabella ; Messrs. Charles Braham,
O. Perren. P. IVnnv, and Weiss. The instrumentalists were,
Miss Arabella Goddard, M. Sainton, and M. Paque. The con-
ductors were, M. Francesco Berger, Herr Wilhelm Ganz, and
Mr. Call cot t. The programme included a well-varied selection
from the works of Bossini, Donizetti, Mozart, Verdi, Pacini,
Schubert, Balfe, Wallace, and composers of less note, which
afforded the utmost satisfaction to the assembly. It is unneces-
sary to enter into detailed criticism of such well-known pieces,
sung by such well-known artists ; but as Mad. Guerrabella
may lie regarded almost in the light of a stranger, having pre-
viously, on one occasion only, sang before a I^indon audience,
we must make an exception in her favour, and state that she
e, that she sings
m acquisition to
possesses a remarkably fine M
with fluency, taste, and expression, and
the concert room. Madame Ouerraltella sang Pacini's air, " I
tuoi frequcnti palpiti," a national Bussiau song, and joined Mr.
G. Perron in the duet " Parigi, o Cara," from the Traxriata. Tho
great sensation of the Concert was mado bv Miss Arabella
Ooddard in Wallace's fantasia on " Bobin Adair," which was
receive,! with such plaudits and so pertinaciously rc-demanded,
that the fair artist, however averse, was fain obliged toacquiesce,
and accordingly returned to the piano and played " Home, sweet
home," with equal brilliancy ami grace. Between the parts Mr
Alliert Smith sung one of his pithiest comic songs. The room
(Willis's) was full, and tho audience departed highly gratified
with the ample treat provided for them by Mad. Sala.
II Knit S. hi.UMErF.lt gave a morning concert, on Monday, the
5lh inst., at Mrs. Chapman's residence, in Cleveland-square,
Ilyde-park. He was assisted by the Misses Mahlah Homer,
E. Gresham, Mdlle. Marie ile Villar, nerreu Bichard Deck, Adolf
Hempen, and M. Jules Lefort, as vocalists, aud Herr ('. Goffrie,
Messrs. A. Kettenus, Paque, Boleyn Beeves, G. Begoudi, tec,
as instrumentalists. The room* were crowded, and the audience
highly please. 1 Among the pieces most applauded were a
pianoforte solo, " Impromtu ; I'olka de la Bohtme," by the
betteficiain ; Lchmeyer's song "Ave Marie," and Haydn's
canzonet " My mother bid* me bind my hair," by Miss Emily
Gresham, t. •>). charmingly Nflg; Uui t, ntasia on the concertina
by Signor Begoudi, splendidly executed.
Miss Marian Prescott's Concert.— This concert, which took
place at St. Martin's. Hall on Monday evening, was given by the
Lyceum Operatic Company :— Miss lx>uisa Pyue, Miss Susan
Pyne. Miss Marian I'rescott, Mr. W. Harrison, Mr. Wallworth,
and Mr. Ferdiuand Glover. Miss Marian Prescott is a sister
of the Misses Pyne, and has no reason to be ashamed of her
patronymic. To tho above were added Miss Emily Gresham.
Miss Rebecca Isaacs, Messrs. Begaldi, Patev, and Edward
Murray, vocalists; and Mr. H. J. Trust (harp), Herr Emil Behm
(flute), and Mr. Viotti Collins (violin), instrumentalists. At the
last moment it was given out that Mr. W. Harrison had broken
a blood vessel aud could not sing, and Mr. Donald King was
substituted. The concert opened with a selection from the Bohe-
mian O'irf, conducted by Mr. Balfe. Tho band might have been
more perfect as tho oxecution of the overture at once declared,
but the audience were expectant rather than critical, and seemed
to wait impatiently for the vocal music. Miss Louisa Pyne was
encored in " I dreamt that I dwelt in marble halls," and
Mr. Donald King in " When other lips." Thore wore eight
pieces, in all, from tho opera, and the old familiar tunes were all
received with favour. The most acceptable performances in the
rest of the concert, were Mr.
groat brilliancy by V
wore a wreath of roses," sung with perfect
i most acceptable performances in the
Sir. Benedict's "Skylark," given with
Louisa Pyne; the old ballad, "She
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444
THE MUSICAL WORLD.
[July 10, 1858.
by Miss Emily Graham ; the Cur naval de Venue, on the violin,
by Mr. Viotti Collins, and the Irish ballad, "The meeting of
the waters," by Miss Rebecca Isaacs, which was complimented
with an encore. Mr. Edward Murray, too, deserves a word of
praise for his singing of Benedict's "Alma adorata." This
gentleman has a pleasing tenor voice, and h making steady
progress.
Bradford Festival Choral Sociirrr. — The meinliers of this
famous band of choristers gave a concert in St. James's Hall, on
Tuesday evening, June the 29th. It was their first appearance
in London, and we are sorry to say they were welcomed by no
very crowded assembly. The choir numbers 210 voices, and wo
need not remind those who have read our reports of the Brad*
ford Festivals how fine in quality and perfectly trained these
voices are. The selection was good, but might have been
better. The 'perform ances, however, were beyond all praise.
Finer choral singing we have rarely heard than in Ford's
part-song, "Since first I saw your face," Pearsall's madrigal,
" I saw lovely Phillia," and Benedict's part song, " The Wreath."
The choral pieces were varied by performances on the piano-
forte by Mr. Charles Hallo, and on the violin by Herr Joachim.
The Kreutser sonata of Beethoven, which employed the talents
of both these great artists, was a treat of the highest order.
Herr Joachim also played Beethoven's romanza for the violin
in O major, and Bach's saraband, bourre, and double ; Mr. Halls'
a selection from Mendelssohn's Lieder ohne Worte, Heller's
Wandtraundtn, No. 2, and Chopin's valse in A fiat, Op. 34.
Mr. J. Burton, too, the accompany ist to the choir, performed
(or attempted to perform) a fragment of Lon Patquale. Mr.
William Jackson, director of the choir, conducted.
Berwick.— Mr. George Wilson, of Dalkeith, gave a concert in
the new Corn Exchange on Wednesday evening— 1,500 persona
being present— perhaps the largest ever assembled in Berwick
at an in-door celebration. There was a large infusion of Scotch
music, a little operatic, and one "classical" piece — a part of
one of Haydn's quartets. With tho exception of Mr. Wilison
himself, and Mr. R. B. Stewart, none of the performers have
appeared in Berwick before. The concert commenced with an
overture composed by the late Mr. Dewar on Scottish airs. Mr.
Wilson followed with the song, " The rose of Tralee," in which
the effect was somewhat impaired at first by nervousness, but as
he advanced he gathered confidence, and finished amid a round
of applause. The duet, " The Syren and Friar," was Bung by Mrs.
Howard and Herr Kuchler. "Mrs. H.v.vard'a voice is of sweet and
pleasing quality ; she sings with great taste in all styles, and is
equally au/ait in English ballads, Verdi's tcencu, and Scotch songs.
The dnet was followed ,by a fantasia ou tho violin on Scottish
airs, the composition of Mr. W. Howard, and performed by him-
self. As a soloist Mr. Howard has no equal north of the Tweed.
The position ho has attained, as the leader of orchestral music
in Scotland, is one of responsibility, and affords many oppor-
tunities for the advancement of the national taste in music, which
we are confident he will use worthily. The fantasia was played
with infiuito skill ; the air "Auld Robin Gray," particularly,
was a model of tender expression. It mot with thunders of ap-
plause. Spohr'ssong, "The Huntsman," followed, which gave
an opportunity to Herr Kuchlor of showing his familinrity with
the vocal stylo of his country, and to M. Allard, who accom-
panied, of exhibiting his mastery over his own instrument, the
violoncello. Verdi's aria, from tho Traviata, "Ah! forse u lui,"
was rendered by Mrs. Howard with admirable effect, and
was encored. M. Allard executed a solo on Russian airs.
Mr. Wilson sang the " Death of Nelson," aud gave evident
satisfaction to the andience. A spirited Bet of waltzes, the
" Marguerite," the composition of Mr. noward, brought the
first part to a close. The second part commenced with Boieldicu's
overture to la Dame Mancltt. Herr Kuchler sang "Kitty
Tyrrel," and Mr. Harper gave a solo on the eornet-u-piaton, ou
airs from A'orma. Mrs. Howard also sang " My boy Tamtnie."
Mr. Howard then gavo the "Carnaval do Venise/ with variations
composed bv himself. A couple of songs by Mr. Wilson, and
a set of quadrilles by the band, brought tho concert to a close.—
Condemed from the Berwick Warder
CLOSE OF MONT BLANC.
After a run of two thousand nights — an accomplishment
unprecedented in tho history of entertainments — Mr. Albert
Smith's Mont Blanc was brought to a termination on Tuesday
evening. Our readers have been for some time made acquainted
with the fact of the intended close of Mont Blanc, ana of Mr.
Albert Smith's determination to proceed to China to collect
materials for a new entertainment. Whatever the public really
thought, doubtless Mr. Albert Smith thought that the public
thought the famous mountain of his predilection was growing
hoary in more senses than one— in short, that he was getting
antiquated, and that a more juvenile recreation would worthily
till his place. Not that the success of the "Mountain" had
abated in the least ; but that a little novelty might be welcome,
and that other localities would present oven more interest and
instruction than the big Swiss hdl with the white night-cap.
On Tuesday, then, the last performance was given, and, we
need hardly state, the Egyptian Hall was crowded to suffocation.
At tho end Mr. Albert Smith came forward, and, the uproarious
cheers with which he was received liaving subsided, delivered
with infinite unction the following address : —
" My Loans, Ladiss, akd Qkhtlkmek, — The period baring arrived,
when you require some relaxation from the in Of want labour and fatigue
you muat hu»e undergone during the laat scran years, from bearing ma
tell the same long story over sod orer again, I feel a few words are due
to you, from me, not only respecting the present but the future. The
t:mc liaa come— I can scarcely believe it — for me to say "Good-bye"
to Mont Blanc ; and there are so many old friends connected with it,
that to me, it it rather like taking leare of a neighbourhood than a
subject. For since you were first convened, in the spring of 1852,
the numeroua tourists I hare presented to you hare come to
be so entirely a part and parcel of my own existence that
at Isat I bare actually believed in them myself as realities. It
would not in the lesat astonish me, on my approaching voyage, to find
my old friend, Mrs. Seymour, at Sues, in great distress because the
transit camels had left Iter unfortunate black box behind at Cairo , or
to meat tho three Simmons Girls, still unmarried, going to India in
tho hopes of finding and cstching that confiding heart, believing in
tea, shirt-buttons, and partaken sorrows, whom they sought in vain io
Kngland— not simply nailing, but clenching, that sympathetic Nabob,
wit h whom they might shake the pagoda tree, and collecting its golden
fruit, retire to enjoy it in the Urcly circles of Leamington, Bath, aad
Chcltenhsm. One thing I have been told in confidence. Brown
started from Southampton last Sunday, in the Pen, and I shall meet
him at Malts, and so on ; snd I only received the information yes-
terday that my old friend Edwards had been appointed engineer to
H. M, steam-tug Cracker, on the Canton riTcr. So I may, perhaps,
once more come across him.
" LaDIXS ADD GSKTLIMIH OF TUB AREA AKD Oi T.I. I BY— I bare
directed supplies of fresh scats to be laid under you before we next
meet. Considering that the absolute comfort of the public is the rery
first thing tbst ought to he attended to, and the very last thing man-
agers think about in any resort intended for, and supported by, them,
without the compulsion of nn extra payment — that the miserable
system or extorting orery cxtrsetablc sixpence from tho audienee,by lbs
combined sgetieica of boxkoepers, box-book-keepers, bill-sellera, snd
saloon-keepers (in whose toils our managers sppear to be so hopalewlr
entangled), is a shsmeand a disgrace to our public places of amusement
— considering this, I shall still endeavour to improve your condition
and prospects j your condition, aa far as your individual ease is con-
cerned j your prospects, ss may rclsto to a clear, comfortable view of
everything that is going on. As heretofore, every reasonable . com-
plaint or suggestion will receive my best and readiest attention; snd
as heretofore, tho price of admission will include every possible
auxiliary to comfort snd accommodation that the room, or the
attendautt, can offer.
"My Lokds, Ladles, and tiBXTLBMKS,— Baring had the honour
of telling you the same story in this room two thousand times up to
this evening, I .will not rcnture to refer to it, for you must know it
almost as well as I do. But you mutt permit me to add, thai I sew
release you from your flattering attention until December. As near as
I can calculate, tearing Marseilles on Saturday, in the PaaAter, I shall
meet the Pera from Southampton, at Malts, to-morrow week, and go
on in her to Alexandria, which I shall reach on the 17tfa. Two
days is now enough for crossing the desert to 8uex. I start from
that place on the 19th j and, after six days of the most intense heat in
Digitized by Google
July 10, 1858.]
445
the world, in the tropic of Cancer, on the Bed Sen, I (hall arrire at
Aden on tbo 25th. On the 5th of Anguit I touch at Point de CJalle,
Ceylon ; and I ltopc to land at Hong Kong, and pan my Oral night in
China on the 24th. WhiUt thus able to fix those dates with such
oomparatiTC certainty, from the admirable management of the tcr»ice,
let me publicly cxpreat my warm lhanka to the Peninsular and Oriental
Company for the exceeding kindness, liberality, and attention they hare
already shown me."
'•Sly- return may be calculated inreraely, leaving China early in
October. It ia impossible to fix it precisely, bnt I hope to be with yon
all again, with the Cattle Show and the Pantomimes. And, until that
time, wishing you every possible enjoyment and happiness, that you
Boat deaire yourselves, I bid you, very gratefully, Good Bji"
That John Chinaman may sen. I back Albert Smith unscathed
and full of matter ii the anxious prayer of universal Loudon.
TWO GREAT ARTISTS — GROS AND WEBER
(From Le Guide Mutieal.)
Oxe morning, Baron Gros had just entered the Pantheon in
Paris, and was about to ascend the five hundred steps of scaf-
folding which led to the cupola, when ho heard a somewhat
lively discussion between the porter, whose task it was to keep
the door conducting into the interior of the works, and a
stranger, rather shabbily dressed. The latter was very eager to
obtain permission to visit the admirable but still unfinished
frescoes, of which all Paris was then talking. The doorkeeper
said he could not disobey his orders, and was all the more obsti-
nate in bis resistance, as the young German had got only a franc-
piece in his hand. Besides, the presence of Gros rendered it
impossible for the Cerberus to yield to the temptation of taking
oven this trifle. The painter listened for a few instants to the
dispute, for there was a naive and impassioned expression in the
stranger's solicitations and regret, while his manner, moreover,
possessed that kind of distinction which arises less from contact
with the world than from continued intimacy with elevated ideas
and intellectual labour.
"Let the gentleman go up," said the painter to the doorkeeper.
With these words, Gros himself ascended the staircase, as if
to show the stranger the road he had to take, and which,
although free from danger, could not fail to excite unusual
emotion. At every step, the visitor perceived, through some
hole in the open stairs, the immense height ho had to ascend,
and no one could have coldly looked down without affright at
the formidable depth he left beneath him, as he went up the
aerial staircase. Thanks to the practice he had in this kind of
exercise, Gros ascended rapidly, but the young man, on the con-
trary, who was following him, was obliged to stop several times,
in order not to bo overcome by giddiness. His respiration, too,
hod become painful and difficult, and it seemed, every instant,
as though his breath would altogether desert him. When, at
last, after several halts, he reached the platform which consti-
tuted the artist's studio, he was seized with a violent fit of
coughing, and his hps were wet witli blood.
Approaching his companion, Gros offered his services with an
amount of interest for which the stranger thanked him by a
silent gesture, for his difficulty of breathing was still too great
for him to speak. A silence of a few minnlcs suoceeded these
marks of kindness, and, during this period, the two men, who
were mutual strangers, looked at each other with cariosity.
In fact, if it was impossible to view with indifference, and
without recognising a great artist, the noble though rustic head
of Gros, his somewhat rough manners, and his walk, charac-
terised by an awkwardness full of pride, the melancholy and
suffering stamped on the stranger's features revealed a naturo
no lea* elevated. Hi; hair, which, contrary to the fashion of the
time, he wore long, encircled his |«de face, and harmonised
marvellously with his eyes, which were lighted up with feverish
brilliancy. Grief and sickness, too, bad prematurely furrowed
his high forehead, to which he kept continually carrying his
hand, with a gesture of pain.
The violent attack by which he had been so suddenly seized
passed off gradually, and he was enabled to examine the fresco
he had so eagerly desired to see. He began by contemplating it
in silence, and then warmly expressed the feeling of admiration
with which it inspired him. He did so, however, not like a man
who abandons himself to inconsiderate enthusiasm, but like ono
who judges art as an artist and intelligent connoisseur. The
painter enjoyed his incognito, and listened with sweet satisfaction
to the praises the stranger bestowed on his work.
" Germany has nothing to oppose to this masterpiece," said
the stranger, sighing, as, worn out with fatigue, he came and
seated himself near Gros.
"Germany possesses many other glorious things we envy
her ; Germany is the country of Spohr, and of Beethoven, a
young man who is the author of an opera, entitled II Crociato,
which is going to be played at the Theatre Italien."
" Giacomo Meyerbeer is one of my dearest friends ! Ah 1 if
Oiacomo were only in Paris !" the stranger murmured, with a
distressing sigh.
" Well, the Theatre de 1'OdGon (you can see its strangely
arranged roof from where we arc) owes its fortune to the most
eclobrated of your composers, namely, Weber."
" But, on tbo other hand, it has not made his," answered the
stranger, bitterly. " The music of Per FreitchuU has met with
hospitality in I ranee, but this has not been the case with its
composer. He has not been able to obtain, in spite of his
prayers (and you may judge what it cost him to formulate them),
the least share of the money gained by his work ! I doubt
very much whether he will oven obtain the benefit he solicits as
a charity from those he has enriched. Oh ! if Oiacomo Meyer-
beer were but here, Weber would never have appealed to these
speculators, who are indifferent to the prayer an artist ad-
dresses to them, with a face crimsoned with shame : Weber
would not have begged !"
*' Do you know Weber, then ?"
Yes, sir, I do ; I have known him from his infancy : I am
acquainted with each separate sorrow of his existence, which
is stamped with fatality I Of his existence of doubt and grief,
in which there have only been some few lightning-flashes of
glory, in order that the night might be more sombre and dis-
astrous. You yourself shall say whether I am not right, sir.
" Would not Carl Maria Weber, a poor boy, born in Holstein,
have been a hundred times more happy had he led a quiet life of
poverty like the rest of his family, instead of leaving his
mother — his dear, sainted mother, — and, when nine years old,
following to Vienna a Danish professor named Tleuschkel !
The latter was, at any rate, good and affectionate. He occa-
sionally manifested some little tenderness towards his pupil, but
the two were soon obliged to part. The boy was compelled to
leave him, and take his place among Michael Haydn s pupils !
Haydn was an austere master, without pity for infancy, without
forgiveness for a culprit of thirteen.
Threats and punishment always accompanied him, and were
not long in producing a feeling of such deep discouragement in
Weber, that, one evening, the poor boy ran away from Haydn's
house, and walked, alone, thu distance which separated him from
Munich. The fugitive's father wanted to send him back to
Vienna, but his mother interceded for him, and his musical edu-
cation was confided to Kalchcr and to Valesi, an Italian. How
he suffered ! Merciful neaven ! he who was so gentle, and who
cherished fail mother so devotedly ! Oh ! how he suffered at
being thus passed from hand to hand ! treated like some inani-
mate thing, finding everywhere knowledge but never a caress,
or a friendly hand to wipe away the tears wrung from him by
the difficulties which beset his studies, the anguish of discourage-
ment, and his doubts as to his vocation !
"In this manner he passed his childhood; in this manner he saw
his youth glide past. He then wrote a score to a most mediocre
libretto, entitled Die Macht der Liebe ((As Pover of Love). The
score was bad, and, when he read it to his masters, they shrugged
their shoulders and said ' You will never be even a passable
composer.' And yet, to become one, he had spent his boyhood
far away from his mother ! He had mournfully consumed his
youth in the midst of ceaseless labour ! You may fancy bis
despair ! You may fancy his tears and prostration of spirit !
For a whole year he did not produce one musical phrase, write
a single note, or open a single score.
(7b he continued.)
Digitized by Google
462
THE MUSICAL WORLD.
[July 17, 1858.
resided in Berlin, and is now Hof-Capellmctster in Stutttrardt.
In Hanover, bis active lovs of art revived as fresh as ever, and
Edward WenxeL, who still tills the place of court pianist, was
chosen for his master in pianoforte playing and com|)08ition
This highly educated musician, born on the £8lh July, ISO'>, at
Wnnstorf, diligentlv proceeded with all the subjects the i'rince
had previously studied, especially the principles of composition,
of which tho 1'rinco became fonder aud fonder every
day, and in which he exercised himself with great zeal.
During the first period of his studies, he composed and
edited principally works for the piano, though he wrote
generally n great deal, to exercise himself in form. In his
eighteenth year a partiality for vocal composition was pre-
dominantly manifested iu him, and he now produced a
long series of vocal works for one or more voices, of which a
great many havo been published, and afford most satisfactory
and speaking evidence of this noble prince'* great and rare
artistic zeal, talent, and varied n-sthetieal education. A small
work, Idetn und Bctrachlungen rider Musit, proves, more espe-
cially, his Majesty's varied, scientific, and resthetical studies,
which are, moreover, evident to every one who enjoys the favour
of talking with him on artistic subjects. His Majesty possesses,
also, the rare gift of being able to impart his knowledge in a
clear and beautiful manner. It is, further, very evident from
the little work we have mentioned, that he lays down as the
cardinal point of all arlittic efortt, the close connection of art
with religion, which, indeed, has beeu the principal aim of his
whole life, a high and noble theory, whorcin he has constantly
found both the purest artistic enjoyuieut as well as the most
complete consolation and greatest zest. Tho uninterrupted
and brilliant progress of all matters connected with art in
Hanover is a most convincing proof how indefatigable
the distinguished composer is to elevate and spread his
dearly-beloved art throughout his kingdom, and play the part
of a Mooceuas, as gracious as munificent, always mindful of
the sentiments bequeathed us by the great reformer, Dr. Martin
Luther, in praiao of Frau ifunica, aud her influence on the souls
of men."
REFLECTIONS ON Mti. SIMS REEVES, Sec
(From the Morning Advert iter.)
Entkrtainiko profound regard for Mr. Sims Reeves as a
musical declairaer, In which character ho originally achieveil
fame, no stiuted praise is duo to him in a more popular and
plesslng branch of the " divine art"— wo refer to his delivery
of the simple strains of ballad music. Our English tenor i's
equally captivating with the sphere-harmony of Handel as he
is with the lilt of the ballad. Though this was not so con-
spicuously the case last night as on some former occasions,
when the nrtist had committed to him the melodies of
Ireland and Scotland, yet his triumph was complete iu
Beethoven's famed song, "Adelaide;" a new ballad, "I have
not gold, I have not gems," by Mr. Peed •, and iu Hattou's
clever song, Thojbc, dearest." The new ballad is another ad-
dition to our musical ephemera — pretty and grammatical
enough. The composer, however, is indebted to the singer, who
gained for it an enthusiastic encore, an honour also coufcrred
on Mr. Hattou's composition. A word or two of eulogy is cer-
tainly dno to the Orchestral Choir, tho members of which
acquitted themselves with much obedience and oneness ; perhaps
they approached their subjects with too much familiarity, the
result, no doubt, of their chief practice being in their assembly
rooms among themselves."
[" Sphere harmony " is good ; " the lilt of the ballad " is good ;
"pretty and grammatical enough " is better ; " much obedience
and oneness" is still better ; " too much familiarity " is best of
all. There is nothing " perfunctory " in any of the above. On
the contrary, tho writer has "achieved the nimbus" — of
absurdity. — Ed.]
* For the msteriala of tbii biographical sketch we are indebted to
Herr K. Banii, of Minder. They were originally intended for Ostby's
-Lexicon, tho new edition of which has been itopt by the
Sinoimo Cosducivb to 1 1 halt ii. — It was the opinion of Dr
Rush that singing by young ladies, whom the customs of society
debar from many kinds of healthful exercise, should be culti-
vated, not only as an accomplishment, but as a means of
serving health. He particularly insists tliat vocal
never be neglected in the education of a young lady; and states,
that besides ita salutary operation in soothing the cares of
domestic life, it has a still more direct aud important effect. " I
here introduce a fact," says Dr. Rush, " which has been sub-
jected to mo by my profession; that is, the exercise of the
organs of the breast by singing, contributes to defend them very
much from those diseases to which the climate and other causes
expose thum. The Germans are seldom alHicted with consump-
tion, nor have I ever known more than one caso of spitting blood
amongst them. This, I believe, is in part occasioned Dy the
strength which their lungs acquire by exorcising them frequently
I in vocal music, which constitutes an essential branch of their
education." "Tho music-master of an academy," says Mr.
I (iarduer, " has furnished me with an observation Btill more in
I favour of this opinion. He informs ino that he has known
several instance* of persons strongly disposed to consumption,
restored to health by the exercise of the lungs iu singing. In
the new establishment of infant-schools for children of three or
I four years of age, everything is taught by the aid of song.
Their' little lessons, their recitations, their arithmetical count-
ings, are all i "
own voices \
the ]>ower <
beneficial to their health. Many instances have occurred of
weakly children, of two or three years of sge, who could scarcely
support themselves, having become robust and healthy by this
constant excrciso of tho lungs. These results are perfectly phi-
losophical. Singing tends to expand the chest, and thus increases
tho activity and powers of the vital organs.— ..Ww York Musical
World.
"FREDERICK DENT,
Chronometer, Watch, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
Sab ftUhrr of tht 6rtat deck fat the Jtjausrs of $Utliaoirnt,
61, Strand, and 34 and 35, Feral Exchange,
Ao connection *ith S3, Cocktpur-ttritt.
o lessons, tueir recitations, ineir aruuraeticai count-
11 chanted ; and as they feel the importance of their
s when joined together, they emulate each other in
• of vociferating. This exercise is found to be very
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WILLIAM CARTER, It Ui.lirsto-etrMt, two doom rrom St. PsuTn EC.
Ei«r»Ttnir» of the above flrve.
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July 10, 1858.]
447
MESSRS. DUNCAN DAVISON & CO.'S
LIST OJ
OPERAS FOR PIANOFORTE SOLO, in 8vo.
AUBKR
ADAM (Adolpb).
DONIZETTI
MEYERBEER .
».
d.
».
d.
" L» Mucttc it Portici " (Masnlucllo) ...
10
0
MEYERBEER
"Lot Huguenots"
.. "Lo Pre aax Cleroa" ...
•••
... 12
n
" I* Part da DiaUt "
8
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IIEUOLD ...
...
... 8
0
"Cberal de Bromte"
10
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ROSSINI ...
"OmllnumpTeH"
... 12
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" Lea Diamans do U Couronnc "
10
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HALEVY ...
" Lu Foe aux Rosea " ...
... 8
0
" Le Domino Noir "
8
o
"LaJuivo"
... 12
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'Mlavdee. on lc Secret"
"Giralda"
8
" Les Mous.met*irci dc la Rc
inc"
... 8
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s
0
"LeNahab"
... 10
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"La Favorite"
in
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"U Vald* Andorra" ...
... 8
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"Robert le Diablo"
12
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" Ln Reins dc Chyprc "
... 12
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V IV above Operas may also be obtained of Messrs. D. Davtso* A Co. for Voice
in 8m, from 8s. to 20s. each.
NEW VOCAL MUSIC.
and Piano, with Italian nnd Frcuch words,
"Sweet little Jenny,'' Ballad, by M. KNn«m«ou"(
"My Mary" ditto ' ditto
" Pa«|Uitn," co(n]K>wd for Ln Signora Fuinagalli
by G. A.
" Ilurrali for old England," in honour of Sir Colin CampWll, by
E. Nobth
"Oh! I would wend with thee," by the Hon. Mr». Gbevtilx ...
Ditto, as a duet for barytone and soprano, by ditto
"IJiuuid on me doiinorait," duet for Rnprano and tenor, by ditto
Ditto, at a »o!o, with guitar accompaniment, by ditto
(clarionet obbligato), by Metkbbeer
1
... 3
... 4
(MM <>
... 4
... 3
Thou art so fur, and yd ho mur," by A. Rku iuudt
•' Quick arise. Maiden mine," by J. D'essaim
'• When I >u young," bv E. Usees
«' When first you shono before me," by ditto
" To-morrow/' by C. J. ILl*OiTT
"Lord, liear us, we implore thee" (La Juive), in F, by Halety
" lie will be here" (" II va venir" (Ln Juive) in C, by ditto
••The old Willow Tree," Ballad, by S. J. Sr. Lkokb
" The Tronbadonr's Lament," by LonsA Yarsold
" Persevere, or, the Career of Havetock," by C. B BAIT AM
"THE VERY ANGELS WEEl', DEAR," by Mozabt
"HERE, HERE ON THE MOUNTAIN RECLINIM
Extra Violoncello or Violin part to the above
" NEAR TO THEE " (Neben Dir), with violoncello obbligato, by Mkybriikwi
"THE LORD'S PRAYER," for soprano, alto, tenor, and baas, and organ ad lib., in mom, by MKYHBliRmt ...
"THIS HOUSE TO LOVE IS H<>LY." Serenade (for 2 sopranos, 2 contraltos. 2 tenors, ami 2 lsv*.*), without accompaniment, l>y
MktKBuIBR ... ... ... ... ... ■•■ ... ... ... ... ... ... 4
Separate vocal part* to both the above ... ... ... ... ... ... ... ... ... each 0
•* Mournfully, sing mournfully " (Violin or Flute obbligato), by O. CHCvntu, 2
" Where is the sea " (Violoncello or Viola obbligato). by ditto 3
NEW PIANOFORTE MUSIC.
* BACHIANA"— No. 1, Fuga Scheruuido in A minor ,.. ^ ...
Ditto No. 2, lVclnde and Fuirue on the name " UACII " ...
Tire alxwc are select |aeces from the Pianoforte Work* of J. S. Bach, as played in public by Miss Arabella Goddard.
THREE LIEDER OHNE WORTE, by C. J. Hargitt
BELLA FIGLIA (transcription of tlie quartet from " Higoletto ") by JroJB Bhm&ac ...
QUANDO LE SEUE (Giuglini's popuUr romance from " I.uUa Miller"), by .lru:s Bkissac
PAULINE, Nocturne, by O. A. Osbobne ... ... ... ... ... ■•• ... ...
CAPRICE BOHEME, by R. I.indi.ey ...
LA JOYECSE, Souvenir des Champs Elvvw, by C. McKork.ei.l
SOUVENIR DE OLUCK (Armide) by C. McKo
SUNSET OLOW, Reverie, by E. AouttAK
ELISE, Komanoe. bv E. A. Gojnox
A SUMMER'S DAS', Romance, by E. MosiOT ...
CLARICE, Morceau de Concert, bv A. Fttxaoalli
PIANO DUET. — DON PASQUA"LE. introducing "
...
Com' e gentiL," by Ricabpo
d.
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0
0
0
0
0
0
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6
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6
6
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2 0
2 0
In the Prett.
" REPERTOIRE DES BOUFFES PARISIENS."
A Collection «f Quadrilles, WalUw, Polkas, Ac., arranged from the most ix.pular Operas performed at tin; theatre of the '
from tl
I 'r v <• in
moat )x>pular Operas
from 2s. to 3s,
"MART A."
D. Davisos and Co. beg to
nd Sox», who are the only
that the Copyright of U»c French and Italian version of MART A is di«p.*ed of to Me**rs. Boohky
of the version as performed at the ThAtro Italicn. Paris, and the Royal Italian Opera, London.
LONDON I
DUNCAN DAVISON AND CO.,
DEPOT GENERAL DE LA MAISON BRANDUS, DE PARIS.
244, REGENT STREET, CORNER OF LITTLE ARC YLJ .STREET.
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480
THE MUSICAL WORLD.
[July 24, 1858
MARTHA.
Boosey and Sons have purchased the Copyright of the French and Italian versions of Flotow's Opera "Martha;"
also of the new music lately added by the Composer. Tho only authentic edition of the Opera, as performed at
the Royal Italian Opera, is that published by them.
The foUoirinrj Songt are now ready:
IN ITALIAN.
POYERO LIONELLA, GEME, SOSPIRA, Betftativo, »ih»U. MIO LIONEL PERIItA, R
Sung by Sig. OrazUni.
IL TUO 8TRAL If EL LANCIAR, Arm
W APPARI TLTT AMOR, Cavatiua
CHI MI DIRA DI CUE 1L RKICCHIER, Qshom
QUI SOLA, VERGIN ROSA, Bonus in ¥ and D
LO SO BEN, Duet
CHE VIOL DIR CHIO, Quartette ...
Snng by Mud. Nantier
*.« ••• ...
Suwr by Sig. Mario.
• •• ••• ••■ MB
Sung by Sig. QmnaaL
Sung b, Mad. Uc*i<
... •*• ••• HI
Sung by Mad. Nantier DSdioe and Sig.
• •1
Sig. Mario.
... ...
IN ENGLISH.
DEAREST, DEAREST, THOU HAST LKFT ME (M'appari tutt'aroor)
THE COMPLETE OPERA
MAY BE HAD
WITH FRENCH OR ITALIAN WORDS,
Price ir,t. and 20». each.
A CHEAP EDITION FOR PIANOFORTE
13 NOW BEADY,
Price 5s,
Forming the Uth vol. of Bootey and Horn' Series.
*. d.
... 1 6
... X 0
... 1 0
... 2 6
... 1 0
... 3 0
...5 0
... 2 0
FOR THE PIANOFORTE.
GRAND PANTA1S1K, bv Madame Outy ...
POTPOURRI, bv Henrv Cramer
MARTHA QUADRILLE, by Henri Laurent
MAHTHA WALTZ, bv Henri I^nrcnt
" M* APPARRI," bv Nordmann
DUET ON MARTHA, by Oberthur...
■•a
...
Ml
HAaP AND PIANO.
MARIO'S SONG,
"M' APPARRI TUTT' AMOR."
IN ITALIAN (in D and F)
IN ENGLISH (" Dearest, thou hast left me")
FOR THE PIANOFORTE, by Nordmann
AH A VALSE, by Laurent
d.
4 0
4 0
price 1*. each.
„ 2#. „
„ 3*. „
„ 3*. „
BOOSEY and SONS' Musical Library, 24 and 28 Holies Street
Fublutiod by Jonx MoouEr, or _
by Rkd. li, John-rtrcct, Orcat
I. r
. No»K»l»«trct ; Joan Blirniaai., Ncwgntc-ttrMt^ iunar M
bxUod. 11 Buwau, publin ; and »u Ma.lc-.ellen
t; Au
or Balm?, In H e County of MMdleaci, al the office of llowr k 8o»a, IS, HoIlM-atreM. Sold alao
Warwick-Ian. ; Vicacan, n«ty w«|]-»treet ; Keith. Paowac. * Co , IS. Chcanaid* ; 0. Scitrvaji oik.
AT, 11 no
A^'outa for
]. l'.itawjf a Bona, Edinburgh ami OUagnw ;
Print.* by Wnuta Bra.cin
Saturday,
JulyM, ISM.
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for Postage, 20a. per annum-Payable in advance, by Cash or Post Office Order,
to BOOSEY & SONS, 28, Holies Street, Cavendish Square,
VOL. 36.— No. 31.
SATURDAY, JULY 31, 1858.
{
FBICE 4d.
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YOUNG MAN, who is engaged during the day, would
like to meal with employment from 7 till 10 in the evening. Be would
t.M Dooka^or make liimeelf uaeful In any cat
TO PIANOFORTE MAKERS AND MUSICSELLERS.
-An EXPERIENCED TUN EH and REGULATOR, who tliorougbly under-
principal a heavier .trlng can bo uwl, lb
or a purl i> obtained from a cottage
ad the frame on which thev are atrung i
■eruture equally and together, an l),»t tie
PIANOFORTES. — DEWRANCE'S COMPENSATING
PIANO may now be aaao at the depot, SI, Soho-equire. By the application
of thla principal a heavier .trlng emu be ueed. the reault of whlchla. that the Mil
- a Inatrnment, at lt,« aame time tha
expand and contract with change
le nocotaity for frequent timing, aa
tn the ordinary inetrument, T» entirely obviated. For fulneee and ruuudneaa of
tone, with e»tr»ordliia,ry power, of modulation, thee* luetrurociiU are imlie un-
equalled, at the eame lime the price ia no higher than that of au ordinary piano.
LAURENT'S ROYAL QUADRILLE BAND.— New
Office, at Mean*. Booaey and Bona, 24, Bollee-etrect, where full particular*
iyhe^?."
MR. AND MRS. GERMAN REED'S NEW ENTER-
TAIN ME NT — Lflsat Weefca. Iolroduoiioa of four Original Character, aixi
Hoaiga, cmry ©rooiug (except Buturdny ) at Eight. Saturday Afternoon at Throe.
Admlaoion. Is,, 2*v, and 3a. ; Stall* acenred without extra charge at the HoyaJ
Gallery of lUtutr-vtloo, 14, lUtgwit-ntroi*-, and at Cramer, rValc, and C^'a,
ST. JAMES'S HALL, Monday, August 2nd, Afternoon
at three, Evening at eight. The CHRISTY'S MINSTRELB LAST TWO
CONCERTS will take place at the St J am tee Hall on Monday, Auguat 2nd, 1S4U,
Morning at S ; Evening at 8-
" Joey and 8taUe(oumbcrc4 and itncUy reecrvad* Sa. ; Area, 5« ; Unrwerrod
2a ; Gallery, la To be obtained a; Mr. Mitchell'. Royal Library, 83. Old
' dole librariaa and mnaic warohouaea, the B*. Jamea'a Hall,
[id of Moaara. Keith and Prowae, Cbeepeide, City.
CHRISTY'S MINSTRELS
Brighton. 3rd to Tth Auguat : Baatltu.
Thefuture daUea wili^duly aunouncwL ,
-PROVINCIAL TOUR.
9th Auguat ; Reeding, loth Auguat.
oommuulcation. muat be addrceeevl
CRYSTAL PALACE— ROYAL ITALIAN OPERA
0O«C8RT8.-The LAST CONCERT of the Seaaon will take place on
The follow log artlata will alng on the above
MadUe. M
Slgnor R
Madame GBI8I.
Btsnor GRAZI AN1.
I Hgnor TAQLIAFICO,
BtJiKT NERi HAItALDI
Motunour ZKLGER,
Signer MARIO.
Doora open at 1 o'clock. Concert at 8 o'clock. — Admleaioo., r«.
cblhlrcn under 11 veox*. 3au fld.
had at the Cryatal Palace ; at 2,
Office of the Royal Italian Opera
CRYSTAL PALACE. — 5,000 CHILDREN OF THE
METROPOLITAN CHARITY SCHOOL*, aa at St. Panl'a. will ateg at the
CryeUI Pal* co, on Wedneaday next. Auguat tth Doora open at 12. Performance
a* 3. Admkenoo One Staling Reserved Mad. 3a. M. extra, which may be
.orati,-
EEDS MUSICAL FESTIVAL.
In aid of the Plrada of tha General Innrtrury at I,oe.!«. to be held In tho New
Tuwn Hall, on Tutaoay. WeDaaanar, Thursday, and Fbidat. September 7, 8.
!• and 10. IftM.
FnivoiraL Pcaroauaaita. — Madame Clara Novollo, Mrs. Sunderland, Madanvo
Weua, Miaa WMtbam, Mias He-era Walker, and Mdlie, Plecolomiul. Mala Dolby.
Mi" Palmer. Mlaa Freemen. Miaa CneJand, and Madamo A'bocJ. Mr. Sima
Recvoe, Mr. Inkcraall, Mr. Wilbye Cooper, and Sign or Giuglioi. Mr. Weiar,
Mr. Sanlley. Mr. Wluo, Mr HinchUBe, Signer Roeai. and Signer VielettL—
8ou> Ptaxara — Mlaa Arabella Ooddard. OaoaKurra — Mr.. Henry Btnart and
Mr. Wm. Spark. CfloaUL Ma she— Mr. R. 8 Hurt u.
CoHDDCToa— Profeaaor W. Bteniilalo Ilauiiett. Mua D~w., Catab.
Pence* or AtmiBaioir.— Serial Traafcrable Ticket*, admitting to the Four Morn-
ing and Ihree Erei
to entree to the Hall j
nd Ihree Evening Pcrtormancce. £t ta. ; Ditto ditu>. including the pnrilego
tree to the Hall at the luaugu.aUon by the Queen, £1 4a ; Single Ticket, for
McroingP.ifornvau«(froi.t aoita), aft la. ; Ditto d ill o(.ccond *eat>) ICav Set ;
le TVxote, for ™eh Evening Pe.formanc* <fro„t acuta) 16». ; Ditto . Itto
nd aaata) 7a. 6d. Separate franafcrablo TicVcta will be provided for each
i for ticket ■ holder, who make application on or before
" by ballot, which will take place au the IHh Auguat.
obtained per-
Tha chrdoe of i
Auguat 7th, will be t
Program mo. and I
■anally at the Co.ni
of application for aerial ticket* may be
lloomt, or by l«tt»r. adurcaaed V- Mr
" Or
Secretary to the Fea'.rval CommtUae, 7, fJitek-etreet, Park-row,
By order of tba Ooroodttee,
ROBERT 11 A UK
ALBEWSON SMITH,
J. N. DICKINSON.
, O reck -at root. Park-row, Leoda.
-Hon
ComailtUo Rooma,
CONTEXP 0 BABY P0BTEAIT8 107 IMTISICAL CELEBRITIES.
In courae of Publication,
Series of PHOTOGRAPHIC PORTRAITS of the
X X PRIN CIPAL MU8IC1ANH at the
R, F. Hamrs and Ou , Fhutographic Pu
of whom ail pcvrUculara can be obtiuued.
rcaeot day.
[uUvcra, 6l.i, New BanLi-atrcet, Lfudenj,
ONE OF THE FINB8T ORGANS IS THE WORLD
TO BE SOLD,
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL.
Apply to tho Publiahera of the "1
that he I. open to .euiMeenwuU
plcaatng. and Instructive
MUSICAL ENTERTA1NMEXT,
Da. Ma ax bega moat roapectndly
with hi. highly approved,
1)K. MARK AND HIS LITTLE MEN,
* of thirty InitnimeuiallaU. and a moot cftrt.ve Chouu. tho
whole terming a most eomitlete ar.d unique
JUVENILE ORCHESTRA,
coirroaco or
ge, who play
p-tlk.u ,- and
Little KrigUah. Irlaii. and Soatcb boya. from fire to aixtecn year* of a,
otieratie aoleotloua. aaloa, dueta, qiiartrta, quadiill' ... inarul.oe. and p.ji
finj •» ru.-a. riioru.v*. Ac . in a liinet ^rtucttvc manner, imd b> wb*ra be-glrea a
grasuitoiu general and muaioil ,«li:iiitton tn order to Uluatrate W. l.Vhly approve !
^.trm of ronatod education, and with whom he travela ib'^it, the coiintty tp
exou an iutereat for and help to eaUbliah muaical ujatltarloo. caDad Cou-
acivaUaraaof Mualc" for little children in every tov<i .ctt] ao4 vtUli^e of this
great empire n _ f'-n frS^ hM
All letter, addreaa. ple.»s*, Frro Trado Hill. Maachealer. i .
vnll p^roweU ^ "T
perform at the Rotunda In
50
oogle
482
THE MUSICAL WORLD.
[July 31, 1858.
COSTA.
BIRMINGHAM MUSICAL FESTIVAL,
IN AID OP THE FUNDS OF TIIE GENERAL HOSPITAL,
0» AVQCST Sltf. SEPTEMBER it), M. and 3rJ. 1*M.
l'UlSClk'Al. VOCAT-I.STS*
Mad. CLARA NOVELLO.
Mudllu. VICTOIKE BAL1\E,
lb*. CASTELLAN*,
Mad. ALBONI, Mix DOLBY,
Mad. VIARDOT GARCIA.
Mr. SIMS REEVES. I Siiriior RONCONI
Mr. MONTH M SMITH, Mr. WEISS,
S'urnor TAMBERL1K, Sipi-^ UKLLETTJ.
Mr. SIMPSON.
Mr. COSTA.
OUTLOT OF TUB rlBPOBllAlTCES.
Turaday Morning.
Wednesday Morning.
Thursday Morning.
Friday Morning.
... (A Sim Oratorio)
•>• ...
»M *.* ... VH,
MlSCE-LLAlflMCS CoSCBBT,
OHmM
...{Siegt of Corinth)
AC'S h GALATEA (With additional Accompanimenta
»>y Carta) .„ ...
OVERTURE (Der MM Us)
SELECTIONS FROM OPERAS, 4c.
OVERTURE (Pro. Diaroh)
Wednesday Evening-A MMCaixANBOCa
COHPBMI5G
(JupiUr)
(To ti4 Son. of Art)
... (OuiUanme TtU)
OPERA8, Ac,
(Zampa)
5— A MlftOBLLAVBOrl
ranraaa
THE SCOTCH SYMPHONY (in A minor)
.SE REN ATA (Compnaod for the occasion of the
Marriage of the Princcaa Royal)
OVERTURE (AlckVmitt) ...
SELECTIONS FROM OPERAS, Ac.
OVERTURE (Kuryantht)
JUDITH
LAUDA SION
SERVICE IN C
OVERTURE
HssBr Leslie.
nw.
Rossnrr.
HiXPfL.
Weuer.
AriiLE.
SYMPHONY .
CANTATA
OVERTURE
SELECTIONS
OVERTURE
MoZABT.
MlXDILMOU*.
KOSSLSI.
C0«Ti.
Srous.
... Wbbeb.
FRIDAY EVENING — A FULL DRESS BALL.
(with any other
HowiLl, SwrcU
Programme* of the Perfo rmnncc* raav him1
port ; or may obtain them on or after the 26th July
.formation do,ir«l), on application to Mr. Hexbt
to UM Commiitee, 34. UennettVliill, Birmingham.
J. F. LEDSAM.
DOOSEY'S 100 DANCES FOR THE VIOUN, U
ho e'ri°T ',he S^SSS* 9 *-""»• u ■ ,w S""** ""Unites for
rfTi»J T? ^ , \ .'y i? 61 •' 11 Troritniv K,r the Violin. In. ; La Trawatn
S^. « l^i,,u,> Th«"ft«»l« Olrl dm* 1. ; Marina ditto, la ; &
IfooHy and Sun*, HoLlm-rtxcct, Luadcu. '
M
Mario » xing «rr»
ARTHA, complete for Pianoforte, price 5s. in cloth.
_J™J ■*B>* wltkl Italian worda, ?>>. Mlrio'a fuvoiinta tang Irani "Mnithi"
.pparl tmt'amor" la, orin Engli,!,, (Dmrat. thou l,.,t loft me) ,"U* to.
CACHED SONGS FOR SUNDAY IIOUR.S.-N0. 1.
r-rL-IT""',1" lnT,v No- s— Hoar .oln a ihoneht i« bllai below. No. 3.— The child
S^TS.'SK-g? *^€od of ««"'"« '"»' tbo lowly. No. i -We are
- wh"M
i.
M i^'h >» . . ?--»»" wt ..I the nut. Billed by B. Andww
BOOSEY AND SONS* LIST OF NEW BONOS.—
"Phojbo, d««rt»i " comjiowd tor Blma Rcstci by J. L IT.-itton, *a, oj.
" Been* t of Home." by Bulfc, 2a. " The Arrow and tl»c SonK. " by Longfellow aud
Balfa, 2a "1 do not watch aluoe.'* by Mim aauo FricVer. 2a. "Speak gauUy."
by Wrighton (new ediliuo), -U "Tlioiu duar old tlinea," by Faithful («ua< by
Mi^a Dolby). 5«. ed. "I tti oion the bo»cb," by J. L. tlaUon, 2a. "T.ki lato"
by Pr»U*n (nutiK by Mim Viunintft. 2». "The moonlit anv" by Prnut, 2a
" When tHo moon ou the lake U bcanniig" (a popuUr Amerioui ba ladi by
Haa-ett. 2a •• Come into the Kard«n. M iu.l." by Uaifo (aixlh editlciA z* "Who
•hall bo fuirrat." by Frank Mori (third edition), !». ed. " Oood ulgbt. bab.Tod."
by Balfo (tlilrd nditio.iji S. «1. "Dio Noodle," by Xonlinanu. 5a. bl Any of
the »bo»o p..«t-trou. Uoowy and tVnu' llnucjl Libnu-r, Hollos strett.
CHEAP WORKS.
100 BALLADS FOR THE VIOLIN,
of the
of the
2.
100 DANCES FOR THE VIOLIN,
Trie* U.
100 OPERATIC AIBS FOR THE VIOLIN,
Price U.
(Ne«ly rMdy.)
4.
100 MELODIES FOR THE CONCERTINA,
Prict u.
100 SACRED MELODIES FOR THE
CONCERTINA,
Price 1». Go*.
Arntn^I hj Case.
C.
100 OPERATIC AIRS FOR THE FLUTE,
Price 1*. 0U
Arranged by PratUn.
ALSO
BOOSE Y'S
COMPLETE OPERAS FOR THE VIOLIN,
13 ar« PuUkhod
B008ET and 80N8, Musical Library, 23, Holles-sUMt,
Digitized by Google
July 31, 1858.]
THE MUSICAL WORLD.
483
REVIEW.
"I/Exo lira's CiriM job Comtosebs or IxsincuxyTiL Mr/sic."
This work, as elaborately projected as it is simple in arrange-
ment, has been drawn up in the form of a Table or Chart by
Mr. Engelke, whose long and intimate connection with bands
and orchestras of every description, and whose experience in
instrumental arrangements fully qualified him for the task.
The Guide offers to composers of every grade, as well as to
amateurs and students of composition or orchestration, a means
which will enable them, at once, to write for every instrument
at present used in orchestras and military bands. The table
indicates the relative position of the sounds or notes produced
by the different instruments as compared with the piano scale,
extending over seven octaves, and in a manner sufficiently
simple to bo understood by the youngest student of music. It
shows the compass of all these instruments according to the
latest improvements, and, with regard to the trombone, explains,
in an extra scale, the principle of the slide-divisions, which
enables the composer, in writing for the instrument, to consult
the advantage of the performer.
Tho value of this Guide may be inferred from the many
instances in which composers, . even of repute, have been
at a loss to write a melody for' E|> piccolo, flauto terzio, and
ic clarinets. Others again, who attempt writing for horns
and trumpets, completely fail, merely from want of knowing tho
relative position of those instruments with regard to the general
scale and to each other.
To all such, and in fact to every one who wishes to compose
or arrange for small or large bands, Mr. Engelko's Guide acta
as a dictionary. The general scale at the head of the table beiog
understood by everybody, the corresponding columns supply the
desired knowledge.
It is this peculiarity, and the facility it affords to composers
to write for every instrument with effect, which the Guide
has a just right to claim. Its arrangement is altogether bo
inartificial and clearly defined, that it is quite as valuable
to musical composers as a well-ordered map of London must be
ORGAN OF ST. JOHN'S, HACKNEY.
To tie SdUor of the Mtuical World.
Sir,— The Musical World of the 10th ult presents a letter,
signed "Diapason," referring to an article on the Tenison's
Chapel Organ, which you had printed the previous week— my
communication. The part of * Diapason's" letter which ques-
tions tho identity of the name of Snetzler with any portion of
the existing organ of St. John's, Hackney, I propoBo here to
reply to, by furnishing you with the history of that instrument,
as I have got it in my collection, and then stating the source
whenco the information was derived. And if you think the
matter possesses sufficient of public interest to be worth a place
in your interesting periodical, perhaps you will print it when
you can spare a column for such purpose.
"sr. joint's, hacshet.
" This organ was buiit by Sneuler, i.D. 1758, for the old Hackney
church, where it originally stood. It was then of thrro rows of keya ;
Hit great and choir organs being on the O short octave principle, and
the swell down to fiddle G, the box opening on the sliding sash plan.
When the now church waa finished the organ was taken down and
recnoTcd thither, and the instrument underwent an extensive repair by
Mr. England in 171M5. The compass of the instrument was then extended
by making it long octaves, and another open diapason was added to tbc
£rcat organ, with the addition of a tierce, and alto new tound-boards
i the great and choral organs, and an entire remodelling of tho whole
in-trumenf, with a case of mahogany. This repair, which was executed
in on excellent and workmanlike manner, placed the instrument on a
letel with tie best then in London. When the church was beautified
in 1828, the organ underwent another extensive repair and improve,
ment, consisting of the addition of s set of open diapason pedal pipes, from
Utl to COC, thirteen notes i a dulcesno to tho choir in the pUcc of
the vox-bumaine, which latter had become imperfect ; two coupler
, to unite ths swell and choir organs to the gnat organ j three
I organ; the i
G to C in the tenor, with a Venetian swelling front, a new pair of
horizontal bellows, and an octare-and-balf of German pedals.
This is still a very fine organ, and bss the advantage of standing in
a good situation, and in a church favourable to sound; and those
connoisseurs who are capable of judging and appreciating the beauty of
Snettler'a voicing, will perceive at once that the original quality it still
preserved. The quality of tone of the instrument is great throughout.
The voicing of tho open diapason, by England, it excellent both in
quality and quantity. The old open diapason by Snctiler is also of
superior tone. The stopped diapason of the great organ and swell are
of metal from middle C, and in three tunes are very pure ; the flute,
also, in tho choir organ, is of metal and equally good i and the reed
atopi throughout the instrument are still spouted, crisp, and rich, and
all mix well together, giving a grandeur and majesty of sound much
superior to many modem instruments of greater msgnitude. Its
contents are as follows :—
QRKAT OHOAN.
Ooaraaa— 00 to F ijt
Alt.
I. Open fMapiXin.
5. Ojitn Dtartiaon.
3. Siop DiipMOj.
4. Principal.
S Twelfth
6. FirtocntU.
7. Tierce.
8. rVcaqu ultra.
9 Mixture.
ID. Trum|*t.
11. Clarion.
IS. M noted Cornets to C
CUOin OKOAS.
Cohfasb-OO to P IV
Alt.
1. Slirnwl DUr&aen.
». Hut*,
3. Principal.
«. Twelfth.
«: DtsMM*.
SWELL ORGAN.
Ceanss- Twos 0 to F
im Alt.
1 Open Dl
S. Stepped
S. PriiidiMl-
4. Comers— 3
s Trumpet.
6. Hauttx t.
7. Fifteenth.
cc to oca
The foregoing history was drawn from a critique on the in-
strument, which appeared, I think, in the ChrUtian JUmembraneer
about 1 years ago. And my belief in the correctness of the
statements then made receives a sort of confirmation in the
circumstance of Messrs. Rimbault and Hopkins having adapted
the same article, appending it to their synopsis of the instrument
in their admirable book of 1 W55. And I think the inference to
be drawn from that article— a* regards) the reeds — the matter
now more particularly in question — is, that the original one* by
Snetzler were not removed from the instrument when Mr. England
executed his work on it in 1796, and therefore that the present
reeds are the same.
St. John's, Hackney, is the mother-church of a great surbnrbao
pariah of the same namo lying northward of tho City. It stands)
in a well-stocked burial-ground of some five acres in extent, on
the right-hand aide of the more easterly of the two main roads
that diverge from Shoreditch, and about two miles from tho
City boundary. It waa built between the years 1701 and 1797, at
a cost of .£28,000, replacing a large irregular Oothie structure of
fourteenth century work, partly rebuilt in the sixteenth ; the
old tower, still left standing at some three hundred yards to the
south-west, being of tho former date. Iu history, the church
is known only by the name of St. Augustine , the dedication
having been changed to that of St. John at the consecration of
the new building July 19, 1797. This is a large substantial
brick edifice, cruciform in plan, with steeple rising out at its
northern end, built of stone, and presenting a somewhat singular
finial. Interiorly the edifice is nearly equilateral ; has no
columns (except those that carry the galleries) tho roof being
of a single span, and presents little of the ecclesiastical apjiear-
nnce — it is the huge meeting-houso rather than the church—
affording a fair example on a large scale of the style of ehurob-
buildiug that distinguishes tho period of the reign of George III.
However, it is pre-eminent as possessing the capacity of accom-
modating tho largest congregation fit is said about 2,700) of any
church in London, with the unusual advantage too, of all being
enabled to see and distinctly hear the preacher. And it is,
doubtless, tho effect occasioned by the absence of
arches, secondary walls, Ac, that gives to this organ the \
" favourable to sound," noticed by the writer of the
quoted article.
Tho organ stands in the western gallery ; the design of the <
presents a front of four towers of gilt diapasons, the two to the
sides receding considerably; there were formerly projecting
on cither side, but they were removed some years ago, In
Digitized by Google
484
THE MUSICAL WORLD.
[July 31, 1858.
order to increaso the accommodation ill the gallery for school
children, an alteration not advantageous to the appearance of
the organ, since its width now looks diminutive in comparison
with the vastness of the proportions of the church iteelf.
The organ which Snotzlers instrument replaced in St.
Augustine r» Church, Hackney, in 1758, was erected there in 1SG3
by Dallans. It was of two rows of keys — with great organ
nino stops, in the choir four, fine oak case and diapered pipes,
the diapering of the pipes is recorded to have coat £78 12a. (id.,
a sum perhaps, equal to £200 of the present day. The organ is
now at Newport Pagnell, Bucks.
I am, Sir, your very obedient Servant, u
55, Regm Strut. F. C.
THE LEEDS ORGAN.
Ths following description of the contents of the Great Organ,
for the New Town Hall, Leeds, built by Messrs. Gray and
Davison, and designed br Mr. Henry Smart and Mr. William
Spark, will be read with interest by all who interest themselves
in organ matters.
This fine instrument possesses four manual claviers— com-
pass of each from CC to C in altissimo— 61 notes ; and a pedal
clavier extending from CCC to F, or a compass of 30 notes.
The Orchestral Solo Organ (uppermost clavier) contains the
following stops : —
by rim on soinn> boards.
1. Bourdon (wood) ... 8 feet.
2. Concert Flute Har-
monic(to fiddleG) 6 „
3. PioooloHarmonio(to
tenor C
4. Ottavtoe Harmonic
6. Clarinet
6. Oboe (to tenor C)
7. Cor. AngUi* and
Bassoon (free reed)
8. Tromho
8. Opbioleide
The Swell
stops : —
1. Bourdon (wood)
2. Open Diapason
4>
%
8
8
8
8
8
BT HXCUJ.SICAL COSLD1XAT10N.
10. Clarinet and Flute in octaves.
11. Oboe and Flute „
12. Clarinet and Bassoon „
18.
14. Oboe
15. "Flute, Clarinet, and Bassoon
in double octave*.
16. Flute, Oboe, and Ku»»oon to
clavier) contains the following
16 feet.
8
—wood
Ditto ditto,
(wood) ...
Keraulophon
tenor C)
Harmonic Flute (to
«ddlo O):
Octave
Gemshorn
9. Wood Flute
10. Twelfth ...
11. Fifteenth ...
12. Piccolo (wood)
13. Seaqoialtra
14. Mixture „,
15. Contra Fagotto
16. Trumpet ...
17. Cornopean
18. Oboe
19. Vox Humans
20. Clarion ...
4 feet.
»
2 n
2 „
6 ranks.
a „
16 fect.
8 ..
8 „
8 „
8
- „
two com-
qualities,
following
1.' Double Diapason 6. Wsld Flute ... 4 fect.
(open metal) ... 16 feet. 7. Twelfth 3 „
8. Open Diapason ... 8 „ 8. Fifteenth 2 „
3. Spiu Gamba ... 8 „ 9. Quint Mixture ... 5 ranks.
4. Stopped Diapason 10. Tierce Mixture ... R „
(wood) 8 „ 11. Trumpet § feet.
5. Octave (metal) ... 4 „ 12. Clarion 4 „
The contents of the " back great organ" arc as follows: —
The Great Organ (third clavier) contains, in reality,
plete and distinct organs, of different powers and
One, called the "front great organ," contains the
13. Bourdon— Wood...
14. FluteaFatUlon ...
16. Viola
16. Harmonic Fluto (to
Fiddle O, conti-
to open
pipes) ..
18. OctaTo
16 fect.
8
8 „
8
6
19. Harmonic Flute (to
Gamut O), small
open 4 feet.
20. Harmonic Flute ... 2 „
21. Cymbal 6 ranks.
22. Furniture 2 „
23. Contra Trombone... 16 feet.
24. Trombone 8 „
25. Harmonic Trumpet 8 „
26. Tenor Trombone ... 4 n
In the Choir Organ (lowermost clavier), are the following
stops: —
1. Sub-dulciana (open
metal to Tenor C
and stopped wood
to the bottom) ... 16 fect.
2. Open Diapason ... 8 „
3. Stopped Diapason,
treble to Tenor C
(metal) 8 „
4. Stopped Diapason,
Bass (wood)
5. Sslcional 8 ,,
6. Viol da Oamba (to
Tenor C)
The Pedal Organ
1.
2. Contrs
(wood) ...
3. Open Diapason
(metal) 16
4. Open Diapason
(wood) 16
6. Violon (wood) ... 16
6. Bourdon (wood) ... 18
7. Quint (open wood) 12
The " Coupling Stops" are as follows :—
7. Octave 4 feet.
8. SuabeFlute,toTanor
C (wood) ... 4 „
9. Harmonic Fluto (to
Tenor C) ... 4 „
10. Twelfth 3 „
1L Fifteenth 2 „
12. Ottarina (wood) ... 2 „
13. Dulciana mixture
14. Euphone (free reed) 16 feet.
16, Trumpet ... ... 8
16. Clarion
tho following stops:—
8. Octave 8 feet.
9. Stopped Flute ... 8 „
10. Twelfth 8 „
11. Fifteenth 4 „
12. Mixture S ranks.
13. Contra Bombard
(free reed) ... 32 feet.
14. Bombard 18 „
15. Fagotto (free reed) 16 „
16. Clarion 8 „
to Great, Sub
7. Swell Organ
Octave.
8. Swell Organ to Choir Clavier.
9. Choir Organ to Great, Unison.
10. Swoll Organ to Pedal Clavier.
11. Choir Organ to ditto.
12. Great Organ to ditto.
13. Full Pedal Organ,
to Pedals.
14. Solo
e
Composition Pedals.
1. Solo Organ to Great Clavier.
2. Great to Solo.
3. Solo Organ Super Octaro (on
it« own Clavier).
4. Solo Organ Sub Octave (on its
own Clavier).
5. Swell Organ to Great
Octare.
6. Swoll Organ to Great
Unison.
There are, also, eleven pedals " for
mechanical adjustment," aranged as follov
1. Swell Pedal.
2. Swell Pedal for Solo Organ.
3. Tremulant Pedal 8.
4. Pedal admitting wind to the 9.,
bock Great Organ. [ 10.
5. Pedal coupling the back Greet , 11. Diminuendo FedaL
Organ to Swell Clarier.
As this large instrument contains many peculiarities not at
once to be perceived from a mere inspection of its contents as
above recited, we point out a few of the more remarkable. First
in order, as, perhaps, in novelty, cornea the Solo-Organ. No stop
belonging to this clavier has any reference to those massive or
"full' effects, which properly are the province of the
portions of the instrument. Every atop (except the " Bow
to be used with the reeds), is simply what it pretends to
be— a toio Hop— having the nearest attainable relation with
its orchestral prototype. Further to increase the practical
usefulness of this relation, all the stops (except the Bourdon
aforesaid) are placed horizontally — a position which, by
careful experiment, has been found to add between twenty
and thirty per cent, to their ordinary intensity of tone,
and to meet this unusual position the sound-boards are placed
vertically instead of horizontally. Furthermore, the first eight
stops in the list are supplied with a high pressure of wind (six
inches) for the brass and tenor, and seven inches for the middle
and treble portions of their compass), and are enclosed in two
swell-boxes, having Venetian shutters above, below, and in front.
The ninth stop (ophicleide) stands, or rather lies, below the
rest of the solo-organ, and is supplied with twelve-inches
air pressure throughout. The great peculiarity of this
solo-organ, however, is found in the stops numbered from
10 to 16, which, by means of a number of mechanical contrivances
(simple in themselves, but almost impossible to describe clearly
without the aid of diagrams), enable the performer to play oar-
Digitized by Google
July 31, 1858.]
THE MUSICAL WORLD.
tain of the stops in octaves to each other, while merely touching
single notes on the clavier. Thus, for example, on drawing the
stop (No. l.'i) labelled "flute, clarinet, and bassoon, in double
octaves," and pressing down the middle C of the solo clavier
the result will be, the tenor C of tho Cor Anglait* the
middle C of tho Clarinet, and C above the Meet Flute
Harmonique, sounding simultaneously. Similarly, any of the
stops numbered from 10 to 16 will place nt the performer's
disposal the combinations with which they are labelled. The
operation of these stop for "mechanical combination," it will
be perceived, is totally different to that of any " movement"
whereby ordinary stops of different pitch are drawn together.
For example, the effect produced by combining the 4-feet flute
and the 4-feet cremona of an ordinary choir-organ, will no more
resemble that resulting from the stop No. 10 (which places the
middle C of the 8-feet clarinet, and tho C above of the 8-feet
flute on the same key of the clavier), than will the effect of
the founding octave resulting from tho combination of an
open diapason and principal, compare with that of an octave
actually played on tho open diapason alone. By the.se
contrivances, then, a very acurate imitation of almost all the or-
dinary wind-combinations of an orchestra is placed easily within
grasp of one of the performer's hands, leaving tho other free
for any of these purposes of florid accompaniment in which
tho modern race of players are ao proficient. By the use, again,
of Nob. 3 and 4 of the " coupling stops," a different class of
effects in presented. A melody, for example, played unisonously
on the " Ophicleide," can be accompanied in the octave above
and below it by any or all of tho other Btops of the Solo-Organ,
and this merely by playing single notes on the clavier. On the
whole, it may be said that this Solo Organ more nearly fulfils
the objects implied in its title than any yet constructed.
In the Great Organ there are some very noteworthy features
of arrangement. The idea of dividing the Great Organ into two
distinct masses is certainly not altogether novel; a similar dis-
tribution has been at least hinted at in two or three continental
In tho present instance, however, the principle
developed, and the various resources it affords have
made available to a far greater extent than ap)>ears to
have been contemplated in any other cose. The twelve stops
placed on the "front" sound-boards aro calculated to form a
comparatively light, though powerful and brilliant organ,
while the remaining fourteen stops placed on the "back"
sound-boards, comprising some of the strongest members
of the fine-work — the flute A pnvillon,t the viola, and the
harmonic series of 8, 4, and 2 feet pilch, together with the quint,
the large mixtures, and the heavy reeds, will form a " band "
entirely different to the foregoing in amount and quality of
force. There is a pedal, numbered " 4 " in the list of pedals" for
" mechanical adjustment,'' which operates on stop-valves placed
in the wind-trunks of the "back" sound-boards, or, in other
words, discharges the functions of what the Dntch ond German
builders call a " wind-coupler." So long as this pedal remains
1 on the
inst
of the "back
the control of the keys. Hence then, by the use of this pedal,
all or any of the stops of the " back " sound-boards may be in-
stantaneously added to the whole or any part of the "fronfGrcat
Organ : thus providing — (besides numerous other effects depend-
ing on the stops nt the moment in use) — tho most rapid and perfect
»forzando possible. There is, besides, another pedal, num-
bered " 6," iu the Bame list, the operation of which, on being
■ bitched down," is to disconnect tho stops of the " back "
sound-boards from tho great, and couple them to tho swell
clavier, — thus rendering the two portions of the Great Organ
separately diajKJsable on different claviers, and suggesting a host
• The best imiUtiTe bassoon, when properly made, that organ-
building skill has tret arrived at.
t The stop is of French origin, and its name bas once or twice been
Englished into "Bell diapason." It is one of the
i of the flue tribe.
"hitched dowB," all tho twenty-six stops are at the performer's
disposal on the Great Organ clavier ; while the act of releasing
this pedal instantaneously cuts off the wind-supply from tho
off the wind-supply from tho
sound-boards, and thus severs them from
of novel combinations, of which the modern race of organists
will not be slow to avail themselves. We may close this account
of the mechanical arrangements of the Great Organ by stating
that its twenty-six stops are disposed on nine sound-boards of
ample dimensions ; and that the air with which they are sup-
plied is increased in pressure twice in the range of the compass —
namely, at fiddle G sharp, and again at D sharp, tho twelfth
above ; while the air supplied to the four reed stops of the
"back" sound-boards, increasing at the same points, has a
higher initial pressure than that allotted to the flue-work.
The tone-composition of this Great Organ is also worthy
of remark. Taking the proportions of the flue-stops alone, they
stand thus:— two Btops of 10 feet, six of 8 feet, one of
6 feet, four of 4 feet, one of 3 feet, two of 2 feet, and
eighteen ranks of mixtures. To this add the reeds, namely : —
one of 16 feet, three of 8 feet, and two of 4 feet ; and the total
atatement will be, three stops of 16 feet, nine of 8 feet, one of 0
feet, six of 4 feet, one of 3 feet, two of 2. feet, and, as before,
eighteen ranks of mixtures. Throughout all this there are no
" vain repetitions " of similar scales and qualities. For example,
the six stops which compose the 8-feet pitch of the flue-work
are an open diapason (of the Old English breed), a gumba (of the
conical description), a bourdon, a Ji'Ue d pavilion (previously
described), a viola (the largest and most powerful of the German
tribe known as "string-toned stops "), and a fl&te liarmonigue.
The same care is exercised throughout the remainder of the
flue-work, — not omitting the four mixture stops, the scales and
compositions of which are studiously varied with reference to
the particular part contemplated for each in the general effect.
In the reed-work, also, of this manual, a similar rule of
variety is observed. The trumpet and clarion of tho " front "
Great Organ are intended to follow, as nearly as possible, the
model of that brilliant, dangg, description of reeds which Bye-
field made so deservedly famous— a quality, by the way, far too
much neglected of late years in this countrv; while, in the
" back" Great Organ, the modern English style of reed-work
will be adopted for the contra trombone, trombone, and tenor
trombone; and the most successful achievement of the French
school will have its representative in the harmonic trumpet.
Under all these circumstances, then of quantity and variety,
there can be no doubt that, aa a single manual, this Great Organ
will have very few rivals in Europe.
Having gone somewhat into detail in describing the Great
Organ, it is needless — beyond stating that similar principles
are to be observed throughout the instrument — to do more with
respect to the Swell and Choir Organs than refer to the list of
their registers as amply representing the qualities of these
manuals respectively. In one respect, however, the arrange-
ments of the Swell Organ differ from those usually adopted.
Having iU twenty stops disposed on four sound-boards, the two
front ones, containing all the reed-work, are supplied with air
inch heavier pressure than that allotted to
The adherents of the old-fashioned English
at
that allotted to the others,
ioned English "large pedal-
pipe" school will, doubtless, bo greatly scandalised by the
absence of a 32-feet open wood-stop from the Pedal Organ.
When, however, it is remembered that the 16-feet pitch should
always represent tho real weight of a Pedal Organ, that in the
present scheme there are already three 32-feet stops — namely, a
metal open, a bourdon, and a reed— and that an immensely large
majority of tbo finest Continental examples authorise this pro-
portion, there can be no question of its sufficiency and com-
pleteness. There is a convenient mechanical arrangement in this
Pedal Organ which obviates most of tho difficulty sometimes
complained of in manipulating a large number of pedal stops.
Next to the coupler "Groat Organ to Pedals" is placed a draw-
stop, which controls the admission of wind to all the Pedal
Organ, except only the violon and bourdon. As both these stops
can be easily drawn or retired simultaneously, the full Pedal
Organ maybe reduced to two soft 16-feet stops by the same
nction which detaches the Great Organ keys from the pedals.
In order aa little as possible to perplex the operations of the
Digitized by Google
486
THE MUSICAL WORLD.
[July 31, 1858.
avail, great, and pedal organs simultaneously, or on the two
latter only. Furthermore, each of these four compoaition pedals
la capable of effecting iktm different eombinationa (the changes
extending, as before mentioned, to the swell, great, and pedal
organs, or either of them) ; tho modus operandi, ao far as the
performer is concerned, being simply the setting of an index
(one of which appertains to each of the composition podals) to
the number indicating the required combination.
The cretcemio and di m inuendo pedals, with which tho list of
" mechanical adjustments" terminates, act on the swell and
great organ combined, or on each separately, in tho sanio
manner as mentioned of the compoaition pedals ; and in all these
cases the necessary movements arc imparted to the elides of the
sound-boards by the agency of the pneumatic apparatus, whereby
the space passed through by the pedal, and the pressure of tho
foot required to produce its motion, will both be reduced to a
Opkxiko of a New Organ at St. Jude's CncRcn, Husslet. —
There was a special service in St. Judo's Church, Pottery Field,
Hunalet, in connection with the opening of a new organ which
has been erected in that church. The instrument was built by
Mr. Booth, of Wakefield, and cost about ,£154. The money was
principally contributed by the members of the congregation.
There has hitherto been no musical instrument in the church.
At the service on Thursday, there was a largo congregation,
including a good proportion of tho poorer inhabitants of the
district. Several clergymen from neighbouring parishes were
also present. Full choral service was performed by the choir,
assisted by some of the members of the choir of tho Ijeeds Parish
Church, and other churches. Mr. I An caster was the organist.
A sermon was preached by tho Bov. C. H. Collier, incumbent of
St. Luke's, who selected as his text a portion of the 18tb verse
of tho 5th chapter of the 1st Epistle of St. John—" Whosoever
is born oi God siunetli not." A collection waa afterwards made,
amounting to £6 17a. 6i,d., in aid of the organ fund. Special
sermona will be preached in the church on Sunday, and collec-
tions made in aid of the organ fund, there being still a
of about j£40.
Pesth. — Friar Liszt is engaged to write a religious
tion in honour of Saint Elizabeth, to be executed by the Stephan
Society.
AasuaiT or tits; Wxun Hum, Ac. — Wo learn from a printed
circular, that " under the protection of God and hit peace, will bo held
on Alban Elred (September 21), A.n. 1858, at Llangollen, iu North
Wales, the National Gorsedd of British Osrda ; and with it the Roral
Chair of Powyn, accompanied by s Grand Eisteddfod, which will be
extended over four successive days, viz., September 21, 22, 23, 24, and
at which, through the generosity of the British public, prises to tbe
amount of £400 will be awarded to the successful candidates. Tho
Gorsedd date* as far back as the time of Prydain ab Aedd Mawr, about
1000 years before the Christian era. The Chair of Powya wst founded
by tbe three royal bards, Llywsrch Hen, Broehwell Yagythreg, and
Owron sb Cynfarch, in th« sixth century. Tho Eisteddfod dates its
origin from the time of Owain ab Mexen Wledig (Maximus the Em-
peror), and marks the era of Britain's freedom from tbe Bomsn yoke,
snd tbe restoration of the supremacy of tbe British language. The
object of tbe Eisteddfod is, in tho first plsce, to promote tbe study
and cultivation of the poetry, music, and general literature of the
Cymry, — to preserve tbe Welsh language, — to enooursge native arts
and manufactures,— and to rescue from neglect and oblirion tbo
national usages of the Principality. In the second plsce, its object is
to promote a spirit of loyalty and patriotism among tbe people, — of
mutual confidence and intercourse between rich and poor, — and of
social harmony among all classes. Such are the objects which the
promoters of the forthcoming Eisteddfod hare in view — an Eisteddfod
which they will strenuously endeavour to conduct, as far as circum-
stances permit, in strict accordance with the forms and usages of
ancient times." We have also seen the programme of this national
event. Under tbe bead of « Prose" there are 0»e pruts j •' Oratory," 1;
"Poetry," 17 1 "Music," 12; "Heraldry," lj •'Art, 7; and « Mis-
cellaneous," 6. We observe thst tbe Rev. J. Hughes, Mrltham Par-
gJJJjJijislsfsstsH.li one of the honorary secretaries.— ZeeJe
RECOLLECTIONS OF CALIFORNIA A AUSTRALIA.
DT A MUSICIAN.
(Continued from page 469.)
After having been in California about a year, during which
period we met with continuous success in our concert specula-
tion, I began to think of returning to New York, for my home-
Mckucsa was getting almost too much to bear. But Fate
decreed otherwise. Miss Catherine Hayea made her appear-
ance one line day in the early spring of lt>53, and created a new
furore, and aa the party 1 was with left for Lima and Valparaiso,
I willingly accepted an engagement as her conductor.
She arrived at a happy period. Trade, which for the last year
had been aeriously depressed, waa now active ; real estate had
gone, and was going up (a healthy sign). Miaa Hayea'a success
waa unequivocal, and the fickle San Priskyoues soon forgot tho
song of the American Thrnah in the notes of the Swan of
Erin ; a moat abominable appellation, aa I take it, for swans
only make a horrid noise like tbe trial of a bad bassoon-reed ;
and even geese have no claim to belong to a musical family,
except when, as described by a facetious cook, "yon roast bim
olyve," (which process is ingeniously described in an old work
much antecedent to Mr*. Clause,) and when the living bird is
brought to table, and you proceed to carve him, " ha inakoth a
ryghto plcaaaunt noyse, whioh is myghtye agreeable." Money
now tumbled in fast upon me, for the Swan had brought no
opera scores, and she wished to give operatic scenes in costume,
ao that I had plenty of work to do in arranging and scoring,
which labour brought a liberal return upon the lady'e part.
I therefore made up my mind to settle permanently in California,
and having already assisted much in the elevation of orchestral
music in New York, waa not at all disinclined to become the
pioneer of good music u)>on the shores of the North Pacific.
Miss Hayes, after a most triumphant reception and tour through
the State, left for South America in May, 1 (-03. Another cele-
brity arrived in this month ; Mrs. Catherine N. Sinclair, a lady
who from her great talent as an actress, and capacity as a
manager, was admirably fitted to lead tho theatrical taste of
the community. A superb theatre was erected for her (the
Metropolitan, lately destroyed by fire), and having opened the
San Francisco Hall, during tbe building of the Metropolitan, the
company was formed, engagements were mad* with foreign
artistes, and the Metropolitan waa opened on December 24th,
IWS3, with a fine company, Mrs. Sinclair, manager j Mr. J. B
Booth, stage mauager ; Mr. Fairchild, scenic artist ; and yonr
humble servant, as musical director. My orchestra was small,
but efficient ; and upon Madame Anna Thi lion's arrival in
January, 1854, her operas were exceedingly well done, although
she cut the score to ribands. The opera company consisted of
Thillon, Miss Julia Gould, Messrs. Hudson and Bentler, tenors \
and Messrs. Leach and Statdfeldt, bassos ; the chorus (moat
excellent) by a German society. Madame Thillon'a so
both in an artistic and pecuniary sense, moat have been
gratifying.
The next musical arrival was Madame Anna Bishop, who,
during hor stay, did the work of about twenty prima donncu,
but, I regret to aay, without the pecuniary reward that her
great talents, both as a singer and actress, entitled her to, not
from want of appreciation or support upon the part of the peo-
S, but from tho injudicious speculations of her manager,
chaa, and the general commercial ruin that enveloped the
state during a great portion of her stay. Miss Hayes returned
from South America in May, 1W54. but from the latter cause,
this time did not make money ; ana oho sailed for Australia in
August, whore she made a large fortune, which I sincerely wish
she may live long to enjoy. An Italian Opera Company arrived
in November, 1M4, consisting of Madame Borili Thorn and
Madame Bedei, prime donne, Mrs. Voorhees, contralto; Signer
Scola, tcnoro, Signer Lauzoni, baritone, and one of the beat
artists and good men I ever knew ; Signor Leonard! as basso.
The operas produced were Ernani, I Due Foecari, Ifabnco (with
military band on tbe stage, and grand ballot), / Lombard*,
AVmo, Lueraia, Soniumbula, Favorita, 11 Sarbiere, nad others,
as the people say,
Digitized by Google
THE MUSICAL WORLD
487
the favourite, and when I used to see that poor little Barili |
tearing herself to pieces in his demoniac service (causing her
death not long afterwards) I used to long for a " Society for
the prevention of cruelty to singers." But things had now
taken a turn, business was bad, and the opera season
was a failure, and with the exception of a slight chnnge
in affairs upon the arrival of Mr. and Mrs. Barney Wil-
liams, who were amazingly successful, Mrs. Sinclair's term of
management expired with severe |>eeuniary loss to herself, a
loss she might have avoided, had she, like some managers, closed
after her first success, and dishonestly ignored her future en-
gagements. I have thus rapidly sketched the musical and
dramatic growth of the country from my arrival in 1*52 to my
departure in lt-V», and have, of course, anticipated many recol-
lections which would be pleasing to the reader, and some, I
grieve to say, which recall a time of the greatest misery to
myself.
I previously mentioned that I determined to remain perma-
nently in California, and had sent for my dear wife, and my
three boys ; had built me a house in a beautiful valley, " con-
vaynient to the city," planted a garden with lots of roses and
geraniums, not forgetting a patch of vegetables, bought a
comical horse and still more comical dog, ana waited with much
anxiety the arrival of the steamer which contained all I held
moat dear on earth. I used to while away the time by "pottering"
about the house, and wondering how my darling would be
pleased with my endeavours to make her a happy and comfort-
able home, till, as the time grew near, I got into a perfect
nervous fever, and used to piss my spare time upon Telegraph
Hill, in company with many other anxious hearts which awaited
their dear ones' arrival. On Sunday morning I had watched
until nearly three o'clock, when a heavy fog from the sea ob-
scured the bay, and I thought of turning in for a short snooze, but
could not have been asleep an hour, wbon I was awakened by
my brother-in-law, with the horrid intelligence that the Ten-
nessee had in the fog gone ashore nine miles or so to the
north of the Heads, and that the news had been brought to tbo
city by some sailors, who had escaped from the wreck in a whale
boat, and found their way, by miracle, into the Bay. I tore dis-
tractedly, into the streets, and soon found one of the sailors,
" Are Mrs. L— , and the children on board 1" " They are, sir,
safe and well ; the passengers are being landed, and no lives are
lost" I cannot deseribo the unutterable feeling of thankfulness
to Qod that I experienced, nor the longing desire I had to be
with them. A large party of husbands, brothers, and friends,
was soon collected, and the steam-ship company having placed a
steamer at our disposal, at nine at night wo crossed the Bay to
Haneelito, and from thence were to make our way, as best we
could, on foot to the wreck, whieh was reported as being some-
where up the coast. Jolly old Jaok Martin, the marine reporter,
headed the party, and I am ashamed to say that several of the
husbands felt their courage ooze away as wo landed in utter
darkness upon I ho shore, and they declined the perilous
enterprise. Old Jack had provided himself with a lantern
and a bottle of brandy. Away we plunged, sixteen in all,
" through bog, fen, flat,** up mountains, down precipices, every
now and then coming across herds of wild mustangs, who, with
a sound between a shriek and a snort, rushed across our path
liko a torrent. Our only hope was to keep our faces to the wind,
for the sky was clouded, and no friendly star aided us.
We did not know whore tho wreck lay, and when at length
half dead with fatigue from scrambling among the rocks,
and soaked with perspiration, we arrived at the head of a
ravine of about a mile in length, wo could scarcely believe
our senses as we saw upon the shore an encampment
of tents, and the huge rolling bulk of the devoted vessel
heaving and tossing in the surf, and made visible by the
height of enormous fares that the men had made from the ribs of
stout vessels lost upon the beach. We descended the ravine,
and shall I ever forget the joy of that wild reunion T My dear
one safe and well, and my boys so grown, and nothing lost, not
even a shoe wet,: How we laughed and cried, as I heard how the
little one had kept watch on a peak of rock looking for his
Favtr, who he saia * was sure to come and fetch him and how
my wife had philosophically calmed the terrors of the cither
ladies by the cheering idea that "If they were worth seeking,
their husbands would be sure to find them ;" and had very
coolly turned into bed in the Band, where they looked like a lot
of sardines in a box.
Was the joy of this meeting so soon to be turned into sorrow J
I can scarcely write it, but from that time my dear one drooped.
The slow but sure disease, consumption, had already set his seal
upon her loved and loving form, and as I watched her daily
sinking, and in agonies of pain— for over a year her torture never
oeasing— while she bore her misery with a resignation and a
courage that were marvellous to behold, I felt that if I could
have poured my heart's blood at her feet to give her one
moment's ease, how freely I would have done it. I need write
no more. I soon was alone. Alone In this great world, with
all its loneliness, but I was liko a living corpse upon the earth ;
my heart was buried with her in that narrow grave, and I waa
desolate. ^ • ued)
THE BIRMINGHAM GENERAL IIOSPITAI*
[The subjoined account of this admirable institution merits
attention.— Ed. M. If'.]
For upwards of three quarters of a century this noble Institution
hu annually u- mistered to the medical and surgical requirements of the
necessitous poor centred in tho midlnnd counties of England, end so
important has been the relief edmiiiistered by this exceflont charity,
that, from the opening of the Hospital, in the year 1779, up to the end
of June, 1S57, no less than 42-1.G05 patients have benefited by its ex-
istonce, snd of that number haTe been admitted as in-patients
within its walls.
During the last twenty years, Birmingham snd the immediately
adjacent districts hate doubled their inhabitant* — new and extensive
factories hare been established within the town and its vioiuity — a net-
work of railways, stimulating intercourse with the midland metropolis,
has been laid down — sad, as a consequent result, a teeming population,
engaged in manufacturing pursuits, often rendered hazardous from the
machinery employed, has been brought into contact with the charity,
upon the resources of which increasing numbers aro annually becoming
claimant*. To meet the increased demands of the hospital thus arisen,
it has been found necessary to erect an additional wing to the building,
thereby providing another ward, containing twenty bed* for in-patients,
and affording also tbo means of supplying better accommodation for
the treatment and relief of tho numerous out-patients who daily attend
to have their ailment* relieved by the skilful meJic.il and surgical stuff
of the iustitution.
The hospital derive* it* revenue* from endowment*, subscriptions,
donation*, legacies, and the profit* arising from the celebration of the
Triennial Musical Festival*. During tbe tear ending Midsummer,
1857. mit-n fleuwl and forty jit* patieuU, of whom two thousand
firo hundred and twenty-five were in-patient*, received the benefits of
tho institution, snd the total outlay during that period amounted to
£7.421, 12*. lOd.
Notwithstanding tbe acceptable pecuniary aid received from another
source since the festival of 1B&6, which has mainly enabled the accom-
plishment of tho enlargement snd improvement* referred to, the expen-
diture of tho hospital, with every proper regard to economy, continues
to exceed the fixed income, in a manner which creates an anxious feel-
ing as to the possibility of keeping up the existing usefulness of the
institution. The treasurer's account i* overdrawn nearly lieo thontaml
p«U»4», and the payments for tho current quarter have to be provided
for. Under such circumstance* the Festival Committee appeal to
the benevolent, the philanthropic, and tbe public generally, to assist the
cause of charity, by granting a generou* aupport to the forthcoming
festival. If the pecuniary result of tbe twenty-teventh triennial cele-
bration should bo such as to preclude the necessity of curtailing during
the next three year* the inestimable advantages at prttrnt secured to
the sick and afflicted poor, it will be a matter of sincere congratulation,
as any diminution in the actual extensive efficiency of the iustitution
cannot fail to be otherwise than leverely felt by number* who, from
accident or disea*e, might find themselves deprived in their hour of
need, of the incalculable blessings of such a charity as the Birmingham
General Hospital. J. F. LEDSAM,
July, 1858. Chairman of the Festival Committee.
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488
THE MUSICAL WORLD.
[July 81, 1858.
HER MAJESTY'8 THEATRE. — TITIENS,
Alboal, and Ptcoolmnlnt ; BeUetti, BeoevenUno, Vlaletll, Rossi, Aldlghieri,
and GiUtflinl, Fliul Perlonrtftiicea.— Reduced prlcen
Mundajr. Aiupict 3, I.UCRKZU BORGIA, (fast tlm«X and Ust
t one at Mailtle Talons
iirust 3. IL TROVATOHE. (last appearance of Millie. TiUcos.)
August 4, (Ust ufcht t m thraA a vsrtoty of entartalnincuta, lu
liccolomini. Mad. All«ooj, and Sl« GitnrlHit' will iti*peir
UgaU 4, (Ust nUht but two* LA ZINuARA
ustMUstnU.htbut<m;,\ LA FIGLIA DEL REGQIilESTO, and
To-morrow
apjx'&raucc but
Tucaiiv, Aug
Wednesday. .
which Miull'.'o. I
Thur«U}-. Ai
F-. I . . Auku
other entcrtalni:
Baturdsy, A
t •
r. (the tut night), LA TRAM ATA.
DirertUaarccQt, in which Madlic. BoechetU will appear.
"Ion* to ha made at the Box-otRce.
On each oecaalo>, a
ROYAL PRINCESS'S THEATRE.
CKDBR TUE MANAGEMENT OF MR. CHARLES KEAN.
ON Monday, and daring the week, will be presented
Shabperea play of THE MERCHANT OF VENICE. Shyloolc. Mr C. K«u ;
Portia, Mr.. C Keoi,. Preceded by the new Farce, ootltW DYING FOR LOVE.
ROYAL OLYMPIC THEATRE. — On Saturday evening
next. July Si. the |>«rformaiioe will commence with LEADING
STRINGS After which BOOTS AT THE SWAN. To conclude with A
nANI>y<)ME HOBDASD C,m trn-nce »t Wfjaat 7.
G
HEAT
NATIONAL STANDARD THEATRE,
—Proprietor, Mr. Jons Donoufs.
•uoccaa, and the eio*d«.l stato i f the theatre,
of the e
Mr DoujfUa. has prevailed upon thoae great arUeUs of the Adelpbl Coui|«ny, Til
Mr a Wcbeter. Madame Celeste, Mr. Paul Bedford, Mis Keeley. to ijay tlx
nhjUta longer, which positively roust b« the lut, lit consequence of Madame
Celesta'* eontin* Mat tour. TUE GREEN BUSHES etety evening, with OUR
FRENCH LADY'S MAID. On Monday, August S. on I durirg the weak, to
commence with TUE GREEN BUSHES, in which Mud.Riu Cekete will appear,
supported by tbo Adelpbl favourites. To conclude with OUR FRENCH LADY'S
MAID. In which Mr. U. Wcbatcr and Madame CalesU will perform. No advance
JUSTIFICATION OF M. DURILLON D'EN(JEI«URE.
To the Editor of He Musical World.
did not think it dt rigueur to state that my arlioolo ou
Tell was a tradvtivne of the artirolo of "A. B." imnrito
in the Armu»ia of Firenze, since t!ie diretioM of lhat giornale so*
politico, which draws ita imtpiratumi from tba 1*0, has frequently
appropriated my labours without rieonoteimmto—n portamento, which,
to My the mitumo, is itlagrimabilt.
1 am — ttimalittimo Sir — your serrant,
Dvbiixok D'Exoilvbi.
[At the most, then, M. D'Eugelure has been perfanctory.
Ed. M. IP.]
DEATH.
On Saturday, the 24th inst., in London, at the houie of his sister,
Mrs. Taylor, Charles Usurer* Dackett, Han. Dae, Oxon., in his forty
aiith year, eon of the fate Captain Vhilip J. D. Heckett, of the Prior>,
Rawiuftrsh, York*.
THE MUSICAL WORLD.
LONDON, 8ATUBDAY, July 3Ut, 1868.
The miiRic meetings promise well this year— at least in
many respects. To Leeds we have more than once alluded,
and shall nlhulc again. Of the three Choirs at Hereford we
shall probably speak next week. Meanwhile, our present
business is with the Birmingham Festival, which deservedly
ranks as the first and most important, not only in England,
but in Europe. Tho prospectus, with full details, having
already been issued, there is enough and to spare for
comment.
The 27th triennial celebration commences on Tuesday
morning, August 31st, with Mendelssohn's Elijah.
No Birmingham Festival would be regarded as complete
without this oratorio, which, as all our readers are
doubtless aware, was composed expressly for Birmingham,
and first performed in the Town Hall, on Wednesday,
Aug. 26, 184G, under the direction of "
The inhabitants of this great emporium of industry and
commerce are justly proud of the honour thus conferred upon
them, and, moreover, have good reason to remember with
satisfaction that to their own spirit of honourable enterprise
was due the suggestion that first originated so groat a
masterpiece. On Wednesday morning Mr. Costa's oratorio
of Eli, which obtained so great a success at the meet-
ing of 18.55, for which it was expressly written, is to be
repeated. On Thursday morning, The Messiah— m a matter
of course, a MeitiahAet* festival being almost unprecedented.
On Friday morning, the performances are to with
Mr. Henry Leslie's oratorio of Judith, composed, like
Elijah and Eli, expressly for the Birmingham Festival. Of
this new work, about which so much curiosity is excited,
and which we trust may, by its merits, sustain the reputa-
tion of the English school, we ourselves know nothing. A
con temporary, however — Aria's Birmingham Gazette — is
evidently better informed ; and from the pages of that journal
a notice of Judith has been transferred to another
column of our this day's impression. From tliis notice it
will appear that the writer lias had the privilege of examining
the score, or of attending some private performance, since
his description of the work is accompanied by strongly
expressed opinions of its musical merits. Judith being, we
presume, a short oratorio (in which it resembles Beethoven's
Mount of Olives, and Spohr's Last Judgment), Mendelssohn's
Lauda Sion, and Beethoven's Mass* in C, are further
included in Friday's programme, which will, under the cir-
cumstances, be quite as lengthy as the variety of its contents
is likely to render it attractive. The principal singers
engaged in the performances of sacred music are Mesdame*
Castellan, Clara Novello, and Viardot Garcia, Miss
Dolby, Messrs. Sims Reeves, Montem Smith, Weiss, and
Sig. BeUetti. In looking over the distribution of the pieces
allotted to each nf these performers, we remark that a
practice which has lately prevailed, and of which we cannot
approve, is largely resorted to — we mean that of dividing
each of the principal voice-pmrts between two singers, and
thus weakening the effect of the performance for the sake of
the attraction of an additional name in the bills. For ex-
ample—in Elijah and the Messiah the soprano music of the
first part is allotted to Madame Castellan, and of the second
part to Madame Novello, while the contralto music is
similarly shared between Madame Viardot Garcia and Miss
Dolby. Mr. Costa is too wise to allow the effect of his
own oratorio to be thus endangered ; and thus, in Eli, we
find tho four principal parts uniformly sustained by Mesdames
Novello and Viardot, Mr. Sims Reeves, and Signor BeUetti.
The miscellaneous concerts are capitally made out, and in
every respect attractive. Besides the well-known singers
already named, Madame Alhoni, Madllc. Victoire Balfe,
Signors Tamberlik and Ronconi lend their assistance, and
every evening presents some social feature of interest in
the shape of an important work. On Tuesday evening, for
instance, there will be Handel's A cis and Galatea, with addi-
tional accompaniments by Mr. Costa. This may possibly lead to
some inquiries about the additional accompaniments of Mozart,
which were used several years since at Exeter Hall, when
A cis andGalatea was performed by the Harmonic Union, under
the direction of M r. Benedict If these were found satisfactory,
* We see no reason for infesting a
Protestant title of " service"— more especially i
to be lung, and the arena of performance is
mass with the
the Latin text is
not s church, bat a
Digitized by Google
Jolt 31, 1858.]
THE MUSICAL WORLD.
489
why were new ones considered necessary f* No doubt of Mr.
Costa's thorough competence for the task he has undertaken is
involved in this query, since that — if proof were wanting
from so accomplished a musician — has been proved in Samson
and Judas Maccabceus ; but the rejection of Mozart's ac-
companiments throws a doubt upon their genuineness,
which we should like to have explained. At the first even-
ing concert there will be no Hymphonv, but tho second
(Wednesday) commences auspiciously with the magnificent
Jupiter of Mozart. On this occasion the prominent novel
feature is to be MendelssohnVCoMttota, "To the Sons of Art,"
for solo quartet, chorus of male voices and accompaniments
of brass instrumentst— originally composed for an out-door
festival at Cologne, and executed in the open air by
2,300 voices and instruments. At the third concert
(Thursday evening) there is also a symphony — Mendels-
sohn's in A minor — and on this occasion Mr. Costa's
serenala, composed for the marriage of the Princess Royal,
and entitled The Dream, will be performed for the first
time in public, the vocal solos being allotted to Mad. Novello,
Miss Dolby, Messrs. Sims Reeves and Weiss. The miscel-
laneous selections will derive great interest from the number
of distinguished vocalists, foreign and native, who take part
in them J but they would be better if they were not so long,
and more generally attractive for the intermixture of one or
two instrumental solos, without which such a quantity of
vocal pieces, in all styles, becomes in the end somewhat
wearisome. Leeds has been wiser than either
or Hereford in this respect.
The baud and chorus will be on the scale of splendour and
completeness to which we have been long accustomed at the
Birmingham Festival, and which it is tho pride of Mr. Costa,
the conductor, and in a great measure the care of his inde-
fatigable " right hand," Mr. J. 0. Mason (orchestral steward),
to maintain. The president this year is the Earl of
Dartmouth, who we earnestly trust may not give encourage-
ment to the system of " encoring " pieces at the morning
performances of sacred music. The meeting winds up, as
usual, with a grand dress ball, in the Town Hall, on Friday
evening. The prospects are cheering, and it is hoped that
the funds of the General Hospital,; one of the noblest
charities in Great Britain, may derive i
from the surplus, after payment of all the
' le from so vast an undertaking.
expenses
We didn't go to St. Martin's Hall on Tuesday last to hear
Mr. Abel Matthews perform his " great feat from memory,"
neither will we go if he announces a repetition of the same
feat on Tuesday next.
The feat consists in the recital, from memory alone, of the
whole of Milton's Paradise Lost, which, according to Mr.
Abel Matthews, contains 10,565 lines. We have no doubt
that these figures are right, and whether they are
or not, we shall not put ourselves in a position to
correct them by counting the lines. We are content to
* la the catalogue of Moxart '» composition! for N
the j ear during which the three great •rmplioniee in
and 0 major (JupiUr) were produced— we find " Mi
November, 1788—
E flat, O minor,
of
) major (Jupiter)
Handel, rttrarailU"
t Thu Yigorom competition hai been performed at the Philharmonic
Concert 5 in London, and w&i recently introduced by Mr. Benedict, at
hit fint " FeatiraJ Concert" in the Crystal Palace.
t Of which an account will be found in another column.
receive the Miltonian statistics with faith and gratitude.
In return for the useful information diffused by means of his
placards and advertisements, let us hope that Mr. Abel
Matthews will find an adequate reward. May he meet with
a friend, who will tell him how many whitebait there were
in the last dish consumed at the " Trafalgar," and, after that,
may he meet another who will count out a plate of green
peas before his eyes. The rich man who paid Correggio a
large sum of money in copper coin, and thereby occasioned
the death of the painter, is handed down to us as a monster
of cruelty, which, considering there is not a word of truth
in the story, is somewhat unfair. To Mr. Abel Matthews
this Dives— this mauvais riche — would have been a positive
benefactor. What a luxury to ascertain by actual manipu-
lation the number of farthings contained in a good round
sum of pounds sterling !
We are pleased that we know the number of lines in
Milton's Paradise Lost, and if we so far forget all self-respect
as to perpetrate a vile pun, we should say, that we cocker' d
ourselves up on the strength of our arithmetical enlighten-
ment. But having learned all wo want to learn from Mr.
Abel Matthews, we shrink from St. Martin's Hall. Whether
he can say the whole 10,565 lines without stumble or boggle,
or whether he is apt to break down at the end of the first
five, we do not care a jot.
And why should we care 1 What the — — does it matter
to us whether Mr. Abel Matthews has a good memory or
not? We don't want to know whether he prefers beef to
mutton, or whether he thinks a checked trouser superior to
a stripe. Neither do we want to know the extent of his
mnemonic powers.
If Mr. Abel Ma.
illustrate th
we had nothing else I
in upon his exhibition. But he simply informed the world
that he designed to show his own ability to have 10,565
lines by heart. And about his possession of this faculty we
care nothing, — no, not the faintest shadow of the thinnest
farthing.
If Mr. Abel Matthews had offered to jump through 10,566
hoops in succession without stopping, we would have gone to
witness the exploit, even if we had broken an engagement to
dine off minced veal ; for Mr. Abel Matthews jumping
through 10,565 hoops would have been a funny spectacle.
We should not have become wiser by ascertaining the gym-
nastic talent of Mr. Abel Matthews— still we should have
been amused.
But we could have derived neither amusement nor in-
struction from hearing a dreary delivery of furlongs of blank
verse. We could not have turned the knowledge thus
painfully acquired to any practical account.
Far be it from us to offend Mr. Abel Matthews. In-
deed, it i (would be the height of imprudence to affront a
gentleman of so terribly long a memory, for though he
might forgive in the most Christian spirit, we are certain
that he would never forget. Far be it from us to damp the
curiosity of any person who wishes to know whether
Mr. Abel Matthews has actually learned twelve hooks of
Paradise Lost by heart, and is willing to take a reserved
seat for the gratification of that passion which, as Mr. Abel
Matthews can tell us (without book), came in with " Max's
first disobedience and the fruit, &c" We merely say that
we do not participate in the anxiety (doubtless general), to
know whether Mr. Abel Matthews has a f
or not.
had told us that he intended to
d epic by the force of his elocution, and
to do, we might possibly have dropped
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490
THE MUSICAL WORLD.
[July 31, 1858.
Wo fear we are growing obtrusive and egotistical. What
has the world to do with our private taste* and predilections,
that we should thus indecently parade them t Why, jesting
apart, the world cares just as much for our private tastes as
it cares for Mr. Abel Matthew's memory ; neither more nor
THE PHILHARMONIC DIRECTORS FOR 1858 0.
O. F. Anderson, Esq.
F. B. Jowson, E»q.
{To be continued in our next.)
Meyerbeer's New Comic Opera. — Tho Rtvue et Gaxlte
Jftuicale is indignant that the correspondent of the Indi-
pendanee Beige should qnestion its assertion that Meyerbeer's
new opera was never promised to M. Carvalho. The Revue
positively denies that there was ever any treaty between
composer and manager about tho production of the work at
the Theatre-Lyrique.
ROYAL ITALIAN OTERA.
What changes were made by Donzelli, Braham, and the rest,
we have no means of ascertaining, but if aa many as Signer
Alary finds necessary for Signor Mario, it must have been a sad
thing for Don Giovanni. We feel convinced that 100 per
cent, leas meddling with (and muddling) the musie of Mozart,
wonld have suited Signor Mario infinitely better. There is no
reason why the whole of tho introduction should not be sung in
the some key — whether that key be F, the original, or a note
higher, in which latter case Mad. Grisi would be obliged to
strain a point or two. Anything would be better tban the
introduction "after Signor Alary" — anything would be better
than the transposition of tho last ten bars in the overture,
the rush (or rather tumble) back into tho right key, after
■ Notte a giorno " has been sung in O— than the clamber-
ing (or scrambling) a note higher, when Signor Alary
is desirous of once more finding himself at O (minor)
in the trio for basses — than these and other such bar-
barities. Anything would be better. A passage or so out
of Nino, Luita Miller, or the Tre Kuzze would be better.
But then Big. Alary would not havo touched X300— and
Big. Alary would have been worse, not bettor, for
that. These are indeed commercial times. Monoy can com-
mand anything, even to tho mutilation of a chef-dcturre
that has been honoured and revered for well nigh three-quar-
ters of a century. Sig. Alary, however, has acted magnani-
mously in signing his handy work, which otherwise might have
been attributed to Mr. Costa— no, not to Mr. Costa — to Mr.
Alfred Mellon— no, not to Mr. Alfred Mellon, but to Mr.
Morton, an unoffending gentleman whose worBt crime was that
of copying out the parts— Sig. Alary's parts— and stacking them
into the music books for the orchestra.
"Transpositions were indispensable." Good— but surely not
bo many. "Alterations were inevitable." True— but surely
not such alterations as those which disfigure the quartet in B flat
(Act I.), and the trio in A (Act II.). About the recitatives
thero may be conflicting opinions. Ours is, that for the most
part they have been awkwardly accommodated to the voice of
Sig. Mario, who is often restrained by them where fluency is
most desirable.
To leave this part of the subject however (which we shall re-
on a future occasion), and to be purely and briefly I
historical — Don Giomnni was presented on Thursday (and will
be repeated to-night) with tho following cast : —
Don Oioranni {first time) Sig. Msrio.
Leporcllo (Jrtt tuiu) ... Big. Roneoui.
Zcrhas Ms*. Ilouo.
Donna Anna M«d. OrUi.
Donns Klvirs Madllc. Marai.
Don Ottario ... ... ... ... Sig. Tumborlik.
Mosctio ... ... ... ... ... Big. Poloninl.
Commendatore Sig. Tagliafleo.
The house was crammed to the ceiling— as might, indeed, have
been anticipated. The excitement was very great, and aug-
mented as the opera went on. There were six oncares :— " Ls
ci darem " (Bosio and Mario), " Batti batti" (Bosio), the trio of
masks (Gmi, Marai, and Bosio), "Deh vieni alia finest rs"
(Mario), "Vedrai carino" (Bosio), and "II mio tesoro
(Tamberlik).
For the present we would rather suspond our opinion of the
new Don Giovanni and the new Leporello, both of whom must
get accustomed to their part* before they can do full jus-
tice to themselves, to the music, and to the drama ; bat
wo are very much mistaken if Sig. Mario and Sig. Ronconi
do not in the end far more than realise all that was expected
of them. The other characters were unexceptionable. Mad.
Bosio sang deliriously, Madlle. Marai very cleverly, and Signor
Tamberlik, superbly. Sig. Taglialico and Sig. Polonini should
have medals struck in their honour, ns tho very acme of perfec-
tion In their respective characters of the Commandant and
Masetto. Mad. Grisi's Douna Anna, (although, unfortunately,
" Or sai chi 1' onore" was transposed a tone) could hardly be
surpaxsed in grandeur. Die orchestra was magnificent (in spite
of the brass and the cymbals) ; and the chorus everything that
could possibly bo desired. But why not Moxart's score, instead
of three trombones at the " wings," i" the scene of the cemetery I
And whero was the chorus of demons, whon Don Giovanni is
dragged away to punishment T
To-night will, in a great measure, decide what Thursday has
left undecided. To-night will either fulfil or disappoint expec-
tation. To-uight will show whither (thanks to Sig. Mario)
Sig. Alary's Don Giovanni is to become a fixture in the reper-
tory, or to be abandoned as " perfunctory." But of that, the
general "getting up" of tho opera, and several other matters
conuccted with it, more— mueh more— in our next.
On Saturday a new dirertiuemtnt, entitled L' Amour cTvne
Rote, with music by Mr. Alfred Mellon, was produced for Madlk.
Zina Richard. The diverliiteincnt is of the slightest possible
structure, or, more properly, no structure, and its meaning, if it
have any, is not transparent. The scene, after some prelimi-
naries, is made to represent a brilliant flower-garden, in which
Madllc. Zina Richard dances some novel steps with remarkable
ease and vigour, and which provides some very effective
groupings and some striking changes. Tho musio is so tuneful and
lively, that Mr. Alfred Mellon must be induced to try bis
hand upon a subject more worthy of his talents. In the final
pat, when the flowers and flowor-pota move about with celerity,
and at every motion seem to throw obstacles in the way of the
dancer, Madlle. Zina Richard was no less remarkable for the
quickness and precision with which she avoided all tho impedi-
ments that sprung up before her as if by enchantment, than, for
the charming esse and infinite grace preserved in the midst of
the highest bounds and most rapid evolutions. The applause
was loud and frequent.
Digitized by Google
July 31, 1858.] THE MUSICAL WORLD. 491
HER MAJESTY'S THEATRE.
Tin: performances of the past week present no novel feature.
The operas were — on Saturday, Lueretia Borgia; Tuewlay,
II Trovatore; Thursday, Luer&ia Borgia and La Berra Padrona;
and last night, the Barbiire and the ilnale scene from / Martiri.
To-night, Don Giovanni.
The theatre will be open every night next week. The follow-
ing arrangements have been made : — Monday, Lucrezia Borgia ;
Tuesday, U Troeatore (Mad lie. Titicns's last appearance) ;
Wednesday, Don Pasauale, with the last scene from Cenenttfola,
for Alboni; Friday, La Zingara ; and Saturday, La Traviata.
Madllo. Boschctti will appear in a divertissement every
THE « DON GIOVANNI " CONTROVERSY.
W e may as well call it so, for controversy it is sure to he.
All who swear by Her Majesty's Theatre will 1ms deeply
offended at the liberties taken with Mozart's text by the
singers of the Royal Italian Opera. A classic fit will seize on
everybody, from Mad. Puzzi to Mr. Fish. And so it should
be. What we hope from the result is, that the indignation
hurled against the murderers of Mozart will have not only
the effect of purifying Mr. Oye, but that Mr. Lutnley him-
self may profit by it — sine*? he aLso has a murder or so to
answer for.
The press has not yet — with the exception of the Adver-
tiser and the Telegraph, the first of which is cautiously, the
other furiously " classic " — declared itaelf in full. The" rigid
Post, however, and the tending Herald have issued short
paragraphs, which are so strongly opposed that wc cite them
Wh, as signs — not of the " Times," but of the " Post" and
» Herald/
IISBalD.
*' The production of Don Gio-
vanni, with Hignor Mario, in tho
character of the dauctlest liber-
tinr, and Signor Rouooni in that
of hU faithful attendant, has been
long looked forward to aa an
ovont of unusual Interest, and its
fulfilment l»«t night, we* witneae-
ed by the moat crowded audience
that hi* been teen within tbe
walls of the new theatre. For
the present wo can but record the
complete success of the perform-
ance. Thotc who expected to see
in Signer Mario a Don Qiovanni
unprecedented^ handsome and
gallant, and noble in bearing, were
not diiappointed ; and thoie who
anticipated a want of duo effect
in the music, through the changes
necessitated in order to de-bary-
toniae the part, were mistaken in
their previsions. The usual en-
cores occurred in tbe usual place*,
end tho reception of Hignor Mario,
who was called forward between
the acta and at the fall of lite
curtain, waa moat enthusiast •c."
Ton.
" Last evening the opera of
Don Oictanni, with Mosart's
music altered and arranged by
Signer Alary, waa performed at
tbe above theatre.
"The transpositions of key
were at under t— 'La ci da rem,'
from A to C. «Or aai ehi
I'onor*,* from D to C. 'Fin
ch' an i I'd vino/ from B flat to D.
' Dch rieni alia fincatra,' from D
to O (only a fourth)— • O atatua
gentiliissima,' from E to G. To
tho overture two horns, three
trombone*, and an ophicleido
were added. To tho finale to the
original firat act tho somo instru-
ment*, invigorated by tbe gro»*e-
eaine and cymbal*. Where tho
key* of Don Giovanni's music
were not altered the notes were.
The opera waa alao divided into
four act*, another entirely novel
arrangement. To compensate,
however, for additions, several
piece*, namely, ' Ho eapito,'
• Dalla ana pace,' and < Hon mi
dir.' ware omitted. Tho encortt,
notwithstanding, were numerous,
and tlic applause- throughout
warm, if not violently entbu-
natnrally bo, the critic, nevertheless, resigns himself (after
declaring that " the overture was the perfection qf itietmmen-
tation") to the desecration of Mozart, on tho following
philosophic grounds : —
" The firat scene, with its 'Notto e giomo,' convinced us, and every
subsequent one confirmed tbe conviction, that wo must content our-
aelve* with a compromise, and girt vp the muric and tbe bass-ground
of tbe concerted pieces, vice an rxtra-cotnle reading and an exuberance
of humour— in voice, manner, and gesture — in tbe representative of
Leporelle. Those not present who have heard Bonconi's ' Largo al
factotum,' can imagine ' Notto e giorno,' leAr'eA tea* itc counterpart."
The startling in formation of "Notte c giorno" being a
counter]>art of " Largo al factotum " is succeeded by an
equally philosophic apology for Signor Mario :—
" Hario'a entranoe was greeted, deapito He incongruity of lie ecene
mth tttch an interpolation. Do played admirably in the brief enntott,
and delivered the lines, ' Ah ! gia cade il aoiagurato,' with a clear ring
that, for an inatant, reconciled ua to a tenor Don Juan."
Remark that neither " incongruity" nor " interpolation"
has boon hinted at beforu. The " clear ring," however, may
reconcile us to that seeming in consequence. Madllo. Maroi is
praised for her singing "to the asides of Mario and Ronconi,"
and the latter for his " very curious version of 'Madamina' " —
us, since ho sang every
The following is not less
The Poet, in the fulness of its clasacality, might have
added "Notte o giorno" (from F to G), and the trio for
Giovanni, Leporello and the moribund (from F minor to G
minor), to tho transposition*
The Advertiser is, as usnal, a model, sui generis. Annoyed,
as an amateur so keenly alivo to the gradations of tone would
the curiosity of which escaped
note of it, and in the right key.
" perfuuetory": —
" ' Viva la liberta' was certainly not above average, and the finale to
the act was better histrionically than musically; that is to aay, more
justice waa done to Lorenzo da Pont* than to Wolfgang Moaart."
Tho truth is that the first finale was never more magnifi-
cently executed ; but the Advertiser has evidently been used
to the political version of "Viva la liberta," in which (for
tho aako of an encore) the singers vociferate " Pray moke
yourself at home " as if it waa a revolutionary mean. 8ig.
" Taml>erlik sang ' Terzi il ciglio ' earnestly." What — may
we ask — ia " Terzi il ciglio " 1 To have done, however, here
is tho summing-up of our conscientious and much-perplexed
conteuijjorary : —
" We should like to witness, at least once again, this version of the
greatest opera extant. Our veneration for Mozart renders ua tenacious
of this return to a system of dealing with the works of great com-
posers, which we had hoped had patted away. We are bound, however,
to admit, that, compared with toe enormities of " adaptation," at it
waa called, perpetrated by Biahop, M. Alary ha* held hit hand re-
markably. The Covont Gardes Opera hat too great resources, and
Mario and lloncoui too high a reputation, to necessitate such a mode
of dealing with the great work* of great author*. 80 much of tho
opera was rendered in a manner to do honour to any stage, that it i*
with regret we record our unfavourable improaaion of the effect of thi*
change in tho vocal proportion* of the opera, a* it camo in ita perfection
from tbe hands of ita composer."
This is, at least, courteous, and for one of such fierce
classical prejudices, conciliating.
The Telegraph is savuge beyond measure, besides being
wholly forgetful that sad short-comings have been visited
with urbane indulgence — not to say downright eulogy — in
another place.
We shall return next week to the subject, which will
doubtless supply abundant room for comment up to tho end
of the oeason.
Her Majesty's Tnr^TRjt— (C^mun««rted).— Madlle. Titiens
will leave London for Vienna on Wednesday next, Tuesday being
her last appearance. The theatre finally closes on Saturday
next the 7th August, with La Traviata; Madlle. Piccolomini
and Signor GiugUni leaving London on the Monday following
for Dublin, where they have been announced to appear in a
of 1
Digitized by Google
492
THE "MUSICAL WORLD.
[July 31, 1858.
MADAME OURY'S MATINEE.
A crowded and fashionable assembly attended Mad. Oury's
concert on Friday morning, the 23rd initant, at the residence
of the fair pianiste, in Argyle-street. The programme aimed
exclusively at pleasing the patrons of Madame Oury. For this
purpose a fitter selection could hardly have been made. The
light and agreeable compositions of Madame Oury, at the same
time showy and well-written, could not fail to captivate the
fashionable amateurs of the pianoforte who were present.
Moreover, the pianiste has always been admired for her neat
and graceful xiyle, and both of those qualities were abundantly
evidenced in her numerous |»erformances on Friday. Madame
Oury's share in the selsction comprised the following new com-
positions of her own— " Souvoaird'Ecosse." * Fantasia on Luua
Miller, Solos, " When other lips," and " Oberon Polka de Salon,"—
and Romances Francaisca, "L'Enfant de Chceur," byCiapiason,
and "Le Chardonneret de Rose," by Henrion; all of which
seemed to afford the highest gratification. Madame Oury also
took part in Osborne and de B. riot's Duo Conoertante, for
pianoforte and violin, on airs from GuiUaume 1eB, with Mad lie.
Humler, a lady of some pretensions as a fiddler. Songs, duos,
— i contributed by Madlle. Colmache, Mad. Rieder,
Signor Vera conducted.
DEATH OF MR. GEORGE BARTLEY.
Few men have quitted the stage of life with a fairer and mora
honourable character than George Bartley, the much-respected
and popular actor, whose death took place on Thursday after-
noon, at his residence, in Woburn-square, We have heard that
Mr. Bartley, accompanied by his veteran associate, Mr. Farley,
the lather of the English stage, on the Saturday preceding his
death, was about to visit tho Christy Minstrels, and had got as
far as the entrance to the Folygraphic Hall, when he was seized
with paralysis, and fell, without uttering a word, into the armB
of his venerable friend. He was immediately conveyed home,
but never rallied until his death The only sign of consciousness
he exhibited, was when ho was informed that Her Majesty had
sent to_ inquire after his health. According to the most
authentic accounts, Mr. Bartley was born near London, in 1782 ;
he was, consequently, 76 at the time of his death. His first
regular engagement, after he had tried his wings in a few ama-
teur flights, was at Margate, where the young nctor was seen
by Mrs. Jordan, who recommended him to tho Drury l*nc
management, by whom ho was engaged at a salary of £4 per
week, and made his first appearance on the metropolitan sta^e
In the character of Orlando, in "As You Like It." In 1804,
Bartley, disgusted with the treatment he received at Drury
Lane, went to the Haymarkot, where he proved himself a
most efficient adjunct to the company. After quitting the
Haymarket, he provincialised for some years, advancing
steadily in the knowledge and practice of bis profession, tifi
his marriage with Miss Smith— the successor of Mrs Siddons—
brought him again to the metropolis, where his dibit in
Falstaff (Henry IV.) established hfm a co-mate, and, on their
withdrawal, a worthy successor, of Dowtou, Faweett,
Munden. and other celebrities of a remarkable theatrical epoch.
On the death of Emery, tho Covent Garden proprietors secured
the services of Mr. Bartley, who made his appearance there on
the 1st of October, 1822, as Sir Toby Belch, in TwelftKlfight.
Since that period, his connection with that theatre, under tho
various dynasties who have held sway there, has been almost
without interruption, up to the close of the Vestris manage-
ment. Mr. Bartlev's singular talent as a reader, second only to
that of his wife, led to his being frequently honoured, as well
as her, with commands from royalty, both in the time of her
late MajeBty Queen Charlotte, and, more recently, from our pre-
sent gracious Sovereign, to read at Windsor Castle and Buck-
ingham Palace to a select circle. It should not be forgotten, in
connection with his performance before the Court, that when
Mr Macready declined Her Majestv's invitation to recite
— , at Windsor Castle, Mr. Bartloy was selected for that
His declining years were saddened by the loss of wife
i o wu will be deposited in
of St. Mary's Oxford, to which church he had
indows of stained glass, as a memorial of his
igbter, and as a mark of gratitude for the sym-
the churchyard
presented two windows
only son and daughter, a
pathy he had experienced from the collegiate authorities, on his
son's sudden demise at Exeter College, where he had been
entered as student. As a man, Mr. Bartley had acquired the
respect and esteem of all with whom he was brought into con-
tact. His heart and hand were alike open ; and, to those who
had the privilege of his acquaintance, few have left more genial
recollections, or a fairer memory. Mr. Bartley retired from the
stage at the Princess's Theatre, in 1853, Her Majesty honouring
the occasion with her patronage. Mrs . Bartley died on the 1 4th
January, 1850, aged
M. Jcixibk. — All musical London will be pleased to hear
that M. Jullien will give his concerts, in the winter seasoi
Lyceum Theatre, the scene of his earliest I
Mb. ajcd Mrs. Howard Paul give their (
entertainment, " Patchwork," at tho Egyptian Hall next \
Vivier left Plorabieres on Tuesday to play at Ems, from
which place he proceeds to Badcu.
How to Heal Mario.— Unheel him. (fokcUd by Mr.
Func/i.)
Sophik Cruvklu and Ahmed Pasha. — The story of the
"brilliant inheritance" bequeathed to the Baroness Vigier (late
Sophie Cruvelli) by the late Ahmed Pasha (whom but now the
Rhine swallowed), is nothing better than a canard. Our penny-
a-liners are becoming " perfunctory."
Weimar. — The Grand-Ducal Theatre, which closed on the
1st of July, will open on the 3rd of October with Gluck's
Alcette. Director, Friar Liszt.
V if. sua. — On the 18th of July a service for tho end of the
year was celebrated in commemoration of the late Czerny,
on which occasion only compositions by the deceased were
performed.
Foreign Reoixkxtai Bands. — According to statistics fur-
nished by the MinittreL, the four most renowned corps of music
in Europe, attached to regiments, are maintained at thejbllowing
cost: — The Guides de Paris, 60,000 fr.; the Guides de
40,000 fr.; the Mariniers de Trieste, 7,000 florins; tho
diers of the Hague, 6,000 florins.
is
of the
New York.— £
the 25th of June, under the direction of M. Otto !
number of small theatres in the capital of tho United !
now considerable.
Pa dca.— The Italian journals are unanimous in ;
new opera, Jon«, recently produced here, from the pen of L
PetrelJa, and which has achieved a most legitimate success. Signor
Negriui was recalled several times after the first performance ;
and Signors Bendazzi, Corai, and Selva, came in for a share of the
honours of the evening. — {Where was the prima donna f Ed.]
Canard — (From the Aev York MtaictU World). — Apropot of
Joachim; wo recollect his advent in London in 1844, when a
mere boy of some thirteen summers, and shortly afterwards
being present at a rehearsal of the Philharmonic Society, when
he had to play Mendelssohn's concerto. It was the last rehear-
sal previous to performance ; and, turning to Signor Costa, who
was conducting, he asked his advice as to the propriety of intro-
ducing a cadenza in a certain portion of tne work. Costa,
believing it to be a boyish freak, opposed his wish, with some
remark about his interpolating Mendelssohn's music with Ins
own composition, whereupon the boy-artist took up his violin,
and commenced a long cadence, formed entirely on various
phrases from the maeitro't greatest work— so carefully united, as
to form a continuous and rythmetical succession of ideas ; while
not a note of his own could' be brought against him. Need ws
say, that when he had ended, tho entire orchestra rose to applaud
him, including Costa, who was probably tho most enthusiastic of
them all. Aula Breve.
[Unfortunately, Mr. Coeta was not the Philharmonic con-
ductor in 1844; nor did Herr Joachim ever introduce a
cadenza, in Mendelssohn's concerto. « Alia Breve's"
is capricious.— Ep, M. W.]
Digitized by Google
July 31, 1858.]
THE MUSICAL WORLD.
493
MR. LESLIE'S "JUDITH."
(From Aru't Birmingham QatttU, July 86th.)
This work, which wo have reason to expect will be e highly inte-
resting feature of our approaching Festival, is from the pen of a young
composer, Mr. Henry Leslie, who, though educated aa an amateur, haa
gained a distinguished position among the muaical artiata of the day.
Hia reputation for several yean haa been gradually riaing. His
oratorio of Immonnel haa been received aa the first-fruits of • genius
destined to high achievement* ; and hia second work of the same class,
about to see the light in the Town Hall of Birmingham, will, we doubt
not, more than fulfil the promise given by the first.
Having had the opportunity of examining the score of this oratorio,
we feel ourselves entitled to apeak with some confidence of ita merits
subject, Judith has greatly the advantage of ita pre-
m»l, which, with all its musical merit, creates an impres-
sion of heaviness ; being loo much of the nature of an exposition of ab-
stract religious truth*. Judith is a dramatic poem, full of stirring inci-
dents, calculated to excite strong interest, and affording ample room for
muaical expression and effect. The story of the poem ia told by ita
title i for who does not knew the Jewish heroine, whose arm, by a
single blow, delivered her country from the Assyrian yoke - The sub-
ject, strictly speaking, can scarcely bo termed sacred, as the Apocryphal
book* are not admitted by our Church into the canon of Scripture.
Yet, though we deny their claim to inspiration, we receive them aa
trustworthy portions of Jewish history ; and history contains few
thing* grander or more beautiful than the noble stand made by the
Jewish people, under the Maccabees and their other heroic leaders,
against the gathering storms which surrounded them on every side,
and at length swept them from among the nation*.
The poem i* by Henry F. Chorley, a gentleman of well-known
literary ability. In constructing it he haa adopted the language of the
parte of Scripture.
It is in three parts, or scenes. The first, entitled " The Beleaguered
City," paints the internal condition of Bethulia when Holoferne* and
the Assyrian hoat ait down before it* walla. While the people are
distracted by fear and disunion, Judith appear* among them, rebukes
them for their want of confidence in the Moat High, announce* her
design to attempt their deliverance, and departs, followed by tho
prayers and blessings of the priests and people. The second part,
Mdher attendant in tL'oam^'wintral'urti^n to the Ts?yrfen chief j
the blandishments wherewith she captivates him ; the banquet to which
he invites her ; and the orgies in which she pretends to join, while she
watches for the moment when the may strike the blow. In the third
part, " Night and Daybreak," we have the completion of the enterprise,
and the deliverance of the city, celebrated by songs of praiae and
thanksgiving.
We may now point out a few remarkable passages in the music. An
instrumental introduction, well calculated to awaken attention, ia followed
by a chorus of the people of tho beleaguered city, in the gloomy key of
nencing in a suppressed and scarcely audible murmur,
indicative of dismay, but gradually rising to an ei preeaioo of firmness
sad resolution. This chorus at once shows the facility and clearness
with which the composer msnsges large masses of harmony. It leads
to a duet for a soprano and tenor voice, " Spare Thy people, O Lord,"
remarkable for the graceful flow of the solo parts, and the soil, subdued
harmony of the accompanying chorus. A brief recitative describes the
sufferings of the besieged people, dying of {amine. They rise in their des-
pair, and clamour violently for peace. This scene is graphically represen t ci
by a succession of brief impetuous choruses of tbc people, mingled
with the replies of Oris*, the chief of the city, who endeavour* to
. calm and encourage the multitude. Suddenly Judith appears among
them, end in a recitative of great energy reprove* their violence, and
exhort* them to tru*t in tbc Almighty. They aoawar in one voice,
"Fray for us, for thou art a godly woman !" The prayer of Judith,
in answer to this appeal, is an air of great beauty and deep solemnity,
which, a* delivered by Madame Viardot, will be one of the most
impressive passsges in the oratorio. A brief chorus of the people
concludes the first pert.
The seen* now change* to the besieger*' camp, and the second part
opens with a monologue of Holoferne*— an air in a pompom and
grandiose style, characteristic of the leader of the Assyrian host, and
admirably calculated to display the power* of a fine barytone voice.
Jndith and her attendant appear in the camp, and are surrounded by the
soldiers, whose hasty question., with her brief replies, are treated in that
ofwhichwefind
in St. Paul and Elijah. The soldier* escort her to the genersl's lent,
and while she is waiting for admission, her attendant, Arnitsl, addresses her
in words of counsel and encouragement j a situation which introduce*
a magnificent air by the principal soprano (Judith's part being a con-
tralto), " The Lord preaerveth all them that lore Him." It is the bold
and open key of A major, and full of brilliant paasages demanding a
voice of great power, compass, and flexibility. They are then admitted
into the presence of Holoferne*, and the interview assumes the form of
a trio between the general and the two female*, — a concerted piece
equally dramatic and beautiful, in which tbo characters of the different
person* are finely discriminated and sustained. It is elaborated with
masterly skill, and contains several striking effects of modulstioc,
especially a transition from th* principal key G, at one* to E fist.
This trio will be one of the most marked features of the oratorio. The
finale to this part i* a remarkable piece of sound-painting. The shoots
of Holofernes and his joyous company, " Come, drink, and be merry
with us • " the gay rhythm of the music, accompanied by the barbario
clang of brazen instrument*, suggesting the idea of martial pomp
mingled with songs and dances — while the two Jewiah women, apart
from the rest, are heard from time to time to utter ominous words to
each other ; all these thing* unite to form a picture which bring*, a* it
were, the whole scene before our eye*.
In tho third part, the sounds of the revel continue to be beard, but
they are wsxing low. The feesters are still singing their bacchanalian
oborus, but in faint and drowsy murmurs, while the two Jewish
repeating to each other the legend of Jael and Sisera, their
suppressed voices mingling with th* dying chorus. At length Holo-
fernes is left asleep upon hia couch, with Judith alone in the tent. She
implores the Divine aid in a short air or ca vat ins, for the composer
appears to have wisely judged that this situation could not be pro-
tracted; but the air is beautiful and full of the deepest expression.
The deed of blood, rendered heroic by patriotism, is nan
recitative, accompanied by the orchestra in agitated
and modulations. The recitative goes on to relate the escape
of Judith, and her return to the gatea of Bethulia. Her call.
"Open now the gates! God, even our God, is with us!"
i* a grand piece of musical declamation, quite suited to the
great performer to whom it is destined. The gste* sre opened,
and tho heroine enter* amid fttftk e* of trumpet*. She is welcomed
by Osias, the chief of the city, in a great and highly-wrought air, full
of energy, and demanding a tenor singer of the very highest order.
Then follows a trio for Amital, Judith, and Otias (soprano, contralto,
and tenor), which lead, without interruption to the final great chorus,
tho three *olo voice* being continued to the end. It is a strain or joy
and thanksgiving, in which the composer haa put forth all his contra-
puntal strength. We observe that he, like Mendelssohn in hi* latest
works, does not adhere to the scholastic form of fugue-writing. His
counterpoint is free and unembarrassed by those technical restraints,
whilo it is strengthened by all the legitimate resources of art. The
different parte are of the most skilful and masterly texture, while the
solo voioe*, with which the masses of harmony aro blended, stand out
in bold and brilliant relief from the choral back-ground. This noble
chorus, in short, is a climax worthy of the great work which it brings
tOB<
Prague — The performance of Louis Spohr's Jeuonda
at the Jubilee, under the personal and adinirablv ener-
getic direction of the talented composer, proved in a
truly enthusiastic manner how much Prague appreciates and
honours him. Immediately he took his place at his desk, which
was adorned with laurel, in the midst of the members of the
orchestra, all in full dress to do honour to the occasion, a
thousand welcomes and huzzas broke out in the house, which
was crowded to suffocation. Every opportunity, however slight,
that the performance offered was seized on with the greatest
avidity to express the extraordinary sympathy of the audience
for this father of German music After almost every sceno
Spohr's name was heard. The Seism duet had to be repeated,
and from that point the enthusiasm increased. After the
second act the composer was called forward, and was also
obliged to appear at the conclusion of the opera, in
obedience to a summons which lasted several minutes.
The oration reached ita culminating point when Herr
Thom6 advanced and placed a wreath of laurels on the
composer's head. The opera was given in its entirety, and the
management is deserving of ail praise for having done everything
Digitized by Google
494
THE MUSICAL WORLD.
[July 31, 1858.
[ — (From a Correspondent). — The first
; of vocal and inatruuionUl music for the bathing season,
at the Etabliasemeut des Bains, took place on Monday evening,
i a Mlect audience of bathers, and passed off with decided
As a specimen of the sort of entertainment provided
'. subjoin a
' chantv psr MM.
VREMtcas Famiie.— Air Vario duo (piano et Tioloticello), execute par
MM. Kobe et l'iatli— Mendolasolm. Kecitatii et Komanor, " In terra
Solo" (Don ScWtion), ehantes par M. Beiehardt— Uoaiaetti. Souvenir
ds "Lucia di Lamermoor, compose ct •x&uto par M. Piatti. Romance,
" Page, Keiiyer, Capitaiue," cliantiie par if. J. Lefort — Msmtaec. " La
Mia Letixia," " Marohe triomphate," executes par M. Ktiho — Oury
aod Kube. Air, "Casta Diva" (Norma), ehiatti par Mdlle. "
de Vsnneroy— Bellini. Duo, "Vertate mi del Vino," chanti
Keiehardt et Jules Lefort— Sehira.
Dsuiif.MB 1'ahtie. — Trio, " Trcnno nicht dui Iland der Liebe,"
chant u par Mdlle. Colmache de Vanneroy, MM. licichardt et Lefort —
Kreutxer. ■ Au bord d'un Lac," " Uraud Galop," uoeutes par M. \V.
Kiihe— Kuhe and Walleuhaupt. Romance, " Thou art so near and yet
so far," composes et chanted par M. Keiehardt. "Litania," "Hants
Bergameaca,'' execute psr M. A. l'istti— Schubert and Piatti. " L'In-
somnie," eliantee per M. Jules Lefort — NaJauJ. "L'Knfant de
Chour," " Le Chardonneret de Hose," melodies cbantees par Mdlle.
Colmache do Vanneroy — Clspiason and Henrion. Trio, " Zitti, Zitti,"
(Barbier ds Seville), chantf par Mdlle. Colmache do Vanneroy, MM.
Keiehardt et J, Lefort— Kossmi.
Le Piano, tenu par M. de Cr»u, sort des ateliers de Mad. Veure
firard. Prix d'entiee :— Pour les abonuca, 3 francs | pour lea non-
abonnes, 6 francs.
The singing of ITerr ReichanH, the German tenor — a great
favourite here — was fort goutt. His own beautiful song, " l'hou
art so near and yet so far," was the vocal gem of the concert.
Piatti was, as usual, incomparable ; Herr Kuhe played his best ;
and a young vocalist, Millie, Colmache de Vanneroy, made a
highly favourable impression.
At the next concert, Miss Arabella Goddard and M. Sainton
are engaged.
Is ko km ATI ox from Bisux. — The expenses of the Royal Italian
Opera, Coven t Garden, aro so enormous, that, in spite of its
being well attended, it is not doing well in a pecuniary sense.
The salaries of the artists for the entire season amount to
£20,000, the rent (the ground on which the theatre stands — as
well as half London— belongs to the Duke of Bedford) is £6,000 ;
the orchestra costs £7,000; gas, chorus, and current expenses,
■£13,800; and extra expenses, £3,000. This makes a grand
total, for the sixty -six representations which can be given Id the
season, of £55,800, or of £843 for each performance.— Berlin
Munlc-Zeitung.
Hemel Hempstead. — Miss Hales, the pianist, gave a concert
at the Town Hall on Wednesday evening. She was assisted by
Madame Lisa Haynes, Mrs. Paget, Mr. Paget, and Mr. Wilbye
Cooper, as vocalists, and Mr. George Case, as instrumentalist.
Miss nales's performances comprised a duet for pianoforto and
concertina on airs from the FitU Ju Rejitnmt, with Mr. George
Case; Liszt's " T'atineurs;" nud Thalbcrg's "Home, Bwoet homo."
The singing of Madame Lisa Haynes and Mr. Wilbye Cooper
was much admired. The lady, among other songs, gavo the air
Qui sola," from Harfha. The English words (" The Inst rose
of summer") would have suited the audience better. Mr. Wilbye
Cooper has a very pleasing voice. Ho may be called a lenorino
in place of a tenor. Ho sang the ballad " Tell me, Mary, how
to woo thou" very sweetly.
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ALLEN'S PATENT SOLID L BAT 11 Kit PORTMANTEAU, with four Com-
'ai'le'n'S PATENT DESPATCfl BOX, with and withrat Dressing Case
kl&Xtn PATENT TRAYEI.MNU BiO, with aquara o|iauIng. Thasua
are the best of the kind yet ir.v r.tsd.
J. W. and T. ALLEN, Manu^icturors of Pnrtablo Batrack-i
Military Outfitters (see separate CaUlfgus), 18 and R, Strand.
G
KEY HAIR RESTORED TO ITS ORIGINAL
cured
BRC!
get out of
B-u«be*.
lis. ; Con
iu i l.d lnee« i revealed by F. M. H.'s Patent Privc ti»« RniaK price is. aad 6a.
Office.. 3*. Basinghall-stroel, London. Illustrated pamphlot. "Why nsir
become. Grey, aud ita Rrmedy," gratis, or by post for four slam pi. Sold by all
chemists and perfumers of repute.
THE IMPROVED HARMONIUM. — Mr. W. E
EVAN'S, li.Tentor of the Et>glish Ilsrmoalum (exldbltad In Loudon In 1MH
calls attciillou b> the imprm-amenta be baa lately made in this InstrumenL The
subjoined testimonial from Mr. Alfred Melli>n Is one of the many he has recaived
Till Va«. Kiko's Rosn. Cnsusa,
Marcb I»th, Isii.
in giving you my opiuiou upon
, it is the beat instrument or the klinl I liavo ever heard.
Toura very truly,
. W. E. E«na
41, Norioik-stratt, Sbcfllsld,
INSCRIBED TO THE MARCHIONESS OP HASTINGS.
Now rcs'lr at all lh« Lihrariea in 3 »ols.,
THE NEW NOVEL, "RUMOUR." — By the Author of
"ChaVrlcfl Aucli«ster.>* "Oouatcrp*srti,"cic.
"The IttttKal atUcMug to tui* novel trill bo cortiun to rW'tnm'i d It to All
loTora of the rnm&niic ich< ol. The hero is an tiri'A^to m i-icnl composer, wh'.xo
tho w .rkl wlil liav* nc.d>ActiHy to IdsMiUfjrtoir with Ueetbo**n Unhtui
BOOSEY AND SONS' POPULAR DANCE MUSIC,
as parformrd at eecry plaea of public nn ustnanl — I^nrrtit's Msod V»:as
ftlLird editlou) la. Launmta ArgyU Galop, Sa Lamotto's Adelaide Vaaja ir.
Lamntle's TraviaU Oalop, 7t- Laurent's Rofnanoft* Valao, 4a Laurent'* Mai
gucrite Polka, 3« Mentngne'i Travl va Valac. 4s Msllon's IaahclU Valsc. 4i
D'AllKTt a linda Quadrtlle, 3a. Gugllclrao's Oal"p Purfsax. la Lsunjnl'a Heoond
8et of lancer* Quadrille, 3». Balfe • Serenade Quadrille, la Tha above an«fl*ab-
llsfaad lor orchestra, 3a dd. each, and (or septet, IS. Cd. each. Any one post-free.
Bousey and * u»' Uuslcal Uhmry, Hotlas street.
Digitized by Google
July 31, 1858.]
THE MUSICAL WORLD.
495
NEW AND POPULAR SONGS
PUBLISHED BY
MESSRS. DUNCAN DAVISON AND CO.
"I'M WOT IK LOVE, REMEMBER.'
M. W. UALFE.
IVctry l.jr Je*«c» IUkkik. l'nccIU. At
Prithee tell me, gentle air,
Why my henrt is full of aire,
And why ho pictures charm ine ;
It U not low torments ine so,
I scorn tlie wily urchin's bow,
His arrows cannot harm nie.
I try to sing— my roico is sail.
bat then 'ti.< jnst as lad,
I ihl'p-
Such gloomy things I drann on.
Can you not tell ? nor you ? nor you ?
Oh then, I know not what to do
To charm away the demon.
I sometimes think, if *■ I know who"
Were here— he'd tell me what to do
To bid the demon slumber;
Could I but hear his viricc again,
I'm nre 'twould cheer my heart,
I'm not in love, rcmeinhcr.
"QUICK ARISE, MAIDEN MINE."
J. DES8AUER,
Ti e EllffU.ll VeTaiou by J>-BX Oxexfohd. E*l Mn 2s.
Quick arise, maiden mine,
Make not thyself too fine.
Let thine eyes brightly shinc
Liko any star.
Tra la U, Ac.
Quick arise, maiden dear,
Hluc U the sky and clear,
Goats o'er the mountains peer,
See tbem afar.
Tra la la, &c.
Quick arise, maiden m'me.
Brighter than sunbeam* shine,
Sparkling with joy divine,
Thy glances are.
Tra la H, Ac.
"MY MARY."
Cvmyjtei by
M. ENDERSSOHN.
Po-.'try liy Joif.f Ellisos. I'rico 2..
On the hluc deep
Silver beams steep,
My lark glides as swift as a bird o'er the
And in the calm light,
So lioly and bright,
Mary, my Mary, I'm thinking of Hue.
From our dear home
Away on the foam.
My visions as far as an angLTs can bo.
And oft thy dear form,
I sue mid the storm
Mary, my Mary, while Hunting of thec.
"OH, TAKE ME TO THY HEART AGAIN."
M. W. 1ULFE.
Vontry by Jessica Haxkix. Prico Is.
Oh, take me to tbv heart again !
I never more will grieve thee,
All joys are fled, and hope is dead.
If I indeed must leave thee.
Forgive the wild and angry words
This wayward heart hath spoken,
I did not dream those cherished chords,
So lightly could he broken.
I think how very sad and lone
_ This life would be witliout thee,
For all thy joys this heart has known
Are closely twined about thee.
Oil, teach me to subdue the pride
That wounded thee so blindly.
And be once more the gentle guide,
Who smiled on me so kindly.
"WEEDS AND FLOWERS."
C.'tapoMd fry
Dr. JAMES PECH.
I'oc try by Mrs. Alraxo V. Newtow. Price 5s »1
One moonlight night
An elfin sprite
A alight adventure wanted.
So his way he took
Tn a shady brook
Which he knew by Love was liauuted.
And as be went,
lie shook his wing*
And from them fell in showers
Bright colored things of every hoe,
But some were weeds, some flowers.
A youth and maid
The fairy said
Oft roam this path together;
Her face U bright
With summer light.
But his like winter weather.
Her hand I know
Will outstretched be
To cull the flowers right gladly;
Hut mingled weeds the youth will see,
Aud turn him from them sadly
Chasing away tho maiden's glee,
Ry whisperiug t» her sadly.
Tho maid and youth
Come there in sooth
And marked the scattered treasure ;
Tkjo maid, in her hair,
Wore a cluiplct rare.
But unshared was her guileless pleasure.
On walked the youth
With icornful tread.
When a warning voice floated abovo them.
Life, like the fairy-strewn path, it is said,
Hath flowers for all who cull tb<
"Go sit by the summer sea." by Edwin- (!. Moxk
"Sweet little Jenny," by M.
" Tbou art so near and vet so far," by A. KilCHABDT
"At early days dawning," by S. C
.. d.
3 0
8 6
LONDON :
DUNCAN DAVISON AND CO.,
DEPOT GENERAL DE LA MAISON BRANDCS, DE PARIS,
244, REOtENT-STREET, CORNER OF LITTLE ARGYLL-STREET.
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496
THE MUSICAL WORLD.
[July 31, 1858.
PIANOFORTE DUETS.
BOOSE Y
OPERAS.
AND SONS' OPERA J OURNAL
1* from 1J to SO of the moat frvmirite A in unopd u brilliant Duet*, by !
Ia doth rolameA, •» »»*lAjn» UU »m«tf pria.
a.4.
.. .. I o
.. .. I *
T 6
.. • •
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..6 0
■• ..6 0
..JO
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10.
11.
11.
IS
S
5
Id.
0 0
1*. KUaira J' Amor* . .
S 0
IT. Pre mx Clrrta ..
C 0
18. Bruaal ..
• 0
19. Ultimo Oloroo ..
• •
20. Bcatrto* ■ .
T «
11. Loci* <li LamiDOnn
ft. Z+mp* ..
OVERTURES.
.. a.
T 0
1 •
4 0
t •
8 0
5 0
A 4
S 0
It
• 0
5 •
■ •
1 0
*.A
< 0
4 0
I •
• •
4 0
RUDOLF NORDMANN.
FIRST SERIES OF OPERATIC AIRS AS DUETS.
id
..so
..so
.. 1 •
.. 4 •
.. S 0
.. a •
7. BaUplan, FUle du
A O luoa dl
». II aagroto
10. A hud O
11. "
HL
oor. Batta.lt. dl
> d
.. » •
.. » •
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SECOND SERIFS.
1 A U u an, Puritan! S
5. Pn poeo a mo, Luvia dl LanHaarmoor 4
J. IfobM Mfsaura, anil Batapjan. La* Bmaoli I
4 O fortwo. ft too' caprioe. Bobart Ic lMabl* Kl S
8. La tnka tetiika, LocDbftTtli .. .. .. ., H t
6. 11 baleo, and Di quaint pin, II Iterators 4
ttt
T. Hi 1. ktaoobOBxiL. II TroTfttortt 10
A Com' e genUl, Don rtuuu-ile •. .. .. *. .. M f I
9, D' uu pcnaiero, honiiAmpul. .. .. .. .. *• ..AO
10. Sur.&A la tmnbiL, Puritaui ..40
11, Htin vcrgtn tfj.iv*. ,. .. ., ..AO
IS. ls> .louua t mobllo, Kiiroletto « 4
SCHUBERT.
L0HGB70R9T.
3 0
J o
4 0
4 0
3 0
so
Ko*n at BUucli*. 3
Le Torrent Valae ..
I* Oi»«e RoYmlr, '
• da Marfe, V.
*• ■■ • »
*•
V.di«, •• ■■ ••
*■ ■•
ui
. • • • . •
Imitation a Ix V»u*
MABSCHAS
• of Germany, 6 No*. 2a. each, or
1 «
S 0
t 0
S 0
1 •
i e
i e
4 4
< •
B00SEY ft SONS' Musical Library, 24 and 28, Holles-Btrwt, Oxford-rtreet
by Join BooalY. of Ca*tleb*r-hiU, is the pariah or
1*, Johs-atrwt, Gnat Portland strati ALLS*, "
Joan Barm) ran, Kcnrg*t*-*ti*at
Dublin ; and all MuiL-allm
l- 00, St.
of Boosct A Son*. SS,
•Olt^A SO* r
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• Tai WOSTH OF AlT AFPKAH8 KMT EMINENT IX MCSTC, 8X9 CB IT UQUTBBfl KO MAMMAL, NO 6U BJECT-MATTJB, WUOSI EFFECT MOST
:- Stamped for Postage, 80s. per annum-Payable in advance, by Caahor Po»t Office Order,
to EOOSEY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 32.
SATURDAY, AUGUST 7, 1858.
I
STAMPED 6d.
NOTICE.
B WILLIAMS, Music Publisher, of 11, Paternoster- row,
• London, has entered into arrangementa with Musn EOOSEY, of Holh •■
■erect, the proprietor! of the Italian and French version of •• MARTHA.'' for the
publication of the asms In connection with an English tr.inslatlc.a to he performed
by the Harrison and Pyne Company At Drury Lane Thtutre
-New
T AURENTS ROYAL QUADRILLE BAND.-
TO PIANOFORTE MAKERS AND MUSICSELLERS.
—An EXPERIENCES TUNER and REGULATOR, who thoroughly- under,
stands repairing. In oj-on to on engagement. For
Ability, address to Toner. Poat-cftoc, Edinburgh.
A YOUNG MAN, who is engaged during the day, would
like to meet with employment from ? till lit in the evening Ho would
keep » set of book*, or make himeolf tiaeful in itnv capacity far a small rvmno.ra
lion. Address A. U , are of Messrs. Booeey end Bona. Hollos-street, Cavendiah-
DURHAM CATHEDRAL. — The appointment of a
COUNTER TENOR SINGER to the vacant place In Dwrtl— Cathedral,
will bo made on Tuesday the Ssth clay «,f September neat. The tnal will take
" —\ week, Immediately
be sent in,
■ of
College. Durham, July SI, ISA"
HEREFORD MUSICAL FESTIVAL, August 24th,
iitb, i6th, and ITth. PrmeJpal performers — Manama Clara Novell", Mia*
Louisa Villains. Madame Weiss, Mrs. Clare Hepworth. Miaa Laaocllsa, Madame
Vtardot, Mr Sims Reeves, Mr. Mootem Smith, Mr. Toumaa. Mr Wean. Pro-
grammes may be obtained. After July Sib, of the Conductor, Mr TownaheoJ, The
Close,
, Hereford
BIRMINGHAM, HEREFORD, & LEEDS MUSICAL
FESTIVALS.— Handel 'a Messiah, la Id.: Israel hi Egypt, -Ja ; Asia sad
Galatea, la. ; Dettingeo To Ileum, fee. ( lit pagra), 2e. ; Haydn's Creation, >s. ; and
r-oaaona 2a; Mourn of Olives (Beethoven). 2s , Stabat Mater fsV<a»im). 3a;
B-e-b' Ten's Service m C. Is. Robert Cocks and Co a Original rt. HANDBOOK*
iR THE ORATORIOS Specimen pages of 21 work* gratis and
MR. AND MRS GERMAN REED'S NEW ENTER-
TA1NMENT — Last Weeks. Introduction of four Onginal Char.ioUra and
!*>ngx, every evening (excwi.t Saturday) at Eight Saturday Afternoon at Tliree.
Admltttosi. la. *a, and Sa. , (Halls aucmed without extra charga at the Royal
Gallery of Illuatratiou. 14. Regent-street, and at Cramer. Beats, and Co. 'a
301, Regent street,
tour. Application
The Gallery to be let duril
ly letter only to Mr. 1. H. nil
Mr. and Mr*. Reed's
in,
USD TO THE MARCHIONESS OF HASTINU8-
Now ready at all the Libraries, in J Tola..
NOVEL, "RUMOUR' —By the
" Charlee Auobeater, " etc.
- clever, musical, and ari latic novel " — 1 1 V M eg.
Hunt and Blsekctt. Publishers, 13. Great MariberougSi-strrtU
rpHE
Author of
AMILTON'S MODERN INSTRUCTIONS
THE PIANOFORTE. Re-edited by tbe great CZRRXT- 18S-.L edition, as.
We are Ufonned that the tale is frequently S06 copies weekly, and (like Aaron's
that it baa devoured all Inferior pnafuctkma No one, tbemfore. need be
any doubt aa to which la the beat " — Tkt SeeJbaUtr. June 24. Hamilton a
of .l.iuu Musical Terms, Mth edition.
H
rod
FOR
Carkes Catechism, Jlst
la
32
; Robert Qo*k» *xA Co., Now 0iirUngtc4i-*tr«tt, W.
Book I. now ready. Price 4*.
BEETHOVEN'S EOMONT. — The Overture, Songs,
Eutr' Aetee mualc, compoesd by Beet norm loGuethVs Tragwiyor EOMONT,
M ramrod for two performers on the pianoforte 1
,vW.
l.'-iinr
11. Onutimu. Tht) Overture^,
LAURENT'S MAUD VALSE
Iauirent's New Veleos from Martha and
Qoadnlks
Booeey am
(fourth edition), pri
Lniaa MUler. price 3s. c.
ce 4s.
^price^3a. each; anil
power el u gronu la eutainco: irom a collage
wires and the frame on whloh they are strung t
of temperature equally and together, so that tie
In the ordinary instrument, Ta entirely obrUtc
PI ANOFORTES. — DEWRANCE'S COMPENSATING
PIANO may now be aero at the depot, 33, Soho-square- By the application
of title principal a hrs< ler string eau be uaeJ. the reeult of which la, that the full
of a grand la obtained from a collage Instrument, at the same time the
expand and contract with change
o necessity for frequent tuning, as
obrUted For fulness and roundneaa of
tone, with extraordinary po*trs of modulation, three instruments are quite un-
equalled, at tbe same time tbe price la no higher than that of an ordinary piano.
THE IMPROVED HARMONIUM. — Mr. W. E
EVANS, inventor of the*Eugtlah Harmonium (exhibited in London in l*ii\
culls attention to the improvements be has lately made in this inatrumenU Th-.-
subjoined testimonial from Mr. Alfred Mellon ta one of the many be has received
from eminent professor* :—
The Valk. Kino's Road. Chbjlaxa,
March 19th, 1B&8,
Daaa tun, —I have much pleaaure m giving yon my opinion upon tour
Harmonium ; It la the beat instrument of the kind I have ever hear; > f
To Mr. W. E. Kvaiis.
«,T
I truly
ALFRED MELLON.
ONE OF THE FINEST ORGANS! IN
TO BE SOLD,
CHURCH, CATHEDRAL, OR GRAND MUSIC HALI.
Apply to tbe Publisher, of the "Musical World."
in.
nun rar. rATMsTAO* or
HER MOST GRACIOUS MAJESTY THE QUEEN,
H RH. THE PRINCE CONSORT,
THE HOTAL FAMILT.
baa most respectfully to announce that he is open to
i hit highly approved, ta tr resting, pleasing, and instr
MUSICAL ENTERTAINMENT,
DR. MARK AND HIS LITTLE MEN,
effective Chorus*, tbe
ufv.iardu of tliirty IuvtrumcDtaliaifl, au>l a
wholo farmitig a atoat comptcte and
JUVENILE ORCHESTRA,
ooMroaan or
sh, and Scotch boya, from fire to sixteen years of arfe, wj^ef
, solos, duets, quartets, iiuadrillce, msrvl.ee. -Mid p»Udu>l an-*
ee, fee. In a m»at effective manner, and to whuui lii>'aftveai 1
gnituitoiia general and musical nlisnstioii In order to lllustiate bis tsVai; iipprvee- 1
system of musical educarloo. and with whom lie travels iib«ilenW*L-aritiy t»
excite an interest for and help to tstablish musical Instltuttorur csilod "t^oi*
ssrvatoirss ol Mujic" for little children in every town. city. ar4 -enfage of ilia
Little Englli
ope nilli* sele
sing song*, i
L>:. Mark and his
A-jgusl 1 to August 14
Digitized by Google
THE MUSICAL WORLD.
[August 7, 1858.
NEW AND POPULAR SONGS
PUBLISHED BY
MESSRS. DUNCAN DAVISON AND CO.
"I'M HOT IN LOVE, R
Compomi »y
M. W. BALFE.
Poetry l.y JssMCi Riskim.
Prithco tell ine, gentle nir.
Why my Heart is full of a
And why no pleasures <
It is not love torments ine so,
I scorn the wily urchin's bow.
His arrows cannot luirm mo.
I try to sing — my voioo is sad,
I sleep— but then 'tis just a* liad,
Sack gloomy thing* I dream on.
Can yo« not tell ? nor you ? nor yon ?
Oh then, I know not what to do
To charm away the demon.
I sometime* think, if « / know »Ao"
Were here— he'd tell me what to do
To bid the demon slumber;
Could I bot hear his voice again,
I*m n re 'twould cheer my heart, bot I
I'm not in love, i
QUICK ARI8E, MAIDEN
J. DES8AUER,
by Joblk OxstiroiiD, Esq.
Quick arise, maiden mine,
Make not thyself too One,
Let thine eyes brightly shine
Like any star.
Trn la Is, Ac.
Quick arise, maiden dear,
Bluo is the sky and clear,
' i o'er the mountains peer,
Tr.lala.Ae.
Quick arise, maiden mine,
Brighter than sunbeams shine,
[with joy divine,
Tre la la, 4c
M. ENDKRSSOHJT.
Poetry by Jous Ellison. Price Is.
On the bme deep
Silver beams sleep,
My bark glides as swift as a bird o'er the I
And in the calm light,
So holy and bright,
Mary, my Mary, I'm thinking of thee.
From our dear
Away on the foam,
My visions as far as an angel's can be.
And oft thy dear funn,
I tee mid the storm,
Mary, my Mary, while thinking of
TO
M. V
Poetry by Jessie
THY HEART AGAIN.''
to
BALFE.
fUxaui. Price 2a.
Ob, toko me to thy heart again!
1 never more will grieve thee,
All joys are fled, and hop. • is dead,
If I indeed most leave thee.
Forgive the wild and angry words
This wayward heart hath spoken,
I did not dream those diertshed chords,
So lightly could be broken.
I think how very sad and lone
This life would be without thee,
For all thy joys this heart lias known
Are closely twined about thee.
Oh, teach me to subdue the pride
That wounded tbee so blindly.
And be once more tho geiitle guide,
."WEEDS AND FLOWERS."
(Vw/ioMct by
I Dr. JAMES FECH.
Poetry by Mrs. Altbsd V. N'rwTOjr. Price 2a «4
One moonlight night
An elfin sprite
A alight adventure wanted.
So his wav be took
To a shady brook
Which he knew by Lore was 1 taunted.
And as he went,
He shook his wings
And from them fell in shower*
Bright colored tiling* of every hue, '
Bill
A youth and maid
Tile fairy said
Oft roam this path together;
Her face is bright .
With summer light,
But his like winter weather.
Her band I know
Will outstretched be
To cull the flowers right gladly;
But mingled weeds the youth will tee,
And turn him from them sadly
The maid snd youth
Come there in sooth
1 marked the scati
The maid, in her hair,
Wore a chaplet rare.
But unshared was her guileless pleasure.
On walked the youth
With scornful tread.
When a warning voice floated above them,
Life, like the fairy -strewn path, it is sm
Hath flower* for all who cull them.
< Go sit by the summer sea." b
' Sweet little Jenny," by M.
Edwix O. Moxk
s. d.
. 2 0
. 2 0
" Thou art so near and yet so far," bv A.
"At earl, days dawning,'' by S. ~
LONDON :
DUNCAX DAVISON AND CO.,
DEPOT GENERAL DE LA MAISON BBANDUS, DE PARIS,
•2U, REGENT-STREET, CORNER OF LITTLE ARGYLL-STREET.
s. d.
r .* 2
Digitized by Google
August 7, 1858.]
THE MUSICAL WORLD.
499
RECOLLECTIONS OF CALIFORNIA & AUSTRALIA.
BT A MUSICIAN.
(Co*tinurd from page •187.)
It may well bo conceived, thai after my affliction, I could bear
no very good feeling towards a country which had so cruelly
repaid my admiration of it* beauties. I positively loathed the
place ; even my pretty house, that I hnu taken such pride in,
was to me but a remembrancer of grief, aud pain, and long night
watches, uncheered by the faintest ray of hope. I found that,
under these feelings, not only my bodily, but my mental
health was suffering, and that if I remained I should become a
madman. I therefore girded up my loins for another departure,
and wishing much to see England, to which I had only
paid a flying visit the year our good little Queen was crowned,
thought I would take Australia on my way, and thus
finish my tour of the Now World before I began to
rummage the old. But, as it is not very polite to leave a friend's
honse without a good-bye, I must just say a few words, if only to
give some of my readers a proper idea of what sort of a place
California really is. Truly the ignorance of people in England
generally about even the very geographical position of this new
land has been to me since my return perfectly incomprehensible.
They go poking about up the Rhine and sweating through Egypt ;
they rummage nasty mummy pits and got gobbled by insects in
Alexandria ; thev air their exceedingly domestic French at
Paris, and talk flippantly when they return of Rue this and Rue
that, and think themselves to knowing, while they cannot tell
whether a new nation destinedatsomo future period to play a noble
part in the world's history, is upon the Atlautic or the Pacific,
or have the remotest notion ot its natural products or political
position. They know that gold comes from there, because they
see it in the paper* ; but, sir, they have scaled the Pyramids
(and of coarse out their a — d names there), they have become
dirty German gambling courts,
itch good it has done
any sensible man, woo has taken tiie beaten paths
of tourists u|>on the Contineut (in the way tours are generally
taken), tell me truly if the only foeliug he has upon his return
ia not that of ennui, perhaps combined with the pleasing sensa-
tion of having spent a great deal of money to very little pur-
pose. Well, then, as to position, California, that ia the centre
of the state, is about the latitude of Florence, and has a most
lovely and healthful climate, never ovcrpowcriugly hot, and
free from frost and Bnow, except in the mountains, free also
from electric phenomena aud epidemic diseases ; the soil is of
uuparalleled fertility, and its natural productions various and
valuable. This fine land, since its first visit by Sir Francis
Drake, and its settlement by the Jesuit missionaries, was sparely
inhabited by Spaniards, Mexicans, and their descendants, who
employed their time in raising cattle, (or the purpose of denud-
ing them or their outer covering, which was sold to the hide
drugers of Russia, America, and England. (I may mention, eft
patsant, that a very interesting description of the place at this
in Dana's Thren Yec
iana 01 course cui meir a — u uanii
intimately acquainted with the din
and the filthy stews of Paris, and
them. Let any sensible man, who
in
in
period can be found in Dana's Three Years before the Mat:,
which ia well worthy perusal.) At last the grand discovery
of gold at Captain Sutter's Mill at Coloma gave at once
an impetus to emigration, and proved the opeuiug wedge
to the future prosperity of the country, but it i
but the wedge; the true wealth of the land lies
her crops of "wa-a-a-vy corn" (as Dr. Boyce hath it). .,
her coal mines, her leather, her wool, her timber, her salted
meats, her tobacco, her quicksilver, and last, not least, her wines ;
of which, believe my prophetic words, this country eventually
will be the queen, as mauy German and French wine growers
have, at great trouble aud expense, imported the vines fitted for
the various soils and differences of climate, and are already
making most exquisite wines, which though now too new to
arrive at perfection, give ample promise of future excellence in
their richness of flavour, and exquisite bouquet. It may readily
be imagined that the first immigration would not be of the most I
steady or puritanical description ; men with broken fortunes, ,
broken hearts, but yet with some hope left, men of bad prin-
ciple, men of no principle at all, men of energy, men of vice,
men of blood, and the floating scum or tiff-raff of the American
and European large citiee, flocked here en masts, and the conse-
quences might readily have been foreseen.
A large party of ruffiaus, who rejoiced in the pleasing appli-
cation of "the bounds," spread dismay among the peaceably
disposed by robbing their tents, and maltreating and murdering
all who were disposed to object to their delicate attentions.
This state of things could not last long, and the respectable in-
habitants banded together,and after some hard fighting succeeded
in dispersing this hordo of ruffians. The place for a time was
peacable aud thriving, and a city sprung up as if by magic ; but
as fast as built seemed devoted to destruction. Five times was
the infant settlement afflicted with the horrors of a conflagration,
uutil the inhabitant* were almost in despair, until the
was discovered— these fires wcro the act* of incendiaries.
To the hon or of the people it was discovered that a
gang of robbers and incendiaries existed in their midst The
sheriff of the county, a pugilist named Belcher Kaye, was the
Grindoffor these " Miller's men," and he was the master spirit
who enrolled all their operations ; at length one of the gang was
detected in tho act of robbery, and then sprung up that famous
league of men, " The Vigilance Committee," whose act* and
motives have been so thoroughly misunderstood, particularly in
this country, where it is too much the fashion to look with a
jaundiced and prejudiced eye upon the proceeding* of other
nations, whose motive* of action do not exactly square with our
notion* of strict propriety.
This committee was composed of the men of peace of all nations,
merchants, lawyers, doctors, professional men, and even clergymen.
The law was powerless, for the officer* of the law were in the
pay ol the thieves, anil any attempt at legal proceeding* was uat
only worse than useless, but entailed upon the uufortunata
complainant the vengeance of the baud of ruffians. This com-
mittee bound thcmsrlve* by oath to administer justice without
fear or favour, and they did it. They solemnly tried and
two men who were escaped on»icts from Van
they expelled all who by the confessions of the
were mixed up In their nefarious projects.
Belcher Kaye escaped to Callas, and for four years and upwards
tho State was purged, and the administration of the law went
on in it* usual and legitimate channels ; but the supiue-
nes* of the people in general in non-attending to their political
duties (a serious fault in a Republic), agaiu caused trouble.
State, county, and municipal office* got into the hands
of needy and desperate adventurous ; the ballot-boxes were
fluffed, that is filled with false votts to ensure tho olection
of some creatures of their own, aud to such an extent was
this practice carried, that, during my stay, at an election,
the ballot box of the eighth ward was found to contain four
hundred more vote* than there were inhabitant*, women and
childreu included. Thia state of thing* could not last ; and it was
some few weeks after my departure that the storm burst. A
murderer, one Cora, had been pardoned a wilful and deliberate
murder by the Governor (it was rumoured upon political
grounds), and a near neighbour of mine, Mr. James King, the
Editor of the Bulletin, was deliberately assassinated in broad day-
light by a man named Casey. This was the last feather that
broke the camel's back, the Vigilance Committee (never dis-
banded), again sprung into being, and in a week ten thousand
men armed and equipped with rifles, muskets, pistol*, and
artillery, commenced a thorough purgation of the State; the
Governor asked the assistance of General Wool to assist him
with the Congressional troop*, which the General wisely declined,
as no overt act had beeu committed against the general govern-
ment, and he dared not interfere in their domestic quarrels. So
they, the committee tried and hung Cora aud Casey, expelled
the scoundrels who had been a corse to the State so long (one
of whom, a fighter named Yankee Sullivan, was so frightened
at the idea of being returned to Van Dieman's land, that he
committed Buicide), and at the close of their labours deliberately
resigned their self constituted powers into the hand* of the
authorities.
These troubles, though they look very shocking upon paper,
" in the slightest degree with the spread of
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THE MUSICAL WORLD.
[August 7, 1868.
civilization. A magnificent catholic chapel wa» built, churches
of every denomination sprung into being, and all were furnished
with good choira, the inaaacs being often performed with fall
orchestra, while a very good choral society waa formed, and
despite the eruption of the political volcano, society could with
ease be found in which all the graces of the most cultivated city
in Europe or America were practised.
And so with my parting benediction I prepared to leave a
land in which I had gained so much — and lost so much. So fare-
well California— it may be but for awhile ; and my next chapter
will find me again upon the wide Pacific en route for the great
English colonies. ^ ^ maHmmt )
HENRI HEINE ABOUT MUSIC AND MUSICIANS.
(Translated for Dwigkt't Journal o/Mutic, Boston.)
II.— THIt PIAMOFOBT* VIRTUOSO,
Parii, March 25, 1843.
This reigning bourgeoisie have, for their tins, not only to stand
old classical tragedies sad trilogies, which are not classical j the
heavenly powers have bestowed on them a yst more tembl
pleasure: namely, that pianoforte, winch one can nowh
cscsps; you bear it ring in every lioute, in every company, both
day snd night. Yes, pianoforte is the nsme of that instrument of
martyrdom with which the fine society of these days is particu-
larly racked snd scourged for sll its usurpations. If only the innocent
hsd not to suffer with the guilty ! This evrrlssting piano-thrumming
is no more to be endured! (Ah! my fsir next-door neighbours,
those young daughters of Albion, are this very moment playing a
brilliant morrtau for two left hsnds.) These hard, tinkling tones,
wilh no natural dying away — these heartless whirring sounds— this
arch-prossic rattling aad picking, this forte-piano kills all our thought
and feeling, and wo become stupid, dull and imbecile. This ascendancy
of piano-playing, and indeed these triumphal processions of piano
virtuosos sre chsrscteristic of our times, and proclaim the victory of
maahine-life over the spirit. The technical facility, the precision of an
automaton, the identification of self with wood and wire, the sounding
transformation of the nMn into an instrument, is praised and celebrated
as the highest. like swarms of locusts come the piano virtuosos
every winter to Paris, less to earn money than to make themselves
here a name, whereby to reap a richer harvest in other countries.
Fsris serves them as a sort of bulletin board, whereon their glory
may be read in colossal letters ; for it is the Parisian press that pro-
claims them to the credulous world, and those virtuosos show their
shrewdest virtuosity in managing the journals snd the journalists.
They know how to reach even the most hard of hearing, for men are
always men, are susceptible to flattery, love dearly, too, to play the
protector's part ; and one hand washes the other; 'the least clean,
however, is seldom that of the journslist, and even the cheap retailer
of praises is at the same time a deceived blockhead, who gets half his
pay in wheedling caresses. People talk of the venality of the press ;
they are much mistaken. On the contrary, the press is usually duped,
and* this is particularly the case with it in regard to celebrated virtuosos.
For celebrated are they all , that is to say in the puffs which they in
person, or through a brother, or through their lady mother, offer to be
printed. You can scarcely believe how abjectly they beg in the news-
paper bureaux for the smallest alms of prsise, how they cringe and how
they fawn.
When I still stood iu great favour with the Director of the Gaxtlt*
MuticaU—(ih'. by my youthful levity I have joked it away)— I bad a
chance to see with my own eyes how subject-like those famous ones lay
at his feet snd crawled and wagged their tails beforo him, that they
might bo praised a bit in the columns of his journal ; snd of our
highly celebrated virtuosos, who, like conquering princes, accept
bo msge in sll the capitals of Europe, one might well ssy in the manner
of Beranger, that the dust of Monti Soblesinger'i boots is yet visible
upon their laurel crowns. One has no idea how these people speculate
upon our credulity, if one hss not teen their importunity bare oa the
spot.
In the bureau of the shore named musical journal I met once a
Uttered old man, who announced himself as the father of a famous
virtuoso, and begged the editors of the journal to print a r&faaw, in
which some noble traits out of bis son's artist life were brought to the
knowledge of the public. The famous youth, it seems, had some-
where in the southern part of France given a concert, with colossal
success, and with tho proceeds had supported an old Gothic church
that threatened to tumble into ruin •, on another occasion he had
played for a widow who had been flooded out, or for a seventy-year
old schoolmaster, who had lost his only cow, and so on. After longer
conversation with the father of that benefactor of mankind, the old
man quite naively confessed, that bis distinguished son did not do so
much for him as he might do, snd that he often suffered him to starve
a little bit. I might advise the celebrated person to give a concert
some day for the dilapidated trowsers of his poor old father.
When one has seen this pitiable sight, he cannot feol indignant at
tbe Swedish students, who expressed themselves rather too strongly
against this nuisance of virtuoso-deification, and prepared tbe well-
known ovation for the famous Ole Bull when lie arrived in I'pssla.
Tbe honoured hero thought indeed, that they were going to
Jus horses, aad was reckoning with composure upon t
cession and flowery orowne, when he met a most u;
sound honorary cudgelling, — a real northern surprise.
Tlse matador's of this present season were MM. Sivori and Drey,
sehock. The first is a fiddler, and as such I place htm sbove tbe latter,
the terrible piano-smiter. With the violinist virtuosity is not entirely
the result of mechanical finger facility and mere technics, as with the
pianist. The violin is an instrument which bat almost human humours,
and itsudt in sympathetic relation with the mood of the player, so to ssy i
the least shade of unhappiness, the slightest commotion of tbe spirit,
a mere breath of feeling, finds here an immediate echo ; and that
comes from the fact, that tbe violin, being pressed so very closely to our
breast, perceives our very heart-beat. This is only the case, howevsr,
with artists who actually carry in their breast a heart that beats— who
have in fact a soul The emptier and more heartless the violin-player,
the more uniform will always be bis execution, and he can count on
the obedience of his fiddle, at all hours, in all places. But this much-
praised certainty is after all but the result of intellectual limitation,
and the greatest masters have been they, whose playing was not
seldom dependent upon outward and inward influences. I have heard
no one play better, and also at times no one play worse, than Fegenini ;
and I may say the same thing of Ernst. This latter, Ernst, perhsps
the greatest violinist of our day, resembles Paganini in his faults,
as well as in his genius. Ernst's absence was much lamented
here tins winter. Signor Sivon was a very tame substitute,
yet we hsve heard him with great satisfaction. Because he was
bora in Genoa, and perhaps as a child occasionally me* Paganini
in the narrow streets of his native city, where it would have been im-
possible to turn out of bis way, ho has been proclaimed here a* his
pupil. No, Paganini never had a pupil ; couli not have one, for the
pupil. No, Paganini never had a pupil ; could not have 01
best that he knew, that which is the highest in Art, can
taught nor learned.
Whst is tbe highest in Art 7 That which in all other manifestations
of life also is tbe highest : the self-conscious freedom of the tool. Net
only a piece of music, composed in tho fulness of that self -conscious-
ness, but also the mere delivery of tbe same can be regarded as artisti-
cally the highest, if it only breathes over us thst wonderful breath of
infinity, which instantly announces that the executant stands oa the
ssme free spirit't height with the composer,— that be also is a free man.
Nay, this consciousness of freedom in Art reveals itself especially through
form, through treatment ; in no case through tbe tubjei '
on tbe contrary, we may maintain that artists, who hare cl
dom itself and^lhe^slruggU^for ^frecdomjor their subject, are
Afore A 26, 18*3.
As the most remarkable appearances, of tbe present season I have
named MM. Sivori and Droyschock. The latter has reaped the
greatest applause, and I may truly record, that public opinion bas pro-
claimed him one of the greatest piano virtuotot and placed him oa a level
with the mott admired. He makes a helli.h tpectacle. Yew seem to
hear not one pianist, Dreyschock, but drti 8ehcck, three score, piaui
As the wind on the evening of his concert was south-westerly, you
might per). apt be conscious of tbe powerful tones in Augsburg j at
such a distance their effect is certainly agreeable. But here, in the
department of the Seine, one's tympanum may easily burst when this
thyself, Frani Liatf, thou art but a
binds
piano-smiter thunders. Esng
common wind-god in comparison with this thunder-god, wbo I
tbe storms together like a birchen rod, and therewith acoi
the sea. Tbe older pianists sink more and more into
shade, and these poor, out-lived Invalids of fame must auffer for it now
severely, that thsy were over-estimated iu their youth. Kalkbrenner
alone maintains himself a Uttle while. He has publicly appeared tats
winter, in the concert of a lady-pupil ; upon his bps still shines that
embalmed smile, which we have lately remarked also on one of the
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THE MUSICAL WORLD.
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Egyptian Pharaohs, when his mammy wit unwound here in the
museum
A contemporary of Kalkbrenner ia Hrrr Pixia, and although ho ia of
a subordinate rani, yet wo will mention htm here as a curiosity. But
ia Herr Pixii really Itill living? Ho maintains so, appealing at the
mum time to the toatimony of Herr Sina, the famous watering-place
visitor of Boulogne, who muat not bo confounded with Mount Sinai.
Wo will pat confidence in thia brave wave-compeller, although
many evil tongues assure as that Herr Pixia never really
existed. "So, tie latter if a man who actually lives ; I lay a
man, although a zoologist would giro him a more long-tailed
name. Herr Pixia came to Paris at the time of the invasion, in the
moment when the Apollo Belridere was restored to the Romans and
had to leave Pari*. The acquisition of Herr Pixia must have been some
compensation to the French. He played piano, composed, too, very
neatly, and his little musical pieces were partioularlv valued by the
bird-sellers, who teach canary-birds to sing on hand-organs. They
have only to hnra over a composition of Herr Pixis once to these little
yellow creatures, and they catch it on the spot, and twitter it over
after, till you are delighted and every one applauds — Pixinime ! Sinoo
the old Bourbons have left tbe field, there is no more shouting Pix-
ittim*; the now singing birds demand new melodies. By his outward
appearance the physical man, Herr Pixii atill passes for somewhat ;
he has, in fact, tbe biggeat nose in the musical world, and to
make this specialty the more strikingly noticeable, he often shows
himself in the company of a composer of Romances, who has no
nose at all, and who on that account haa recently received the order
of tbe Legion of Honour ; for certainly it was not for his music that
M. Panaeron was decorated in that fashion. They say that he is to bo
named director of the Grand-Opera, because ho is the only man of
whom it is not to be feared that maestro Giacomo Meyerbeer will lead
him by the nose.
Herr Hen belongs, like Kalkbrenner and Pixia, to the mummies ;
he ahinea now only through his beautiful concert hall ; he died long
ago, and lately, too, he married. Among the resident pianists hero
who have moat success are Halle and Kdw.nl Wolf, but only of the
latter will we take especial notice, rinoe be is also distinguished aa a
composer. Bdwan) Wolf i< fruitful and full of vert*. Stephen Heller
is more composer than virtuoso, although be is 'also highly honoured
for his piano playing. His musical productions all bear the stamp of a
distinguished talent, and he belongs already to tbe great masters. He
is a true artist, without affectation, without extravagance: romantic
feeling in classical form. Thalberg has been in Paris these two montlis,
but will give no concert himself ; he will only play in publio in the
concert of one of his friend". This artist distinguishes himself to
advantage from his pianist colleagues by, I might almost ssy, his
musical deportment. As in hii life, so al>o in his art, Thalberg shows
an innate tact ; hia delivery is so yentleman-tite, so well-to-do, so
respect ah', e, so wholly without grimace, so wholly without any forced
air of geniua, so wholly without that bullying clownishness which ill
hides inward timidity. Healthy women like him. Sickly ladies are
not lees gracious to him, although he does not claim their sympathy
by epileptic onslaughts on the piano, although he does not speculate
npon their orer-seruitively tender nerves, although he neither electrifies
nor galvanises them i negative, but fine peculiarities. There i* but one
whom I prefer to him, and that is Chopin, who ia, however, far more a
composer than a virtuoso. With Chopin I forget entirely the mastery of
piano playing, and sink into tbe sweet aby sses of his music, into the melan-
choly loveliness of his no leas deep than tender creations. Chopin ia
the great, genial tone-poet, who should properly be mentioned only in
tbe company of Motart, or Beethoven, or Rossini.
Ma PAKE Chartov Dkmki:r haa been engager} for two yean
by the director of the Grand Opera at Vienna. The accomj
pllihed cantatrice ia at present performing at Peath with the
greatest success.
Tut Author's Rights m " Edrtaxtiie." — It is Weber's son,
not his nephew, who haa been appointed director of the royal
railroads of Saxony, and to whom tho author'* rights in
Euryantkt have been ceded by the Society of Dramatio Authors.
Medal to Sivori. — The Imperial Lyceum Louia-le-Grand has
just struck a silver medal in honour of Signor Sivori, to com-
memorate a concert given by the Society on the 8th of July, at
which this celebrated artist assisted. Tho inscription was
aa follows : — The Imperial Lyceum Louie-U-Orand to Xontitur
C. Sirori. Concert of the Hth July, 1888.
MUSICAL EDUCATION.
ADDRESS TO DR. MARK.
Extract from tit "Liverpool Jfrrcnry," JnlV 29.
Thb juvenile concert yesterday afternoon (the 28tb hurt.) was
more crowded than that of Tuesday, and there was a large
attendance in the evening, when the programme was the aaroe
as at tha concert given by Dr. Mark and his " Little Men" before
the Queen, at Buckingham Palace, in February last. Last even-
ing, during the interval, a deputation of teachers waited upon
Dr. Mark in the ante-room, and expressed their desire to present
him with an address; and accordingly, after tho selection with
which the second part of tbe concert opened, the deputation
ascended the orchestra, and was introduced by Mr. John White,
of the Crescent Chapel Schools, who said : —
" Ladies and gentlemen, we appear before you this evening an a
deputation from tho teachers of public schools in Liverpool, to express
in a few words our appreciation of the kindness of Dr. Mark, iu per-
mitting this hall to be filled both yesterday and to-day with a vast
concourse of children assembled to heat tho delightful music of his
band. My friend Mr. Andrews will read an address which has been
prepared for Dr. Mark's seccplance." (Loud applause.)
Mr. Robert Andrews, of the St. Thomas's Sohool, Toxteth-
park, then read the following " Testimonial, presented to
Dr. Mark by the su|>eriDtendents and teachers of the day and
Sunday schools of Liverpool": —
" Dear Sir, — We cannot allow you to leave Liverpool without some
slight acknowledgment on our part of the great gratification which
you have afforded to the many thousands who have attended the
Grand Juvenile Concerts which you have just given in St. George's
Hall. Permit u», therefore, to present you with this testimonial as a
sincere mark of respect, and likewise to show you the estimation in
which your efforts are held by the superintendents and teachers of the
day and Sunday schoola in Liverpool. We feel that you are entitled
to every encouragement in your noble enterprise of disseminating a
love for music amongst the young. We offer you our warmest thank*
for the liberality you have shown in not only admitting the chUdren of
oar publio schoola at a mere nominal charge, but all charitable institu-
tions free. You have established in our hearts the most happy
recollection!, and, whilst wo wish you every success, we also hope that
the time is not far distant when Her Majesty's Government will reward
your labours, and that the Council of Education will recognise your
efforts, and adopt your simple and admirable plan as a branch of
national education. We fully acquieice in your remarks that the
wholesome influences of music form one of the most important elements
in domestic and social education. In conclusion, we heartily wish you
every success, and under the blessing of the Divine Providence both
you ami your Little Men may witness a scries of such triumphs as you
have now won in Liverpool."
The address was signed by the members of the deputation,
and the sentiments it contained were cheered by the audience.
Dr. Mark responded by saying: —
" If anything could have added to the liappineaa ho had experienced
in connection with tbia musical jubilee, it was the pleasare he now felt
in receiving the address containing tbe expression of their approbation,
and an acknowledgment of the pleasure which had been afforded to tbe
little children. Especially did he appreciate the addrcis because it
emanated from a body of gentlemen who wero well aware whot tho
anxieties of a teacher must be with such a charge as Ms, (Laughter
and applause.) It was a great gratification to him that the little
children had been pleased by the performance of his Little Men. When
he considered that, by the exert iona of hia indefatigable agent Mr. Dibb,
there bad been gathered upwards of 25,000 children and adults in tho
Hall during the two days, be felt that he had achieved a great triumph
in Liverpool. In regard to the liberality to which tbo address alluded
in having admitted charity children free, he could only tell them that
his anxiety was to promote music, not only amongst wealthy, but at tho
humblest firesides in tho kingdom. (Applause.) In expressing bis
sincere thanks for their acknowledgments, bo said he considered their
body quite in fellowship with himself in the field of education. ('Hear,
hear,' and applause.) Therefore be know they would acoept hia thanka
in the warmest manner possible, and that tbey would convey to the
little children his best love and affection. Ho also thanked theaadience
for their encouragement and approbation." (Loud applause).
We add our wishes for the success of Dr. Mark's scheme in
the broadest sense — that of giving nn effectual impetus to
national education in music
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THE MUSICAL WORLD. [August 7, 1858.
race and their
THE BLACK OPERA.
(From (he JWw Tort Tribune, June 30, 1855.)
If the lyricism of Stersichorus or of Anacreon be regarded as
an embodiment of the characteristic sentiments of the ancient* ;
if the genius of Alcseus and of Kappho perpetuated the mys-
terious music of the olden fane, unvoiced before — why may not
the banjoism of a Congo, an Ethiopian or a George Christy, aspire
to an equality with the musical and poetical delineators of all
nationalities f It may indeed be urged that the banjo is not as
classical an instrument as the lyre of the ancients — that
faU a trifle beneath the standard of
at which custom has rated the poets of antiquity— that
the use of the iaw-bone And bellows of Mechanics' Hall
notoriety, cannot be countenanced by the votaries of aesthetic
pursuits. All this may be urged by the erudite stickler
for conventionalities and accepted by others of his class, but the
world will go ou believing, as it now believes, that truthfulness
to nature is the vitality of Art ; that music is only true to its
high mission when it expounds the subtle philosophy of the
soul, the language of the heart, the mystery of the senses, with
the infinite emotions, passions, thoughts, which constitute the
nature of man ; and that whether the instrument which sub-
serves this purpose chances to be a lyre or a banjo, or whether
the people whose lives and emotions are thus perpetuated be the
highest or the lowest type of the human family, the result is still
the same, differing only in the standard of its influence and the
character which that influence assumes. Absurd as may seem
negro minstrelsy to the refined musician, it is nevertheless
beyond doubt that it expresses the peculiar characteristics of the
negro as truly as the great masters of Italy represent their more
spiritual and profound nationalty. And although the melody
of "Long-tailed Blue" may not possess tho iutellcctual proper-
ties of aa aria by Bellini, yet it will contain as much truth to
the humanity of which it assumes to bo the exponent, and quite
as much enthusiasm will be manifested by its listeners.
Whether the black opera originated in Namidia, or on the
of the Nile, history nor tradition saith not Its first
in "good society" may be set down to 1(122, when in
a drama produced nt Drury-Lane Theatre, in London, Dibdin
introduced the character of a negro, who, in the course of the
, sang a ballad, of which we give one stanza : —
" Ribal King be make grest strife,
Gain bo dud , him life to mt*,
Sell picksniny, crown snd wife,
And poor Gumbo for s sIsts !
Cruel tiug of asm ole King,
But Guinbo dry him tesr, snd
The " dingle, jingle, tangaro" is the only portion of i
position which smacks of originality ; the rest was tame a
Chaff.'
' this com-
ty ; the rest was tame and vapid,
but suited to the audience for which it was intended. About
the same time O'Kecfo, in the operetta of Paul and Virginia,
borrowed the idea of a coloured solo, and gave a very passing
and characteristic melody. Subsequently, Carney Burns, the
n of a circus company performing at the Park Theatre,
h between the acts, a composition which ho termed "Gumbo
," Its popularity was immediato, and the eccentric Carney
instantly became an object of considerable importance ; but the
appearance, daring the same season, of an illustrious competitor
for the palm of negro lyricism caused his star to fade and
gradually disappear. It was at this epoch that Mr. T. D. Bice
made his dtbfU in a dramatic sketch entitled " Jim Crow," and
from that moment everybody was " doing just so," and
continued "doing just so" for months, and even years afterward.
Never was there such an excitement in the musical or
dramatic world ; nothing was talked of, nothing written of,
nothing dreamed of, but "Jim Crow." The most sober
•ens began to " wheel about, and turn about, and jump
i Crow.' It seemed as though the entire population had
" n by the tarantula J in the parlour, in the kitchen, in
and in the street, Jim Crow monopolised public
attention. It must have been a species of insanity, though of
a gentle and pleasing kind, for it made '
merrier, and happier: it smoothed away fro
and replaced them with smiles. Its effect*
on youth and age.
The success of Mr. Rice called out numerous imitators. "Sittin"
on a rail," " Getting up stairs," " Long-tailed blue, " Zip Coon,"
etc., succeeded cacn other rapidly, and for the time being,
Negro Minstrelsy was the ruling power. "Goosey Gander,
and " Old Dan Tucker" came afterward — and who is there that
cannot recollect the enthusiam with which the first appearance of
"Dandy Jim" was hailed 1 now often that coloured gentleman
came from " Carolina," it would be impossible to estimate, bat
we suppose it would bear comparison with the number of
occasions on which thu ancient and venerable darkey was made
to sing " Carry me back to old Yirginny." The homeliness, the
truthfulness of these compositions, established their popularity.
There was nothing facetious in them ; they filled a void in
public amusement, which was beginning to be sensibly ex-
perienced, and from their very naturalness appealed to the
sympathy of the mnltitude. Particularly was this the case with
the younger portion of our population, most of whom have
grown up to be men and women since then. For if the songs
were of a humorous character, it was humour of a positive,
gushing kind — boisterous fun, just suited to the nature
of youth, and not without its effect upon the risibilities
i its mournful simplicity, quite as impres-
ts of melody which ever gushed from the soul
Who has not often observed the tear of sciuu-
of the oldest; or if the air was a saddened one, there
was a pathos in its
sive as any wi
of a composer.
bility moistening the cheek of youth, while listening to the
primitive strains of " Uncle Ned" — that poor old coloured gentle-
man, who has gone " where the good darkies go 1" Ah, those
tears constituted one of the blessings of that youth, which has now
departed. Sorrow and disappointment have doubtless weighed
heavily upon many a heart s.:i ■ that spring of life passed away,
with its smiles nnd tears. We can no longer smile at " Lucy
Neal," nor weep at the pathetic story of " Uncle Edward. '
And, in the meantime, has there been no change in the feelings
of the true originators of this music — the negroes themselves I
Are the great mass of those held to labour on Southern planta-
tions the tame careless, brutal ised race they were twenty years
ago ? We believe not. Let the Southern traveller to-day com-
pare notes with one who went over the ground even ten years
ago, and he will find a striking change in the mental
characteristics of this unhappy people. The gay laugh and
cheerful song are not heard with former frequency ; there
is leas of that noisy exuberance which not long since was
regarded aa a trait in the African disposition. The old, un-
meaning compositions of the plantation have fallen into disuse,
and if they sing now there is memory in their songs. Plaintive
and slow, the sad soul of the slave throws into hi* music all that
gushing anguish of spirit which he dare not otherwise express.
And yet the careless reviewer of events, observing not the causes
or consequences, mourns what he terms tho decadence of
national negro minstrelsy !
Tho " Virginia Minstrels " was the first organised band of
performers that appeared in public This comprised the follow-
ing individuals, who have since enjoyed considerable notoriety
in their vocation: Dan Emmett, Whit lock, Pelham, Frank
B rower, E. P. Christy and George Christy. The company
afterwards changed their appellation to " Christy's Minstrels.
The first performance they gave was in Water-street, Buffalo,
1842. Being very successful in the new experiment, they tra-
velled through the west and south, where George Christy
acquired that intimate knowledge of negro character
which has since made his performance* so acceptable.
It was in Lexington, Kentucky, that he first saw the jaw-
bone and bellows accompaniment introduced by a juvenile
specimen of the African race, and he was tho first who uaed
these doubtfully melodious instruments in the concert-room.
5. P. Christy was among the first to harmonise songs for public
performance. We can well remember when the well-known
ditty of " Lucy Long " made it* appearance, and with what w>
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August 7, 1858.]
THE MUSICAL WORLD.
503
its author, night after night, informed the
that
" J ait come out afore yon
To ling at little song ;
I plays it on the banjo.
And they call it Lucy Long."
Among the most successful writers of Negro songs may be
mentioned if r. Silas Steele, Cool White, Stephen C Foster, and
George Washington Dixon. The last-named individual is well
known to Gothamites, both for his musical and literary procli-
vities. He was one of the earliest votaries of the coloured
opera, and his muso was among the tirst employed in its behalf.
While performing at the Park Theatre he introduced the
" Ching-a-riug Chaw," which afterwards became so popular :
" Hrodcr, let us lea be Bucre land for Heitee,
Dar we be rcccibe gran oa La Fayet-te ;
Hake a mighty ihow, when we land froi
I be like Munro, you like Louis Fhillippe.
On dat equal tod, who no wast to goc,
Dar we feel no rod, dar we hab no foe,
Dar we lib so fine, wid our coach and bos-s
And ebery time wo dine, hab one, two, tree,
Ching-a-ringcr, ring, chiog, ching,
Ho a-ding, a-ding, kum darkee ;
Cbinger ringer, ling chins chuw,
Ho, ab. ding kum darkec/'
This has the ringing sound of true metal. A long residence
in the South doubtless furnished the material for many of the
productions of the
and full of incident.
erratic Dixon, whose life was so checkered
The " Coal
melodies :
44 Lubly Bogs, Sambo cum,
Don't you hear the banjo— turn,
Lubly Rose, Sambo cum,
Don't you hear the banjo — turn, turn, turn.
Oh, Rose, de coal-black Rose,
I wish I may be burnt if I don't like Bone.
Oh, Boss. As."
This was a duet, sting by the author and a Mr. Leicester, and
always with the most happy effect. Christy composed the next
musical popularity ■ The YaUer Girls," which was followed by
Charley White's " Bowery Girls." The rivalry existing between
thews musical belles was excessive ; but the public finally decided
in favour of the " Bowery Girls," and from that time forth the
number of occasions upon which they were asked if they pur-
posed "coming out to-night," would be impossible to enumerate.
The first company of Minstrels established in this city was
that under the management of Mr. £. P. Christy, in 1846.
Their performances were given at Palmo's Opera House—now
Burton's Theatre. Finding their popularity on the increase, and
seeing a prospect of establishing themselves permanently in the
Metropolis, they shortly afterwards removed to Mechanics'
Hall, which they have since occupied. It is scarcely necessary
to speak of the success which attended the experiment. In the
year 1852 the number of concerts given by this company was
sixty-nine, and the receipts amounted to 1,848 dollars; in 1653,
the number of concerts given was 312, and the amount of re-
ceipts was 47,972 dollars. The intermediate years corre-
sponded in success with the last. Mr. E. P. Christy retired
from the business in the possession of a fortune, leaving it to
be carried on by George Christy in connection with Mr. Henry
Wood. George had long been popular with the New York
public, and his career bids fair to be as successful, in a fiuan-
cialpoint of view, as that of his predecessor.
The Buckley Family wero among tho pioneers of negro
slay. Their first appearance was in the Tremont Temple.
, 164S, under the name of " Congo Melodists," and proved
immensely successful. Subsequently they travelled through
the sooth and west, and in 1846 visited England, where they
performed successively at Drury-lane and the Princess's
Theatres. Betuming to New York, they located themselves
in the Chinese Assembly Booms, where they have since con-
tinued to produce burlesque operas, and become very popular
with our citizens. The Buckleys consist of James Buckley, the
father, and three sons — Richard, George Swaine, and Frederick.
\ was formerly a member of this company, and early
They are at present
s and skill, and the enl
contributed to its
persons of considerable taste
which they nightly
audiences.
There are at present a great many companies of nagro min-
strels performing through the country, the most celebrated of
which are Christy's, Buckley's, White's, Ordwaya, Campbell's,
Peel's, Kunkle's, and the Empire Band. In fact, minstretov
has become a permanent institution in our society, and will
undoubtedly maintain its position for many years to coma.
There fa some truth in the assertion that the music has deterio-
rated. We find that Miss Nancyism of vulgarity assuming a
place in the concert-room among the votaries of burnt cork,
bones, and banjos. The sickly sentimentality which has of late
characterised the productions of the majority of these companies,
as well as the wholesale plagiarism of music now systematically
pursued, has had the effect of injuring the claims of minstrelsy
to originality. Let us hope that this will not be longer tolerated
by the directors of the coloured opera. Instead of adopting
trashy words to some defunct Scotch or German melody, let the
aspirants after this species of lyric fame mingle with its origin-
ators and draw inspiration from a tour through tho South and
West There is plenty of material to work upon ; and there to
certainly no scarcity of room for i
IRELAND'S WELCOME! TO DR. MARK AND HIS
LITTLE MEN!
(Extract from Freeman's Journal, Dublin, Saturday, July 80.)
Tkn thousand echoes ring around
nibernia's sunny land ;
To welcome to our native shores
This really splendid Band i
From stately balls, to lowliest cots,
From mountain, glen, and park,
Does Ireland welcome nobly, now,
Tbe worthy Doctor Mark !
Ten thousand welcomes ring around
From every trusty heart ;
And shall the Harp of Sri* fsil
To do its glorious part ?
No ! strike tho chords— lot dulcet notes
Arise from Musio's spark ;
For now a welcome Guest arrives,
Tbe worthy Doctor Mark !
Up ! then, with laurels bright and green,
Fluck'd from our Emerald ItU;
And give them with a generous '
And with s loving smile t
Yes ! rally round his welcome I
And nobly do it, then,
A kindly greeting give to all
His Clever Little Men <
From childhood's stage to youth's 1
His little Band appear ;
And is not Ireland proudly^bent
To welcome them when here?
Yes ! splendid cities, busy towns,
And one and all will rise,
To aid the efforts that he makes,
i his enterprise !
i and troubles he would root
* this beauteous earth ;
All discord ho would banish too.
And harmony bring forth :
His Little Afm and he unito
To brighten whst is dark ;
Thus we will welcome loyonshr,
The worthy Doctor Mark 1
Ten thousand echoes ring around
Hibernia's sunny Isnd,
To welcome to our native shores
This really splendid band.
From ststely halls to lowliest cots.
From mounts in, glen, snd park,
Does Ireland welcome, nobly, now,
The worthy Doctor Mark !
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THE MUSICAL WORLD.
[August 7, 1858.
0
ROYAL PRINCESS'S THEATRE.
UNDER THE MANAGEMENT OP MR. CHARLES KJCAN.
N Monday, and during the week, will bo presented
Bh»k»per»-. p!«y cf THE M KRCH ANT OP VENICE. Shylnek, Mr. C. Keen ;
- " . Preceded by the new Faroe, eutlUed DY1NM FOR LOVE.
Portia, Mre. C. Koan.
ROYAL OLYMPIC THEATRE.— On Saturday evening
next, Aufruet 7. the perform Mice will commence with LEADING
8TRIN0H After whkli BOOTS AT THE BWAN. To conclude with A
DOUBTFUL VICrORY. Cururoence »t half-peat 7.
GREAT NATIONAL STANDARD THEATRE,
SHOREDITCH. — Proprietor, Mr. Joan Dnocuw.
The excitement atul continues Ro-» A^^inent of the papular actor Mr. B.
Webster Pint appearance at thin theatre of Miss Wootuar, in conjunction with
Mr Chnriei Selby and Mtaa Mary Keclcy, the irrtat MtitU of I he Adelph i (Venpiuiy.
Pint night of JANBf PRIDE, with all the original eftVcU. Ou Mrmlay, and
during the week, the performance will commence with the AdelpM drama of
JANET PRIDE. Ricliard Pride (hie original disracterX Mr. a Webster, sup-
ported by Mr. Charles Heiby. Mr. Bruce Norton. Ml» Mary Keelcy, and tbo whole
strength of the company. To conclude on Moodoy. Tuesday, and Wednesday,
with the ecnaaung farce of GOOD FOR NOTHING, in which the celebrated
MM* Woolfar will »pi«r. To conclude on Thursday. Friday, and Saturday, with
the favourite burletia of THE (jUKKNSBERRT FRTE. lu which Mr. B Webster
und Mine Woolgar will perforin.— No advance In the prices.
TO CORRESPONDENTS.
Amateur has forgot to send his card.
Canis.— " Semper damnori subsilutre cane*."
Felix. — De triplici timore.
Rirminqham. — Mendelssohn performed his second pianoforte con-
certo (in 1) minor) first at tht Birmingham Fettival — of 1840,
if tee are not mistaken.
Inquirer. — Mozart vat seven yeart older than Shelley when he
died. Shell 'ey teat drowned in hit 30th year.
Sttx. — "Jacta alea ett" {Cottar's words when he had passed
the Rubicon) would be an excellent motto.
THE MUSICAL WORLD*-
LONDON, SAT CRD AY, ArorsT 7tm, 1858.
From Birmingham to Hereford is but a step. Those who
lovo scenery, English landscape-scenery, should take it per
coach, by which conveyance nothing escapes them, instead of
per rail, by which conveyance— besides that it is not half so
per
agreeable, in fine sunny August- weather— Almost everything
escapes them. We are forgetting, by the way, that the
Hereford Festival comes before, not after, the Birmingham
Festival. N'imporle. To approach Leeds pleasantly, rather
than quickly, you must get somehow or other to Birmingham ;
and this from Hereford can best be done by crossing the
Malvern Hills. Without stopping for the water care-
er for anything but a glass of old Malvern ale (which is
the beer-cure), a lunga'-full of the breezes, and a peep at
the valley on cither side from the highest peak of the
clump of hills (which is not very high) — take Worcester (as
Miss Arabella Ooddard, according to Mr. Punch, took
Ne Plus Ultra), for your half-way house. Worcester is
worth a day, and its cathedral by the Severn a peep by moon-
light. From Worcester to Birmingham, by coach, is another
charming ride — which having accomplished, on arriving at the
commercial metropolis of Warwickshire, you will find you
have come sixty miles out of your way, and been well repaid
for your trouble.
And now at Birmingham, we must begin again at the
ing (which comes of giving the biggest Festival pre-
), and get back to Hereford — since our business is not
wit.li Birmingham and Mr. Costa, but with the "Three
Choirs" and Mr. Townshend Smith. A glance at the
programme will show that the Hereford Festival is to be
what it has been time out of mind — a little Festival True
there are the oratorios in the cathedral, which are invariably
delightful ; but in revenge there are those interminabls
evening concerts in the Shire Hall, which are always a bore.
Going straight to the cathedral, we first learn that the
usual sen-ice on the Tuesday morning is preliminary to
all the rest, and that on the present occasion a sermon
on behalf of the widows and orphans will be preached by the
Venerable Archdeacon Waring, whose eloquence we earnestly
trust may prove as persuasive as that of " Gandelyn of the
golden tongue." The musical part of the service, however,
more immediately concerns ourselves; and this begins with
Spohr's overture to Tlte Last Judgment — the first, we
presume. Then of course we have Tallis's Suffrages,
and the Hereford organist's chant to the Psalms. Afterwards
follows the Dettingen " Te Deum" of Handel, which, though
fine, is somewhat worn; while for " Jubilate" we an- adA-ised
of a new composition by Mr. Townshend Smith. The anthem
after the third collect is borrowed from Spohr's Last Judgment ;
before the sermon we are to have Mendelssohn's setting of the
4 2nd Psalm (" As the heart pants"); and after the sermon a
w anthem by Precentor the Rev. Sir F. A. Gore Ouseley,
Oxford Musical
On the wholt- the
lis
promising.
On Wednesday morning the oratorio is Elijah, with the
contralto part absurdly divided between Miss Lascclles and
Madame Viardot Happily the parte for soprano, tenor,
and bass, are pretty nearly engrossed by Madame Novell. >,
Mr. Sims Reeves, and Mr. Weiss. Miss Louisa Vinning,
Madame Weiss, Mrs. Clare Hopworth, Mr. Montom Smith,
and Mr. Thomas, it is true, come in for a little bit here and
there; but the only important pieces not allotted to the
principal singers ore the two quartets, "Cast thy burden
before the Lord," and " O come eA-ery one that thirstetb."
On Thursday morning the programme is out of all
reasonable proportion. Fancy, reader, a selection from
Mendelssohn's Athaliah, the whole of Rossini's StabatMattr,
and the first and second parte of Haydn's Creation — at a
sitting ! We strongly recommend that the plates be tendered
at the conclusion of the Stabat Mater. Otherwise the charity
may suffer — since, after listening to Mendelssohn and
Rossini, a considerable number of persons may think they
have heard enough, and so decide upon killing two birds
with one stone, shirking Papa Haydn and the ladies of the
" qutte " at one and the same time.
On Friday the Meniah brings the musical part of the
festival to a close.
The programmes of the evening concerts are of that
desultory diameter which foreshadows rather an infliction
than a pleasure for musical amateurs. At the first concert,
on Tuesday, the Jupiter symphony and a selection from
La Clemenza di Tito are the principal features ; at the
second, on Wednesday, a selection from Lucrezia Borgia
(Madame Viardot to sing " II segreto"), and at the third, on
Thursday, a selection from Stmiramide and the symphony in
C minor will be the consolations. All the rest is made up
of odds and ends, just as at the benefit concerts with
which this Metropolis is deluged in the musical season.
Mozart and Linley, Mendelssohn and Williams (not "U grand
William*"), Beethoven and Smith (not Albert Smith), ore
packed nose to nose — the whole presenting an incoherent
jumble quite as anti-musical as it must bo prolix and tire-
some. How such entertainments can be reconciled with the
objects and pretensions of great music-meetings, we are at a
loss to discover.
We have named all tbo singers in the course of the fore-
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August 7, 1858.]
THE MUSICAL WORLD.
505
going remarks, and it will be perceived there is only one
alien (Mad. Viardot), among the number. How far this
may suit " the Arte of the cider counties," who are as fond
of Italian music, and with about as good reason, as the
Welsh landlords of Penillion, remains to be proved.
The band, too (Mr. H. Blagrove and Mr. Willy first and
second leaders), is " British" to a man — which, however, as
the list for the most part shows excellent names, will be of
less material consequence. The posts of conductor, organist,
and pianoforte accompanist, are, as usual, to be dis-
tributed among the three cathedral organists — Messrs.
8mith, Amott, and Done (" Arnott" and " Dove," at) the
Morning Post compositors insist upon typically representing
them). Thus our minds are set at rest about the manner in
which these important offices will be filled. The Festival
begins on Tuesday, August 24, and terminates on Friday,
Aug. 27, with a dress ball in the Shire Hall, according to
custom immemorial Head's Library will, as before, con-
stitute head quarters for inquiries. Such of our readers,
therefore, as wish to kuow more about the Hereford Festival
for 1858, may on that head be referred to Mr. Head.
Jranyoneof our readers is addicted to the foul and detestable
vice of smoking, he has assuredly, in the course of his debased
life, been troubled by a contumacious cigar. Having smoked
this cigar in the street on his road to the domicile of a
maiden aunt, who loathes tobacco (and all vegetable produce
by which it is imitated), and being, moreover, of an economical
turn, he tries to extinguish the instrument of bis mean
delight, that he may put it in his waistooat with a view to
future enjoyment. He thrusts it against the door-post, at
every variety of angle from bold 90 to insidious 45. But
the bright spark that illumines its life will not bo extin-
guished, repeated collisions seeming rather to increase the
brightness of its glow.
There are human beings whose nature is closely akin to
that of the contumacious cigar. Whatever befals them,
they arc determined that their little spark of notoriety shall
not bo put out. Demosthenes may thunder against them,
Heraclitus may weep over them, Democritua may laugh at
them, but when the thunder has died away, the tear has
dried up, and the laugh has subsided, their existence will
still be manifest in the shape of— one word more.
Sensible jwrsons, who treasure up in their memories every
word that appears in the Musical World, as so much intel-
lectual gold, will recollect the avowal made in our last
number, time we bad not been to hear one Mr. Abel
Matthews repeat Paradise Lost from memory, on the pre-
ceding Tuesday, and the declaration that nothing should
ever make us submit to an infliction so terrible. But
though we escaped the impending calamity, we perceive, by the
t some of our contemi>omries, urged by a sense
[ the late Dukeof Wellington, were not equally
Several unhappy persons connected with the public
journals actually did hear the delivery of Paradise Lost, and
by them the world is informed that the dulncss endured
was even greater than the dulness anticipated, and that the
assembled audience was scanty beyond precedent. Wo must
add that our contemporaries, not maintaining that uniform
gravity by which we are distinguished, have consoled them-
selves for the Miltonian torture by making the whole
exhibition a subject for pleasantry.
Now, nine men out of ten on finding that their efforts to
attract the public had proved utterly abortive, and that the
only fame consequent on their exertions arose from the mirth
created at their expense, would have quietly retired, and given
their thoughts a new direction. Not so Mr. Abel Matthews.
Finding himself famous somehow or other, he is determined
to remain so, and he accordingly writes a letter to the Times,
in reply to the statement of facts, that appear in that
journal.
That the audience was " absurdly small" he does not deny ;
but he complains that no mention is made of the "heavy
and ceaseless rain and reverberating echoes of the spacious
hall."
Now don't drain yourself, good Mr. Abel Matthews.
Rain will, of course, have its effect in thinning an audience,
but to that effect there is a limit, and no theory of " cat-and-
dog" showers will account for the exceeding scantiness
of your hearers on that luckless Tuesday. There may,
jxsssibly, bo something in the "reverberating echoes"
for echoes repeat the utterances of the human voice, and even
the most courageous would shrink from the prospect of
hearing half-a-dozen Lost Paradises* all at once. Suoh a
frightful combination would recall to mind that fabulous
9th of November, recorded in an old comic song, when there
were " Four and twenty Lord Mayors' shows all of a row."
A certain melancholy in the countenance of Mr. Abel
Matthews was noted by the Times, and kindly interpreted
as the indication of a be-Mil toned mind But Mr. Abel
Matthews explains that the huge load upon his memory is by
no means the result of painful labour, but, on the contrary,
was brought together in the course of light and agreeable
recreation. " An hour nightly for nine mouths (umid nume-
rous avocations) easily sufficed him to master this poem."
Good heavens ! — how minute and sudden is our information
on the subject of Mr. Abel Matthews. Three weeks ago we
had never heard of Mr. Abel Matthews, and now we know
how that gentleman has spent his evenings for nine whole
months. We actually know more about Mr. Abel Matthews
than atiout ourselves. How have wo passed our evenings
during any successive nine months since our first birthday t
Really we can't say, and yet " Mason on Self-knowledge" is
our favourite work.
Mr. Abel Matthews concludes his epistle with a challenge
to any fellow-enthusiast, to teat his proficiency, not
only in Paradise Lost, but also in Cowper's Expostulation.
The party who accepts the challenge is to read lines
singly and at random from the poems in question, and Mr.
Abel Matthews will, from memory alone, continuously
follow on, without pause or hesitation. " Now, if any of
your criticising friends will cap this, I will hide my
diminished head." Thus says Mr. Abel Matthews to the
Times.
Any one would imagine from this that the " criticising
friends" had doubted Mr. Abel Mat the was power of
memory, and that he had therefore hit upon a new
expedient for resolving their doubts. "Will any cap
this r says he. Nobody wants to cap it, though
some persons, no doubt, would have no objection to bonnet
it. Tho critics simply hinted that the manner in which
Mr. Abel Matthews displays his memory, renders the gift a
tremendous "bore." By showing that he knows Cowper
as well as Milton, he only proves that his power of " boredom"
is greater than had been imagined.
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THE MUSICAL WORLD.
[August 7, 186&.
THE PHILHARMONIC DIRECTORS FOR 1858-9.
O. F. Anderson, Esq.
F. B. Jewson, Esq.
O. E Griffin, Esq.
(To be continued in our next)
this
HER MAJESTY'S THEATRE
O* Saturday Don Giovanni was given for the
On Monday, Luereaa Borgia, and ou Tuesday, // Trovatore.
Madllc. Titiens made her last appearance on Tuesday, and was
IBted with more than the usual honours.
On Wednesday, Don PatquaU, with the last scene from Cene-
rentola, Alboni singing the largo and rondo from Rossini's opera
wui singing the largo i
magnificently.
On Thursday, La /Angara, with the last
for Madlte. Piccolomini and Signor Giuglini.
Last night, La Figlia del SeggimeiUo. Mi
appeared every evening.
To-night La Traviata will bring the extra
termination.
/ Martiri
to a
ROYAL ITALIAN OPERA.
Hcrold'h Zampa is not likely to prove an acquisition to the
repertory of the Royal Italian Opera. Although brought out
With extreme carefulness and splendour, its success on the first
night, Thursday, was by no means decided. The solitary
encore of the evening was bestowed on the overture, after
which there was but little applause for the music, aud
there were no recalls, The performance, indeed, can hardly
be termed a fiatco ; but the opera certainly created no excite-
ment, and the general impression at the conclusion was one of
disappointment. It was hardly wise to produce Zampa directly
in the wake of Don Giovanni. Comparisons are inevitable, and
which of the two operas suffers it is needless to insist. Zampa,
in tact, is a sort of parody of Don J nan, and, like the original,
with a stone statue for his Nemesis. The subjects of the two
operas are differently treated, but the heroes of both arc reckless
and daring, submitted to supernatural influences, and brought
to perdition by the same means. There is no ghost-music in
since the statue does not speak, and the incidental
c, when the statue appears or makes a motion, is of the
pare melodramatic order. Hfirold was most happy when
attempting least His natural flight was that of the thrush ;
when ho endeavours to rise with the lark, or soar with the
eagle, his pinions droop and he falls to the ground. Tho
lighter portions of the music of Zampa are melodious
and graceful, and in several instances original and beautiful.
At present, however, we must confine such brief remarks as
■pace will allow to the performance— observing, en patta nt, t li.it
Zampa is not a new opera, but one which for nearly thirty
years has beeu stamped with the approving verdict of musical
Europe.*
• With this in view, it is curious (to say the least) to find a con tem-
porary tb.ua summarily diapoaing of Zampa, ss though it were an opera
by Mr. Balfe, or some liring and actire corapo»er, now produced for the
first time:—
" Ths music is entirely in the modern French style, containing some
dramatic and effective concerted pieces and a few graceful and melo-
dious sirs j but tbe orchestral accompaniments are to noisy that the
«ar is absolutely stunned with tho incessant beating of the great drum,
clashing of cymbals, and braying of opbiclaides and trombones ; snd
the airs, whatever may be their lubjecti, aro in auch dancing iiHWHlll—
piat Ihey are like the muaic of a ballet rather than of an opera. Thia
open, in abort, whether we regard its aubject or ita music, is far from
a work of distinguished merit , but still (ss we have (aid) wo hsve seen
wojric thmga better receired."
iUiem MUUr, half a dosen other operas of
dramatu pen
r was as follows : —
... Msdlle. Parens.
,„ ... Mad. Didieo.
Sig. Tamberlik.
Sig. Baraldi.
■•• set
Sig. Konconi.
Sig- Tagliaflco.
Sig. Pierini.
Eita
Zampa ...
Alphonso a.
Dandolo
Daniel
Chief Corsair
Madllo. Parepa appeared last season as Elvira in the Puri-
tan i, without producing any effect. Her second esaay on ths
present occasion was not happier. There is nothing to say
against her voice, and but little against her singing ;
but the misfortune is that neither leaves any impression.
Mad lie. Parepa, as visitors to the Crystal Palace know, is a very
good concert-singer; but on the stage she is a nonentity. The
music of Zampa does not suit Sig. Tamberlik so well as that of the
great opera teria of his country, in which he is so accomplished
u proficient. It is arduous and fatiguing, without often being
effective. Nevertheless Sig. Tamberlik, who looked and acted
tho part of the libertine corsair capitally, exhibited his accus-
tomed zeal, and in the scena where he recounts his amours, in
' in several other instances, his singing
the Bamo qualities
Neri Baraldi
(Camilla's attendant) was perfect. Sig. Tagliancos
Daniel (Rita's husband and Zampa'a confidant), unique, and
Sig. Bonconi's Dandolo (the bellman), incomparable. The
comic trio and duet cum trio (Acta 1 and 2), in which these
three artists were engaged, charmed alike by tho beauty of the
music and the exquisite humour of the performers. Bonconi's
assumption of fright in the first scone, when Dandolo has
encountered Zampa, was in his raciest manner ; and the florid
execution of Mad. Didi6e, in the trio above-mentioned, was so
excellent as to make us long to hear her aiog tbe music of
Isabella, in Boasini's Italiana. It is our conviction that only
half the talent possessed by this lady is recognised by the
public
The " triumph" of the evening, as we have hinted, was gained
by the band, in the ovorture. which was never more superbly
executed. It is not often that the orchestra snatches laurels
from the vocalists ; but, for once, Mr. Costa's pet
the two
>ig. Neri Baraldi, in Alphonso, displayed
i as Sig. Neri Baraldi in Lorenzo, and
i in Oennaro. Mad. Nanticr-Didiec's
carried everything before it ; and thia supremacy tho instru-
of maintaining all the
mental performers seemed desir
evening, for at times they playod so loud (Horold having
supplied them with ample opportunities), that, although the
lips of the singers were seen to move, aud their mouths to open,
not a .sound they uttered could be distinguished It should be
remembered that Zampa was composed for the Opora-Coniique,
and that the band of the Op6ra-Comiquo is not the band of the
Royal Italian Opera.
The mi*e-en-*cine was complete and splendid ; but there was
only ono new tableau— that of the second act, in which Mount
Etna rears it smoking crest from the other side of the sea-shore.
This one, however, was " beautiful exceedingly" — a host in itself.
Tho costumes were all that could bo wished: but the incidental
ballet might have been both graced and improved by the
presence of Madlle. Zins, Richard.
On Saturday, Don Giovanni was given for the second, and
on Tuesday for the third time. Zampa was produced on
Thursday.
To-night, Jfartha will be repeated, and on Monday Don
Giovanni for the last extra performance — Apropot of which
occasion we shall have some further remarks to offer about the
performance of Mozart's chef-eToturre at the Royal Italian
Oi*ra.
Mr. and Mrs. Howard Paul opened7 their clever
tainment, "Patchwork," on Monday last, at ths Egyptian
HalL The houses have been excellent during the week, and,
judging from the enthusiasm of the audience, we have no
doubt but when the weather is cooler aud the nights draw
in, that "Patchwork" will bo one of the fashionable
msnta of the metropolis.
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August 7, 1858.]
THE MUSICAL WORLD.
607
CRYSTAL PALACE
Thk second of Mr. Benedict's " Festival Concerts" took place
on Friday, the 30th nit , and attracted an immense concourse.
The following was tho programme : —
Past I.— Overture (Guillsurae Tell)— Rouini. Motet, " Sslrum fnc
Regern" — Dr. Loewe. Aria, "Dore sono," Madame Weiss — Moiart.
Martin Luther's Hymn, Mr. Sim j Reeves and Chorus. Air (The Crown
Diamond*), Miss Louisa Pjrne — Auber. Choral Fantasia, pianoforte,
Miss Arabella Ooddard— Beethoven. Ballad, " Who shall be fsiren ?"
Mr. Sims Reevea — Frank Mori. Quartet, "Aliiam gli evviva"
(EurTanthe), Madame Rudersdorff, Misa Stabbsch, Mr. Wilbte Cooper,
and Mr. Weiae— C. M. von Weber. Tho Muaio to Sbskapere't
Macbeth, solos Miaa Stabbaob. Madame Wei.a, Mr. Wilbro Cooper,
and Mr. Weiss-Matthew Locke.
Part II.— Trinmphal March (Macbeth)- Benedict. Air, « Robert,
toi qur j'aimo," Madame Rudersdorff— Meyerbeer. Duet, with chorus,
"To arms," " Britons strike home," Mr. Sims Reevea and Mr. Weiss—
Purcell. Prayer (Hose)— Roaaini. Song, " Where the bee aucka,"
MUa Stabbsch— Arne. Air, "Rage thou angry storm," Mr. Weiss-
Benedict. Duet on Themes from the Huguenots, two pianofortes,
Miss Arabella Ooddard and M. Benedict —Osborne. Serenade, " Blest
be the home" — Benedict. Hebrew Morning Hymn — Meiiul.
The chorus and band, aa before, numbered nearly one thousand
singers and players. To those in the immediate neighbourhood
of the orchestra the performance of Rossini's overture seemed
extremely brilliant. To those on the verge of the reserve seats
it was less effective ; and to the mere auditors, beyond the magic
circle, the effect was lessened in tho direct ratio of the
distance. The central transept, aa at present constituted, is
much too large for any musical exhibition. If too spacious
for Mr. Costa and his three thousand, much more for
Mr. Benedict and hit one thousand. Little need be said of Dr.
Loewe's motet, and little of the air from Figaro, whioh, no fault
of Madame Weiss, waa hardly audible beyond tho reserved
Martin Luther's Hymn fared better. The Hymn, or
was arranged as a solo and chorus ; the solo taken by
sves ; Mr. Best at the organ. The tempo waa far too
Mr. Sims Reeves would have preferred Exeter Hall for
his arena. Nevertheless, his voice penetrated even beyond
the central transept, more especially when he sang the
high A, which is not set down. The Choral Fantasia
suffered from one or two evitable causes. Tho chorus was
not steady, nor tho band either. Those, however, near
enough to hear the pianoforte were in raptures with Miss
Arabella Goddard's performance. Mr. Sims Reeves was encored
in Mr. Frank Mori's very engaging ballad " Who shall be fairest I"
An encore waa also awarded to the prayer from Mosi in Egitto,
which was extremely well sung. The music from Macbeth was,
on the whole, admirably given. The pianoforte duets, although
scarcely suitable to such an arena as tho Handel Festival Orches-
tra, was so brilliantly executed by Miss Arabella Goddard aud
Mr. Benedict, as to elicit enthusiastic plaudits. In a concert-room
of more modest proportions it would nave created a furore, as an
Intelligent contemporary justly remarks.
The whole performance was admirably conducted by Mr.
Benedict, who, by the way, exhibited unwarrantable reserve
with regard to his own contributions to the programme, the
charming Herenade from the Oipey'e Warning, the vigorous air
from the same opera, and the characteristic march from Macbeth,
being by no means enough to satisfy the admirers of his talent
as a composer.
On Wednesday tho children of the Metropolitan Charity
Schools, to the number of 4,600, assembled in the " Handel
Festival Orchestra," and gave a performance rui generie. The
Pa*t I.— Voluntary on the Organ. OMjlOOth Psalm— Martin Luther.
Jm (Anniversary)— Oanthsny. Chorale (Luther's Hymn)—
obbligsto, Mr. Hsupt-Luther.
Pa»t II.— Voluntary on the Organ. lltH^Paalm {" London New")—
Dr.CrofV U>lth<Psalm("Hanover'')-Hsndel or Croft. TheNstional
ponded to the programme advised the audience that "the sing-
ing of the children was not intended aaamusical display, but rather
as a performance of simple psalmody."* No sue
however, was necessary. The voices of the youthful i
sounded clear, fresh, and powerfuL Nothing, in short, could
be more agreeable to tho ear.
The National Anthem was encored in a tumult of applause,
and
The emphatic manner in which the
" Scatter her onemiei
And make thein fall "
were
I given, created
played " Worthy is the L
an immense
xeme brt^ty of the
fleet, Mr. George Cooper
and the " Hallelujah" chorus
from tho Meteiah, on the organ, magnificently, besides accom-
panying all the Psalms in a masterly manner. On the whole,
the concert was in the highest degree satisfactory, the only
fault found being the
first time, we believi,
against a musical entertainment. The success of this meeting
was not inferior to that of the meeting of the National
Schools, or that of the Tonic Sol-fa Association. Such exhi-
bitions are peculiarly suited to the Crystal Palace. The number
assembled on Wednesday amounted to upwards of 27,000.
To Mr. Rowley, the general manager, the highest credit is due
for the admirable manner in which all the
carried ont.
wero
PEL FAUSTIS8IMO GIORNO ONOMASTICO
MARIO.
Qcitxa. che m' i
.Non e follis,
Ms e lens eteres
Che Apol m' invia.
Afin che teaaere
Al Dio del canto,
P m' sbbis il
All' alma angelica
E nobil core,
Al genio ltalico
Dell' arte oooro :
Al Cigno armonioo,
Che qual Sirens,
Inebbria d' estssi
Se appare in scena :
Ah" Com i
Che un Dio i
Montr" e del I
La maraviglia I
All' Angiol prodigo
Benefattore,
Di affiitti e poveri
Consolslore.
Ben' ar duo incsrieo
Io sosterrei,
Ss d' Esso i meriti
Pinger vorrei j
Ms Fsme inlendere
Qia « snoi fsati...
Si noma MaBIO
Eoiovibssti.
In segno di i
Nell' on<
Tempo e parole,
Chi credo aggiangere
Splendore si Sole*
Quindi Is Cetera
Che il merto cants,
Al auol rimsugsai,
O vsda iafrants.
Sol voti fervidi
Di lode inveos,
Al oiel to' porgere
Con nmil prece.
Ondo un sol giubilo
Tun vita aia.
Pell' alma GlULIA
In oompsgnis.
La Ague angclicbe
Col lor sorriso,
Le gioje dhoti
Del paradise.
II nsppo or colmisi
Di buon liquors,
E a Oiurai libisi
Con vivo am ore.
Di evviva 1' Etere
Poacis si sssordi ;
In do Ice mormoro '
Dal csvo sp
Gentile il J
Ripetsr :
Londra, li 24
The
and
for the
it part, admirable, the precision
being oxtraordinary. A note ap.
Mb. Hkkrt Lesub's "Judith." — A full band rehearsal of
Mr. Henry Leslie's new oratorio, Judith, will take place on
Monday, at the Hanover-equare Rooms, on which occasion, we
understand, Mr. Costa's new eerenata, The Dream, will also be
iricci.
Stockholm.— A new symphony by Lindblatt was performed
and it is expected that another composition
by the same master, entitled The Dreamer, will be produced
Digitized by Google
508
TIIE MUSICAL WORLD.
[August 7, 1858.
DEATH OF M. ALEXIS SOYER.
A real benefactor to the human nice has passed away
Alexis Soyer, the most celebrated gastronomist and cuitinitr
of this or any age, has quitted the scene almost without a
warning. He expired at his residence, at St. John's Wood,
on Thursday, after a few hours' illness. M. Soyer will be
universally regretted. No man without hi* own circle
was ever more esteemed and respected ; no man within
it more beloved. Tn his public relations his place
can hardly be filled. He was the true political economist
who practically showed how, by the aid of science,
an immense saving might be effected" iu the most important
branch of military expenditure. It is well to know that such
a man has not bequeathed a name merely to posterity. The
fruits of his discoveries and investigations have not departed
with him. His system of gastronomy will prove more bene-
ficial to mankind than many a deeper science or more
brilliant art, and perhaps the name of Alexis Soyer will find a
place, not unworthily, in the roll of fame with the Harveys
and Jenners of
THE DIAPASON.
The Minister of State, in France, has just issued the follow-
ing notice :—
"Whams the continually increasing titration of tbe dispiton ii
attended with many inoonrenieoces affecting equally musical com-
posers, srtisti, and manufm t urers of musical instroments ;
"And whereat the difference existing between the diapasons of diffe-
rent countries, mueica] establishments, and factories of mntical instru-
ments, is a constant source of embarrassment for concerted music, and
of difficulties in commercial transactions j
* On the report of the Secretary-General, it it resolved .—Article L.
h. i , vr, „,.(.,. .re... .1..
That a Commission be appointed by the Mm
the mesne of establishing in France a ui
selecting tome sonorous standard which may
type, and of pointing out the measures to be
adoption and preserratiou.
" Article 2. That thit Commission be composed of the gentlemen
whose names follow —MM Pelletier, Secretary General in the Ministry
of State, president ; Auber, director of the Imperial Conservatory
of Music and Declamation, snd Member of the Institute ,- Berlioi,
Member of the Institute ; Detpretx, Member *f the Academy of
Sciences, and Profeetorof Physics in the Faculty of Sciences i Doiieet
(Camtlle), Chief of the Department of Theatres ; Halery (P.), Member of
the Institute, and Perpetual Secretary of the Academy of Fine Arts;
Liesajoua, Pro feasor of Phytict in the Lrcee Saint-Louia, and Member
of the Society for the Encouragement of National Industry ; Mflinet,
General of Division, chsrged with the organisation of military banda \
Meyerbeer, Member of the Institute; Monnait (Edouard), Imperial
" attaehed to the Lyrical Theatres and the Consertatory j
of the Institute ( Thomas (Ambrote), Member of
" Article 8. That M. Edouard Monnsis shall discharge the duties of
Secretary to the Commission.
"Article 4. That the Secretary Oeneral be chsrged with the
execution of the Dresent decree.
" Pari*, 'fir litk July, 1866."
"We have perfectly concurred," says La Rtvue et Oavtttt
Jfutieale, " in the decision just taken by his Excellency the
Minister of State, and the utility of which cannot be seriously
contested by any one. All the questions relating to the diapason
have been amply discussed in our columns. In 1855, the year of
the Great French Exhibition, when a paper by M. Lissajous
called the attention of artists, scholars, and amateurs to the
subject, we were among the .first to discuss it in an article
entitled, Le Diapason normal et Ui tenon, pointing out what, in
our opinion, were the strong and weak points of the learned
professor's doctrine. In 1806, we returned to the subject, and
dwelt upon the inconvenience of a variety of diapasons for
8T^ ,0ne ^V00™? *» combine Urge masse. Tin.tru-
Lastly, m the course of the same year, M Adrien
. It has already
the holidays will
ThaTthe
de la Fage published in our columns his remarkable
series of articles, De funiti fent'o**, ou de la Fixation d'nn
diapason ttniverte '. Our opinion is, therefore, well known, and
we have, at present, nothing to add to the consideration oo
which it is founded. We shall be happy to chronicle the ]
obtained by the Commission just named. It has alreat
twice, to arrange its plan of action, which 1
oblige it to suspend ; but, in the interi
be collected in France and abroad, so
solved with as little delay as possible.
" This high Commission, let us hope," says L* Jfintttrel, "will
not be called on to discuss the maintenance of the present dia-
pason, which is about to be put on its trial, but to com* to son*
understanding as to the reasonable basis by which it must be
regulated, in order to render the voice its former longevity, with-
out interfering too much with the existing sonority of instru-
ments. With regard to the latter point, it is to be regretted
that some musical instrument makers and instrumentalists of
merit, as well as several of the oldest members of tbe lyric
stages, such as MM. Duprez and Levasseur, were not called
upon to give their opinions on the projected reform. It is to be
regretted also, if we may be allowed to revert to our idea of a
European congress, that the Commission charged with the task
of judging ana reforming tbe diapason, has not been endowed
with a semi-national character. Representatives of Germany,
Italy, and England, such as M. F6tis for Belgium, would have
consolidated the work of regeneration by generalising it a little
everywhere ; this is a moat important matter, for our singers,
like those of Italy, are spread, so to say, over the whole surface
of the globe. Now let us take the case of a
accustomed to sing in France, half-a-tone lower :
de ma patrie," or, " Simon la mort P On <
the Strait* of Dover, they find themselves struggling with aa
orchestra which employs a system of sonority completely
strange to them, with a diapason which has become an impossi-
bility for their voices : Robert can no longer reach tbe height of
his "patrie," while Bertram meets death half a tone too soon*
" If we are well-imibrmed, tbe Minister of State has already
directed bis attention to this primordial difficulty, and it is said
he intends communicating officially with the musical celebrities
of neighbouring countries. But why should this first step pre-
vent the personal attendance in the Diapason Commission of
M. Mercadante, for instance, as the representative of musical
Italy, in hi* capacity of director of the Conservatory of Naples;
of M Benedict, in nearly the same character, for England ; of
MM. Marwhuer and Liszt, as representing Germany with our
celebrated master, Meyerbeer; of M. Fetis, already mentioned,
for Belgium, and lastly, of General Andrew Sabourofif, the suc-
cessor of M. Gu6d6onoif, who would represent the imperial
theatres of Russia, as General Mellinet does the military bands
of Franco! All this is a mere observation which we submit to
the enlightened solicitude of the Minister of State, who, we
repeat, has token with regard to the diapason a step for which
the whole musical world ought to thank him.
" In fact there is a greater scarcity of vocalist* with voices in
our theatres every day. It was time to put a stop to this state
of things. It ha* been demonstrated that the diapason of Gluek
was nearly a tone lower than that of the present day. Our
illustrious maettro, Romini, told us, a few days since, that sine*
1 823, the diapason had been raised half-a-tone, so that he himself
could not toll in what key hi* works are now executed.
44 It is not long since, In France, the diapason of the Sail*
Feydeau was believed to be higher than that of the Grand-
Opera, which exerted itself to the utmost to surpass it* rival.
We know that certain instruments have a great deal to do with
th is ambition of the diapasou to rise— no matter at what sacrifice.
The piano, for instance, gains greatly in sonority from being
tuned at the highest diapason. What is the general consequence
of this in our saloons 1 A great many singers refuse to b*
accompanied on a piano called a 'piano cTextcution,' while, in
other cases, instrumentalist* cannot manage with accompanying-
pianos. As we perceive, this is an important question, not only
of sonority, but, nlso, of manufacture, for most of our orchestral
would have to be reconstructed on a new plan. It
Digitized by Google
August 7, 1858 ]
THE MUSICAL WORLD.
509
is for this reaaou that it would be useful to nominate some of
our principal musical instrument-makers to the Diapason
Commission.
" Besides, when we have arrived at a cordial understanding
as to the number of vibrations allowed for the standard dia-
pason, we must proceed to the manufacture of the diapason
itself, and, on this head, we express a wish thnt, like the money
struck in the name of the State, thu diapason, in its modest
sphere, should be establwhed and manufactured under the
aospices of the Conservatory. Without this, there will be no
unity of vibrations, both on account of bad metal, and want of
finish in the work. Left to competition, the same will be true
of the diapason m of the metroineWr ; it will always be faulty.
Both of these regulating instruments ought to be issued
officially from the Conservatory, if not remain its exclusive
property : they would thus be established on the best foundation,
under circumstances which would render them most accessible
to all. The Conservatory might find in this plan a perfectly
natural subvention, which would assist in founding now scholar-
ships, or, at least, in ameliorating its annual income. This is
another suggestion which we submit to the consideration of the
Minister of State, under whose direct control our Imperial Con-
servatory of Musical Declamation stands.
" We cannot terminate without addressing an humble peti-
tion to the celebrated composers summoned to take part in the
Diapason Committee. It depends more particularly on them
whether the diapason is reduced to its starting point, not only
materially, but practically, by the manner in which they write
their future compositions. Even if the Commission were to
lower the diapason a tone, nothing would be gained, if our com-
posers perpetuated their present mode of writing. It is they,
i more than the instruments, who have contributed to
i diapason. If singers' voioes are not more seriously
ed by the very persons who obtain their effects from
telnper-
, insert the
have lost
therefore, of the vocal art, the last vestiges of which threaten
to disappear, we call upon composers to render the certified
tan actual truth."
CHURCH MUSIC.
(From JheigWt Journal of Music.)
^ Th* old question, what "^j08 btst^usc to be msde^of
times endeavoured to convey our ideas, and hare given hints which we
thought practical. If there is truth in them, they will bear repenting ;
snd we will sndesvour briefly to re-ststo them now. We Umit the
problem, for the present, to the prevailing so-celled Congregational
modes of worship, leaving aside those forms and " services of music
which are dictated by the peculiar creed and discipline of sects. The
present evil lies in the overwhelming deluge of atsle, soulless and unpro-
fitable psalmody ; in the perpetual multiplication of mere psalm-tunes,
a multiplication yielding no new fruit, no live additions to our stock
of sacred song, but only everlasting variations, purely mechanical, upon
one short form, whose capabilities were long ago exhausted. The
cause lies in the two demands, for simplicity and for novelty. Now we
beliere in sn immense redaction snd thinning out, instead of the fur-
ther multiplication, of these monstrous snd absurd crops of weeds. We
think s few plsin old tunes, or chorals, of the most solid, time-tried
snd familiar, such as all, or nearly all, may learn to sing, to be far
more edifying than this perpetusl striving after variety snd novelty,
and never finding it. Three things seem to us to include whst is really
practicable sad really desirable for music in most of our worshipping
1. As the simplest thing, and tbe foundation of the whole, and as a
rset set of religious utterance through music in which all may take
part, we would bars in every service at least one plsin Choral, — simple,
grand, tims-bsllowed, fsmilisr, sung in unison or harmony by all of
the congregation who can sing. These should be few ; since repetition
here is no monotony ; a worshipping assembly joins in " Old Hundred,"
with tlx same ever new interest and fervour, lust a social circle breaks
up with the joining hands and "Aold Long Syne." Husicsl novelty
or variety is not the object here | but (be renewal of an inspiring and
time- hollo wed custom. Hence we have said that a dozen good old tunes
are better than books-full of new psalmody ; not meaning to condemn
all the new things in this shape, of course ; but simply to suggest that
an essential charm snd virtus of this branch of religious music resides
in the very fact that the tunes aung are fow, familiar, oft-repeated, and
fraught with venerable associations. Tbe older these chorals tbe better t
for then the sound thereof links tbe present with tbe earliest centuries
of Christianity, snd inspires a feeling of the identity and oneness of
hurusnity throughout all the stages of its development in history. In
the simplicity snd grandeur of the thing would consist its ever-renewed
novelty.
2. Music of s more srtistic quality, designed to influence our hearts
end minds, to meet snd sympstbise with our holier aspirations and
emotions, and conspire with our good thoughts as Nature's beauty and
sublimity conspire with them t music in which the unskilled many
cannot take part, as a direct and outward act, but in which competent
todeepsndreslwsntsofall. First, I
comes singing by a smisll trained choir, of artists — artists at lsaat in
spirit and in feeling, in general culture aud refinement, — of pieces of a
more artistic character, whoso beauty and deep sentiment should
penetrate the souls of listeners. For this what better than extracts
from the mssses of Moxsrt snd others ? We might also mention
many admirable motets, hymns by Marcello, quartets, trios, Ac., from
Mendelssohn's Elijah, or St. Paul, or from his admirable psalms — much
of tbe old Church of England service, Ac. There is no lack of good
compositions for the purpose, if choirs will but cultivate acquaintance
with them, instead of ringing everlasting changes on the short form of
s psalm-tune. Psalm-tunes and waltzes are subject to the same
fatality in regard to indefinite multiplication; beyond a certain number
they will sound oil alike. Above all, wo would repeat our recommenda-
tion of the chorals of Bscb. These unite the soul snd essence of the
plain-song of the people, with the perfection of artistic treatment.
Bscb has so admirably harmonised these old tunes for four voices, that
they hate, when well performed, s beauty and a meaning thst is
inexhaustible and alwsvs fresh. These should be sung by a trained
choir, the larger tbe better ; but their beauty is intrinsic the
harmony itself, snd cot dependent upon mere moss for effect, to that •
simple quartet choir may siug them to advantage.
S. Organ voluntaries, fugues, Ac. of tbe highest and noblest kita i —
music, which shall pervade the place aa with a holier atmosphere,
mingling with the soul's silent, heavenly occupation, charming the
thoughts upward, as by a sort of spiral Jacob's Ladder of the Fugue, to
heavenlicr and purer states, to rapt and full communion with the
Infinite. This, if it be trut organ music, ministers to the religious
sentiment in the same wsy thst the choir does j snd better, since such
music is more impersousl, less narrowed by the idea of persons singing j
or of thoughts snd statements aung. Pure instrumental music always
gains upon the preferences of those in whom a real love of music is
awakened. Of course an orchestra might render a like service, were it
not attended with such difficulties as to make it impracticable, exoeptin tbe
of groat religious festivals ; of which our oratorios suggest a type.
A Kan ilk TlOLUfUT — (From Punch). — We have beard Msdl'e.
II under. She plsys on the violin with a most charming grace. We
split a spotless pair of gloves (lavender — U. 3d.) in applauding her.
It was more than we could do to keep onr hands quiet and yet it is
not once in a hundred weeks thst we do applaud. Tbe f
occurs so seldom. Msdlle. II under must send us the i
yautier; for, listening to her wc became reckless. I
stupid-looking bit of wood appeal, cry, laugh, whisper, scream, fall on
its knees, tumble head over heels, sing, talk, persuade, charm, convince,
make love, do everything that man and woman generally do, and
generally do most indifferently. Mademoiselle has no need to talk to
express her thoughts. The violin is her conversation. It talks snd
sings at the same time, your ears all the while being held, as by a
loving hand, to catch every little touching word. She is an instru-
mental Bosio, warbling just ss sweetly with her fiddlestick, that seems
to hare a voice in it. We heard Mr. Uistin (a great trumpet in his
wsy) loudly apostrophise her as a "female l'sganini." More than
l'aganini, she pleases as well ss astonishes. With ber it is not
merely lours a* fore*, but louri do plaisir, aVixtaso, dt larnus, do
delirt, do Stptibno Paradis, — to to speak, in a musicofaaatico style.
On moat occasions wo would rather walk over several muddy
crossings to svoid hearing the violin, against which our excoriated ear
cherishes s most hearty hatred i but to hear Msdlle. Humler, we would
wade any day through a Novemberish depth of mud to pay sural
homage to the eloquent music the hot the powci
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510
THE MUSICAL WORLD. [August 7, 1858.
Paris.— At the Opdra-Comique, On' try's comic opera, Le*
Jtfepritet par Reitnemblunfc, has been revived. This comfdie <1
aricttet, a* it is entitled by the Revue ei Gasttt* Shuicale, was
brought out at Fontainebleatt, before the Court, November 7th,
1780, and was introduced to the Parisian public on the 16th of
the same month. It was very favourably received. Six years
later, in 1792. when public opinion had declared in strong terms
that the incident a of the libretto were not well adapted to music,
the Miprite* par Rettemblanee was translated from an opera
into a comedy, and produced at the TheAtre du Maraia, and
subsequently at the Theatre Montanaier, under the name of
Lm Deux Grenadier*; ou let Quiproquo*. This vorskm of the
original work held possession of the stage for more than thirty
years. The Onera-Coiniaue restored the nitwic in 1622. since
original work held possession of the stage for more than thirty
years. The Opera-Uomique restored the music in 1822, since
which time it has not been performed in Paris. Its pre-
sent production, If not likely to mako the fortune of the
, will serve in the character of a novelty, of which the
3omique stands in great need just now. Although
ry was in the zenith of his fame and powers when he com-
posed the Miprite* par Rettemblance, that work does not exhibit
the same grace and facility as his Richard and the Tableau
Parlant. At the O rand-Opera M. Gounod's Sappho has been
reproduced, " revised, corrected, and considerably diminished."
The three acts have been condensed into two. The principal
Sarta were sustained by Mesdllcs. Artot, Ribault, Sapin, and
I. Ayrnos. We cannot see anything In this to justify the tone
of triumph assumed by certain critics who regard M. Gounod as
a genius of the first water. If Sappho in its original form had
been good, it would never have heen degrade*! into a " lever
de rideau."
Viejwa. — On the 27th June, after having been closed for a
long period, the Casino on the Kazlenberg was re-opened. In
it is the well-known Mosart-Room, which, for many years, was
totally neglected, but has now been restored. The entrance is
remarkable for the Inscription, " Mosart-Zimmer, 1783" (Mo-
sart-Room, 1783). The room contains three jjortraits, namely :
those of Mozart, tho Emperor Joseph, and the Empress Maria
Theresa, and a great many statuettes, among which are
those of Mozart, Handel, GlUck, Weber, Beethoven, Donizetti,
Rubens, Michael Angelo, Van Dyck, Rafael, Titian, Gbthe, PU-
gram, etc. The furniture is in the rococo style, probably in
accordance with the fashion of 17H3. There is a small table
which Mozart himself is said to have used, and on it a Strangers'
Book,
of names,
"admirers of Mozart."
Liverpool. — The second concert of the "Pyneand Harrison*
troupe took place in St. George's Hall on Saturday evening last.
The attraction being great, and the prices low, an audience that
completely filled the Hall was the result, and many persons were
unable to obtain admittance. The programme consisted chiefly
of selections from the Trovatore ana the Rote of CattiUe. Herr
Wilhelm Ganz performed, during tho coarse of the evening,
a Home, Sweet Homo" (Wallace's!), and a mazurka (" Souvenir
de Wrest") of his own composition, with great success. Mr.
Reynolds, the inaugurator in Liverpool of these cheap " concerts
for the people," is likely to reap a good harvest.
Lews.— On Wednesday last two rehearsals of the Leeds.
Bradford, Halifax, and Dowsbury sections of the chorus engaged
for the forthcoming festival took place in the Music Hall, Leeds.
in the afternoon, was under the direction of tho
Mr. R. S. Burton, organist of Leeds Parish
, ; the second, in the evening, was under the guidance of
W. Sterndale Bennett, to whom the " conducting "
of the whole of tho musical portion of the Festival has been
entrusted. On both occasionsa number of musical amateurs and
patrons of music in this borough were admitted to hear not only
the choral efforts of the performers, but also the instruct ions and
corrections of the two masters — Professor Bennett and Mr. Burton.
Of course no person went to be " over critical," and all sub-
mitted with excellent grace to any little annoyance which such
a musical practice was sure to produce. But the amount of
annoyance was much less than might have been expected
Indeed, tho -
It is gratifying to find on the first page several groups
cs, some of the writers subscribing themselves expressly
and may be taken as earnest of tho success of the choral part of
the festival. We wore glad to hear Professor Bennett, at the
close of several of the choruses, Bay to the performers, " That is
very well done," an announcement which the critics among the
audience unhesitatingly endorsed. There were altogether about
170 choral singers present, and the volume of tons was very
powerful, indeed, too much so for tho pleasure of tho very thin
assembly in the afternoon. The performances were confined,
we believe, to selections from Havdn's /Seasons, Beethoven's
Mount of Olivet, Bach's Pa**ion*-Mu*ik, and Handel's Israel in
were of a highly satisfactory character'
ford. — The Bradford Festival Choral Society were on
Monday evening welcomed back to Bradford by an ovation in
•St. George's Hall i nearly 4,<KX) persons of all ranks crowding
the Hall to hear a vocal concert, given by the society on the
inn requisition of a large number of influential gentlemen
in the district. Rank, fashion, and beauty united on this occa-
sion to do honour to " whom honour is due." The demonstration
was complete. The talented teacher and conductor, Mr. William
Jackson, and the clever accompaoyist, Mr. J. Burton, received
marked and s]>ecial favour. The whole orchestra in turn were
loudly applauded. The concert given was a choice selection of
part-songs, madrigals, Ac, and was well sustained throughout,
with one exception to which we direct the attention of the vocalists.
They use the letter" h" a great deal too much, and it was really
miserable to hear Fcsta's fine madrigal spoiled by the last line
being sung thus : " But if thy purse be Aempty," Ac We could
easily point out several other instances of this kind, but verb urn
ftp. The encore* were numerous, and the applause at the end
of each ]«rt was most enthusiastic. The concert closed with
the National Anthem. — Leedt Intelligencer.
Opesiso or the Church Oroak at Shipstos-ob-Stocr.—
Some short time since, the church in this town was razed to the
ground, with the exception of the tower, and entirely rebuilt.
It says much for tho zeal of the rector, the Rev. W. Evana, that
the work was begun and consummated in an unasnally brief
period. Siuce completion, it has been determined to have a new
organ for the church, and the work was entrusted to Mr. Thomas
Uewins, of Stratford-upou-Avon. The resolt has been the pro-
duction of an instrument worthy of the purpose and highly
creditable to the builder. The formal opening was fixed for
Wednesday lasc, and the occasion seemed to awaken lively
interest, the church being_ densely thronged both at morning and
evening service. The services were full choral, under the direction
of the organist, Mr. H. Mathews, who tested the qualities of
the instrument at intervals in the service. The preacher
in the morning was the Rev. Henry Parr, late of Taun-
ton, Somerset, and in the evening, the Rev. Julian C.
Young, Rector of Ihuington. The sum collected after the
services amounted to nearly £40. The organ contains twenty-
six speaking pipes, with an ultra marine ground diapered in
silver. The case is of Riga oak, carved in a style harmonising
with the screen and choir stalls. It contains the following
stops: — Gkbat Oho an: double d»apa*on, open diapason, ttop
diapaton, gamba, darabetta, principal, flute, tuper octave, tee-
qutaltra,(hrte rant*; cornet, three rantt. Ssiu Oroah : double
dttlctana, open diapason, principal, fifteenth, hautboy. PxDAl
Oroah : great diapason, tixteen feet, open, (tco octave* (radial vry).
Accessory Movements: sicell to great, great to pedal, three am-
potition pedal*.
ADVERTISEMENTS.
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latoUw*— -
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*"M' ii]>|arl tutt' ntnor" h, or la Kng-IUh, (Dearest, thou but left me) fiet
uigei by Jiordmano, rrtoe 3«. M.vi»m« OurjV^tateUM «•
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Containing Selection! from TWESTY-OKE of the MOST POPl LA R OPERAS OF THE DAY, to arranged that threr
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1. On yonder rock
2. Yea. to-morrow
3. Tnung Agues
4. Proudly uid widely
0 Then since life glides
0 La duwi invluwi
7. Nella Fstai di Rimini
8. Idbuuna no' lieto called
0. Di Proreoaa 11 mar
10. Setapre libera
11. Ab per eempre
11 Borgee, la notte fulu
13. Ah quel suouo
14. Tare* la not Us
15. Dl talc anior oils
19. Abbirttu
17.
16. H.
ID. Nobll Dnnn t
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21 . A oe mot tout a'ouiuio
2*' Come rugiada
O tu che 1' alma adora
Ernard. IiitoUuiI
Tut to e apresxo
Torn*, Toruft
Como rtotl di itau-
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1^1 pietade in auo fa Tore
Verrano a to ml aure
30 La cl darom la mauo
31. AndUtn, andlam
SS. II inio teawro
»S. Mllradl
31. Finch' Ivan da! vloo
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S7. Ivrigorduio
38. Air do IUUct
39. Qolop
4V. Vigliac donna
41. AdJx) apctansa tJ
anlma
41. Cnxo no in?
43. Hi vendetta
44. Clatcun 1° dice
43. Couvlen part r
46. Da quel Ulan to
47 Dal aura tua
48. Mono all' altar divenere
ID. Sorta o 1* luna
!,:
iJ. 8orm il aen
S3. Prvudi 1' anct
M Scrittl nel del
aV Ah! vorroi trovar
art. A Ik ! foMo e lui
07, K Piqulllo
■f»8. r;iri«l o cara
50 Addio del poastto
eo. Dim aila ktorlno
«1. Oh qinuido penl
€2. Stride la Tampa
63. Mai reggendo
fit. Pcrlgllsrti ancor Un-
guents
65. Uu momento pib
60. 11 bolcn del suo
07 Oiorui porert riroa
08. Ab.lbenmlo
00 Til quelle plr*
70 Miserere
71. Ab cbc La murts
7s. 81 la atanchosaa
79. E' il ad doll' anuria
74. Tiitte lu fcelc
75. La d ..in i> a * mobile
70. Un dl eo ben
77. Bella figlia dell' amore
78. Invano il Uto
78. O fortune, a toil
caprico
SO. Quan.J jo quittais
81. Ballabile
8S. Di pescatore lgnoblle
83. lufclice 1 il Tclcno
sii. Casta Diva
s7. Soli furtiva
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80 Oh nou trwuiare
00 Oh dl qual ad tu
vittima
01 Clel pktoso
Ui. Ciela. di stollaoebeto
OB. Clel pUtoan, reudUa
04. H SUffiro letcger
*4. Infolloel otucrodovi
00. Lamialefcita
5>7 Non fu .iyno
i'S Qiaaudo le aen
09. PietA, rianetlo, onore
100. Va J
Gastlbclza-
- French l
BOOSEY'S FLUTE JOURNAL,
Operatic Melodies, Dances, Songs, etc— PnblUhed in Ten Numbers, la fid. each ; or, complete in one Volume, handsomely
Croats" march
The reefer
Paris-its melody, by Tlarold ? Sweet bird
oving
him
Sen xa amore— Roman air
The summer bloom hath
Kradowlle— Cnaut Alglrieu Oh! blame me not fo
Rondo, Los Boheniivna de
Pirla
L'Estrella^ — Spaniah air
Ainfrom Aubtr-,
L'Enfant Prodigue.
Duux Se>'ur
Tod, qui Teraas la lumlere
Au loin dans la plaiue
Ah 1 dans 1' Arable
Maria
Camrno U
T» Odd
Poor tee attralu,
8«uart
l*a Yeu» Bloua
L» Dut d'Aurenrne
ad
Las CoraUeras de BcTllla—
SpanUh a:r
Uou<U:laiu>hnfa first Tiolei
Ttiu staodard beiirer
Preen the Afps tho brrn
resounding
Jsaloui little Jaok
Mstmra— Spanish air
Ruse Lan air
> Dauteuso
See tho conqucTtug litroi Tl.e Girl I Ufl lirhlnd mo
Hunting the B ~
Oraeu »l«c»os (t'lld Melody)
I The UnouLualilre Poacher
Tom Bowling
Now ia the montli of May-
ing
ltlack-eye»l Susan
The mrndowaWck cbeerrut
Vihen the rosy mora ap-
1 earing
lu infancy our lwpea and
f ,ir.
Hope, thou Nurse
Barry auo mnrulng
Fresh and siroriK the brocic
is bluwiug
Ko. 4.
Tlie Uasaor Bictimond BID
Trie ftntiah nraniuliKfa
jfi'#/r*iii MinCl
Sonnambtda.
VIts Amina
Sounds ko joyful
Chorus
Ho. 5.
Airi/rom Bdlmi'i oonnam* j
frula iroitrinuoi).
O Lots 1 for me thy power
While this heart
Arahian air
Air. U JollemiedeOand
C-«t toi
Preach mcto'ly
Rhioe Song German air
CratoTienuo, La Jolie Tills
doQand
U Cta»«-ur t0tt
Plire ct PocUour
Air-Marie. Uerold
Ave Maria, Paget
Swiss m-lody
Le temps quo jo rr grotte
Coo rleur puur leponse
En a rant
Wo. 2.
Le suleil do iita Brctagno
Ma Brunette
Ta Tola
Oul, MonscUneur
Nou, Moiisclgueur
I^vlEoez moi rsimer
Dei. con ta. Norma
Rule Britannia
Feather On
rian dance
Ho. ».
your funning,
gat 'a Opera
Jolly young wi
waitx
Preticli march
uiillUlre
IJ-.--
trim-
Ko-.ind the huge una
The streamlet
Then farewell, my
built wherry
The sun seta in night
If lbs heart of a man
Sallv in our alicy
Let a hare a dance (from
Macbeth)
Buw sweet in the
lands
Peaceful slumbering
Cenac, rule Boreas
Toe Harmonious Bl
smith
Blow, blow, thou winter
Kind
Distress mo with these,
tears no more
in the good ship ■
Britons, a*nke homo
Wind, gentle Ercr^icen
Adey Croker
When forced ft
The lioust Beef of Old
England
Pair llebe 1 left
With lowly suit and plain-
tl»e ditty
Fcltoi.'a OaTut
DuinndiirU snr
Sliephenls, I bavo lost my
lure
Wheio I followed a bus
Wlicn William at ire
Tim maid of tho mill forme
Well may the keel row
The ash gruve
Ta main
Lrs Mciirs animus
Pcneen-tu quo cc soil t "aimer
Ductile, la Rieiise
UgGhoesMS blonda
Le Denton d'Orongcr
Lea Petite Sabots
Plus de Mere
Le Bouquet de Bel
U Be'.la Jeanuc-Marle
Vive Henri Qiiatre
Quel dorer oelar
Ab ! coosoiartni
Per sua in a. ire
Que'ls pleth
La tiglia mia
EsaltLam la tua po tenia
So tan i o In Ira
Ah I dimmi, dimrnl
Ko. 7.
Ita Joy Ll jr* /rem J50HU./I."* Hiixfo
rcTsalLug (ro«tm«ed|.
Take now this ring ; Oh ! vaiuis, o caro
Oht IcannotglTcsxprcaaion II la Toce
Aa I eiew these scenes eo No uoo e tct
charmiug | All 1 bel destia
Maid. Ilxise bright <-}"• Ma vciroto
When duaky nightfall ^ir< JrVM rtntft
1 am jealous of UiuoMUt ] firnaai
icphyr Oh ! de Tt rd anni
Sso, by tbatjoyrul |«3puLacel EvriTa bertacn
Be otaMnanl
Tia a falsehood,
Bear me ••rear
Such return for lovs accord-
ing
Will tbe sun- sheltering
canopy
Through Helvetia
Chorus
Alllaloat
VlT.Ms"'™
Still ao gently
Lisa is chosen
Oh I moment of pleasure
IJsa, too, can I woo her
Scarcely could 1 believe
Uicea
Do not mingle
jfirs /rem A»ia>ii'i
Linda.
i cmtV a
O luce di
Amlxi natl
| Facclam allegri
Oara luoghi
Di tue pens
Da quolui che
Come rugti
O I tu cue I'alma adora
I mlci lauieuti
oahfj
Oro. qusnt oro
No vend.
Kn>anl !
Tutto .
■ O tUD fi'dl"
Pib d'oRul altro
La vedretno
Veni mcco
Msnb
Oh ! come feliee
A in /rolw JhUixiTi
Norma.
Del r aura
Ma protecge
HO. 8.
Air.i/rvn /irluni'j /Yoi-wo
froafiaHeoTX
Ah I belio a me ri turns
March
Va crudelc
Vieni lu Roroa
Oh ! dl quel sei
Se duo all' ore
1
lis.
In mia man
A bel In s me ritorno
Ain/rom Dmmtti'i
Ells ire 4' Amore.
Obllgalo— Ah ! se
Ah 1 dot tor
Pit: tempo, oh ! Dlo
La, la, la
KenlU imrlat
Una Tenors
to son t
Chi la ■
March
Queens Scboillaoh
Cornelia Polka
(loud night
Ho. 9.
Al.gcliu.1 Polka, No 1
Do No, *
Molodlcu Waltsee
ManruariU d Anioa Quad-
rnes Sorel Quadnllee
(ro«pl«0
OaeSi) of the Notions
Prince Rupert's Oslop
John Anderson, my Jo
SsTonrnten deellah
Tbe summer
O'er my aoul thure beam'd
The Moid of Jitdab
Ohlthouartg
dear?
Ixire'a young dream
Ix)Uf-h illll^*
My lodging is on the cold
ground
The minitrc! boy
Farewell ! bat whenever
vou welcome the hour
Plan Jty Connor
Peggy Bswn
PRATTEN.
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Containing tbe Elements of Music, and a Complete Conrve of Instruction In the
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NEW CLARIONET PRECEPTOR.
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BOOSEY'S UNIVERSAL CLARIONET PRECEPTOR,
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Foimded on tUo oolt^mtad method W KUwt*. and cQoUiaiiiig lbs whole of the b*?et fxarcitc* anJ etu*liei fmm that work
Hemeotiiry IrutT'iciimi, by JOSEPH WltXlAUB, of Ucr v -t-.^ IV: v .:■ 1 _ u.i. rubliiLod far,
B0OSEY AND SONS' Musical
. 24 and 28, Holle* Street. Oxford-streflt.
512
THE MUSICAL WORLD.
[August 7, 1868.
FREDERICK DENT,
Chronometer, Watch, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
«rU> fHaktt of Ujt Oust Clark for tjw ftauscs of
61. ttma, and »4 and 85, Boyml Kxchaay,
No conntctio* with 33, Cocilpur itrtet.
LADIES should visit this Wholesale and Retail STAY,
BODICE, and PETTICOAT WAREHOUSE for Cheap Pardonable Goods.
s d. ». A
Hell-lacing patent front-fastening elastic stays and bodices 4 11 to 19 *
Family and nursing stay* oslf-adjusUug 9 C, XI 0
Paris wove stay* all aUca 6 11 .. li 0
Far ball and court 1 1, ladies eh«ukl purchase their lupous at Wllluini
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LADIES' VIGORNIA CRINOLINE WATCH-
BPBJNQ JUPON. MUSLIN AND HTEEL PETTICOAT WAREHOUSE
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PariaUn Eugeci., hoop skeleton aklrU 4 « toM 0
Fuu^ie Vla^roia crinoline petticoat T * ., Jl «
Fieoch wauh-epri'.g muslin lupous 0 0 ,, 1* *
VILLIAM CARTER, M. Lu- tote-street, two doom from 8t. Paul'* E C
Engravings of the above free.
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Of Portmanteau* Despatch Boies. Writing and DnaaiuaCaaea, Travelling Bags
with aquam opening*, and iOO «hcr articles for travelling. I>v t«st for twostamps.
ALLEN'S PATENT 80UD LEATHER l"OIlTMANTEAU, with four Com-
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ALLEN'S PATENT TRAVELLING B AO, with square opening. TboaearUcloe
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J. W. and T. ALLEN, Manufacturers of Portable Barraek.room Furniture and
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* 32, Baa>nghaU-street, Loudon- Illustrated pamphlets "Why Hair
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clioniiate t
M
R. HOWARD, Surgeon-Dentist, 52, Flee t-gt root, has
Introdnced an entirely new description of ARTIFICIAL TEETH, fixed
the natural
Thay will
ever before
without springs, wires, or llgsture* They so poifctly resemble tl
tooth aa uot to »» distinguished from the originals by tnectosestobservar.
never ohsugo colour or decay, aud will be found superior to any teeth e
used. This method does not require the extraction of root* or any paiu
require the extraction of root* or any painful opera-
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A CATALOGUE of VALUABLE aj»d IMPORTANT
MUSIC ; containing Handel's works in full score, by Dr. Arnold, 40 Tola,
large paper ; also by Randall and Wright, large paper ; slid by the Handel Society ;
Purcell'a Hacred Music ; Opera Scores by eminent composers ; Pianoforte Works,
Glees, Madrigal* Ac , Valuable Treatise an Musk. Ac Also, s catalogue of book*
part 2<H. both gratia. JOHN PKTHBRAM, *«, High Holboru.
THE MODERN GUIDE TO THE STAGE, OR
AMATEURS INSTRUCTION BOOK, describing and toachliig all the arte
and Phases — Physically and Elecutlonary. in Love, Despair. Grief, Jealousy.
Madness, Remorse, Rage, Hatred, lteveng* Joy, Hypocrisy, Tyranny, and
Vlllafly ; with all the more elegant |iotnti In Opera. Burlesque, and Comedy,
necessary to speedily qualify young person* of both sexes for this lucrative and
pleasant profession Also the Names and Residence* of Managers and their
Theatres all over the Kingdom, Use Colonic* and the United States. This new
work (warm from the |nos»). and never bef re Iu print, will be sent hi any
Address tree by I* at for twelve post stamps — punctually per return ~
, Kingsbv
Fl.ber and Sou, I
London Established 1817.
M O D E R A TEL Y EASY
Just piuVisW. w/eito,
A FULL MORNING AND EVENING CHURCH SERVICE,
1. Tc Drum and Jubilate ., ., ,,
S. Intro!!, Miserere, Doxology, Kleorte Creed,
S. Magutricat and Nunc Dimittla
Or complete is one book, j, ice 1 (aj
Composed, with an accompaniment for the Organ or Pianoforte, by R R.
Vice-President of the Manchester Madrigal Society.
Loudon: J. A Novella, MaucbuUr J. Townscnd, and Hltnc
sod sll mnaus-salleia.
M'sV at Wmal allowance made to Cbotrt taking ixTS or curias.
K. d.
4 0
4 0
4 0
BIRMINGHAM MUSICAL FESTIVAL.
IN AID OF THE FUNDS OP THE GENERAL HOSPITAL.
Ca ACeVST list, SSTTSMBM 1st, Ibid, and 3rd. IMS.
Mad. CLARA NOVELLO,
Mftdlle. VICTOIRK BALFE,
Mad. CASTELLAN,
Mad. ALBUM, Mia* DOLBY,
Mad. VIARDOT GARCIA.
Mr. SIMS REEVES,
Mr. MONTEM SMITH,
Srgvor TAMBERLIK,
Organist
Sigma- RONCON1,
Mr. WEISS.
Signor BELLKTTI.
Mr. SIMPSON.
Mr. COSTA
MESSIAH
JUDITH
LAUDA 8I0N
SERVICE IN C
BsXTBOrgH.
Tuesday evening— A MlSCBLLAKSOUS CoWCXBT,
OOMFaUSINC
OVERTURE (fiseye of Corimth)
ACTS & O ALA TEA (With additional Accor
by Costa)
OVERTURE (Dor JWaarla/r) ...
SELECTIONS FROM OPERAS, Ac.
OVERTURE (Fra Diavolo) ...
Wednesday Eveniiur-A
SYMPHONY ...
CANTATA ...
OVERTURE ..
SELECTIONS
OVERTURE .
(J*p*l*r) ...
...(To fie Sent <if Art)
... (Ouiliaume Tell) ...
OPERAS, Ac.
(Zampa) • a*
... MOXABT.
... MztmnsM
... Bomixi.
... Hxsold.
MKiiPiiswnnr
Thursday Evening— A MlBCSLLAirious
UWIaMIaW
THE 8COTCH 8YMPHONY (in A minor)
SERENATA (Coropoaod for the occaaion of the
Marriage of the Prince** Royal)
OVERTURE tthhmk*)
SELECriON8 FROM OPERAS, Ac.
OVERTURE (EmyatUk*) WttXK.
FRIDAY EVENING — A FULL DRESS BALL
them fcarwitrdod by post ;
Parties requiring detailed IVugrammes of the Perfurrnaitce* may hare
btain them on or after the 26th July
Mr. Hg.ar
Si, IVauett Vhi]), Birmrngham.
J. F. LEDSAM. i
f^wtth any other iufortnation desired), ot
Publiahed by Joan Boostv. of OasUcbar-hlU, in the parial
County . f Middle^x. »•. the offtoe of Doo.tr ft Soa* J&,
also by Rem, IS, John-street. Great Fortland-streat ;
hme ; VlcggB* HcJywell-street ; Katra, Psowsa, A (
In the parish of UfJ^tmJkj
^auLex.
Mar, 11
Edinburgh and (
eel lore.
Printed by WiLLtaM Srxxcxa
luxe, in the Parish of He
Saturday, August 7, 1846.
Digitized by Google
(j Ik
"Ths worth or Art appbabs most imixint nt Mraip, irxci it KKjriasg no miieriai so n'rjiu-smrn, wiiobe srreCT sicit
BB DKDUCTID. It IS WHOLLY FOBM AND POWBB, AITD IT BAHE8 AXIJ ENNOBLES WTUTETBK IT BXPRB88K4." — (Jijtthe,
SUBSCRIPTION:-SUmped for Postage. 20s. per annum-Payable in advance, by Cash or Post Office Order,
to B008EY & SONS, 28, Holies Street, Cavendish 8qnare.
VOL. 36.— No. 33.
SATURDAY, AUGUST 14, 1858.
{
PBICE ii.
STAMPED ii.
A YOUNG MAN, who is engaged during the day, would
like to meet with emnloymcn'. from 7 till in l<> the. evening, "lie would
keep ft ict of book*, or make himself useful In ar.y rapidly for a small i
Hon. Address A. LL, cere of Mean. Boosey nnd Souk, HoUm-strcet, i
ClITOIt'llBll-
PARTNERSHIP. — Pianofortes and Harmoniums. —
Wanted ft Pnrtiter. with a capital of a! <mt t tor an old established ini
thriving trado in the East of England, where a [W letting busln.su U done, and
a Brst-dsae Tuner could .command an ixbiiidvc nmctici Address X T. "
PROFESSOR AVI LJ ALBA FRIKELL will nrrivo in
England early In September. Mid giv- hie Eiitartnlnnitnt, TWO HOURS OF
ILLUSIONS, for otic month only in lundon, previous to his Jcpu-tura on a V
vinrlal Tour. All cumntuniutlore In t« nddn.s.c.1 to Mr Jarref, care i f M
It. Davison and Co.. Foreign Music W.ir. house. V44, Regciit-atrcet, I or: Inn.
and Co.. Sit.
ORGANIST.
V Afc V* aAAl ■ ■ j » •
^PHE situation of Organist of the Parish Church of ALL
A SAINTS. MAIDSTONE, being vacant. Candidales for tho *aroo, who mast
be members of lbs Chutdt of Borland, ran obtain full particulars oil application
to Mr. Richard nolmrs, Voetry Clerk. M, lLglutrect, Mai-Wone (staling Ago>,
,»io. In the K*th m.t
prior to the Wth inet.
■pOR SALE, an ORGAN, suitable for a moderate sired
JL Church or Chapel, in elegant Gothic ca*e of Riga oak, with Two Rows of
Keys, and an Octave and a Ball of I'edaln. The Great Organ routitts of (lie
following Stops, via. : Open DUpason, Stop Diapason, Principal. Dulclana. Dulcuui*
Prineiteu. and Cremona, Tl'e Swell, of Open Diapason, Stop Diapason. Principal,
Twelfth, Fifteenth, and Trumpet. In excellent condition. Prico ariaO Apply to
Mr. Henry Willi*, Organ Builder. Il», Albany-street, ReafcnlVpark, London.
REED'S NEW ENTER-
niiolneUoo of four Original Cbarae-
MR. AND MRS. GERMAN
TAINVsUTT. — Lest Week but one.
Urs and Songs, every evening (except Saturday) si Eight. Saturday Afternoon st
Three*. Admission, la, 2a, and 3a ; Stalta secured without extra charge at the
Itoy.ilGallery or Illustration. 14, Regent-street, and at Cramer. Beal*. and Co. 'a,
WL Recent at reet. Tlie Gallery to He 1
tour. Application by letter only to Mr
The Gallery to he let during Mr. and Mrs. Ilced'" provincial
• H. r-llxln.
CRYSTAL PALACE— MADAME A LBON I. —
A GRAND CONCERT will take place on Friday, tho SOU) Inst . -it which
Madame AlUml will make her f.rat apiienmncc ut the Crystal Palace. On this
occasion she will slug, "PI plater," -'Rodi-s Variations." " In quosto eeinplioo,"
' Madame Wets'. Ml-« Kyle*. Mr. Montcra Kmith, Mr.
and " Qiorno d'orrcre
KTeias, ar.d Mr n«
Conductors. Mr,
Weiss, ar.d Mr Uatton. will also sppear.
• Mr. J L. Hstloo.
iitcrors. Mr, Mann and Mr. J. L. Hstloo.
isslon by payment on the day, nalfa-Crown. TickeU Uken c*
lay. ltth insl. ?• ; or family ticket*, admitting four. Ta ; Rem
extra. TickeU m.y be had at the Ory.tal Palace ; at S. Kxcur
* the ii'usl Agents.
Crystal Palace,
en or before
ITS.
Do. is open at Twelve ; Concert to commence st Three,
By Order, GEO. GROVE,
August lUli, 1838 Secretary
MUSIC STRINGS.
,X WAEEH0U5K - THE CHEAPEST HOUSE IN LONDON.
14, EAST PLACE, KENNINGTON ROAD.
MONSIEUR ALPHON8E VILLIN (de Paris) Importer
<4 Italian. From : h and German Strings lor all Instruments, list of prices
piee ffwarde I (free! no application.
lUbraUd ACRIHBI.ES. now unlvera
he had 0 EN U 1 N R but at the above address of
Wholesale Agent lor the UiUte«l Kingdom,
Hook I. now rca ly. Price 4s.
BEETHOVEN'S EGMONT. — The Overture, Sm.irs, and
Butf Acts* music, composed by Be.ibor, ii tnOootlo'tt Tr.ig.dy of EOMONT.
arranged for two vcrfonners m , tl, t pianoforte by W. II. Orattiuni Tl • Dv nute,
4a. ; the Songs, etc . in three l„>-ks, u. «. h. Campbell, 'it, Nlov Eoiol street.
nlTOrsall^sdopte.l^hy^jdl 1
PIANOFORTES.— DEW RANCE'S COMPENSATING
PIANO may now bo seen at the depot, Soho-»iuire lly the application
r f lb Is principal a heavier string can bo uaaxl. tbo result of which is, that the full
power of a grand Is obtained from a cottage instrument, at tbo same time the
wire* and the frame on which they
of temperature equally and togettx
In the ordinary mittumiut. Is el
tone, with extraordinary powers of modulation, th
equalled, at the same time the price Is
ey are strung expand and contract with change
her. so that the necessity for frequent tuning, as
entirely obvl.ud For fu ness and roun Ineas of
33
TO TlIFe MABi HlOXntS OF nASTlNOS.
N'i w ieiifly, iu 'J volt.,
MOUK.M— By tbo Autlior of " Churli-s AxuMbt*"
Tl U iR au'-tber of tl ouc bnlSliist wtnle* for whic.i this AutUur ha*
t>rfi>rti f«.tbri»1c*l. Tbt l"Ve o( nmlc i* Inlicrcnt In the Author'* n \tnrc.
Html fccJ.K]* ftroi* hr« mvttU *ith eWjucivto^ an<1 e)ocliM hla Uv-u^h** .vH n l c*uty.
!u a fwtULT vutk. the imkUt wm charmc! with thy |'ortraimn« or tho (j-IXp!
MatulclKwbu ; hure l« will find MM i-ot infrricr of the immorUl B«ih *\* n." —
Humt nnd B'*4.:kftt, PnUliihrrie, micw«»or* to Tl. Coibum.
riniE IMPROVED HARMONIUM. — Mr. W. E.
X EVANS, inventor of the EogliV.i Harmon Inm (eXhiblUd in LmnUm iu 19t4\
calls sttention t*i tho improvomouts It. hss lately niado in this Itvstrrri.cnt. Tho
subjoined testlmonUI from Mr Alrie-l Melton I* one < f tbc m iiy be lus roeclvod
Ths Taut Kino's fto»t. Ciinsssa.
Mnrcli lr.lh, IvV
In gi.iug fm my opii , . .i;»ti yom
the kind I tiave ever h<ard
Yo in v .ry truly.
To Mr. W. B. Kemns. ill
61, ?forlollt-*troct, (
ONE OP THE FINEST ORGANS IN THE WORLD
TO BE SOLD,
arrrsmr. ron a
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL
Ap,.ly to the Publishers of the "Musical World."
V.
cxnxit tux ramoNju-.r. or
HER MOST GRACIOUS MAJESTY THE QUEEN,
II HI! THE PRINCE CONSORT.
THE ROYAL PAMII.T
f)a Manx begs most respectfully to aunounca that he in open . n-ircmeuia
alth bl< bliihly uppio.ud. mtcr«;'.ng, pl,tu4ng. sod in-lruruve
MUSICAL ENTER TAINW ENT,
DR. MARK AND HIS LITTLE MFaN,
numberiu^ upwards of thirty In-truiiiculslisu.. sml n mn«« tC'ellve) Chora*, tin
whole forming a most compkto ami uniqo ;
JUVENILE ORCHESTRA,
Little EiigH.h, Irish, and Botch loys, from five to sixteen year* of a^re. w° o pl..y
operatic eelect loos, solos, duct*, quartets, quiulrillrs. man. lies, and polkas ; anil
sing songs, ebonites. Ac , in a nn*t effective manner, and to whoaer 1^ i i
gratuitous general and musscal education in ori.r P< i tu-t- .-.r< • * ' »!i,...h*"- i-i
•yetem of ronsieal oducaHon. and with whom lie travels ;>im*W Ui tonatrr t'i
exclto au Inl crest for and help to establish musical iusAtt,iSl us .-aU»l "I'm,-
servatotres of Music " for Iltt^i children In tverj- town, aO.W-4 of that - '
514
THE MUSICAL WORLD.
[August 14, 1858.
NEW AND POPULAR SONGS
PUBLISHED BY
MESSRS. DUNCAN DAVISON AND CO.
'TO NOT IN LOVE, REMEMBER."
f 'OUI/KIKif ( »
M. W. UALFE.
Poetry by Jtfici It avkim. Price 2s. lid.
Frithce till me, gentle air,
Why my heart i» full of care.
And why uo pleasure* charm me ;
It is not love torment* me so,
I MOn the wily urchin's bow,
Hi* arrow* cannot harm uid.
I try to sing — my voice is sud,
1 sleep — but then 'tis just as bad,
Such gloomy thing* 1 dream on.
Can you uot tell ? nor yon f nor you ?
Oh then, I know not whut to do
To cluirm nwiiy the demon.
I sometimes think, if" I know \ckj"
Were here— he'd U-ll mc what to do
To hid the demon slumber;
Could 1 hut hear hia voice again,
I'mni* 'twould cheer my heart, hut
I'm not in love, remember.
"QUICK ARISE, MAIDEN MINE."
Cbwy^ed by
J. DESSAUKR,
i vursiou 1>y Jon, OXBWMHt Ekj. IMc; Ss.
IJttiek arise, maiden mine.
Make not thyself too line,
lo t thine eye* brightly shine,
Like uny star.
Trn hi la, &c.
Quick arise, maiden dear,
Ulue h the iky and clear,
Goats o'er the mountains peer,
Bm them afar.
Tra la hi, Ac.
Qnkl- adae, maiden nine, *
Brighter than sunbeams shine,
Si«rkling with joy divine,
Thy glances lire.
Trn la hi, Ac.
"MY MARY.''
lay
M. KNDKUSSOHN.
IVLlrybyJoiia Ei.iu.ik. Trice**
On the blue deep
Silver l)eiun* sleep.
My bark elides as swift an a bird o'er the i
And in the calm light.
So hob and bright,
Mary, my Mary, I'm thinking of thee.
From onr drar Imme
Away on the foam.
My visious as far a* an angel's oilu be,
And oft thy dear form,
I see mid the storm.
Mary, my Mary, while thinking of thec.
Go sit by the summer sea," hv Edw;x (i. MuXK
"OH, TAKE ME TO THY HEART AGAIN.'
M. W. SALTS.
Poetry by Jessie* ]i»>*iN. l'r.cels.
Oh, take me to thy heart again!
I never more w ill grim thee,
AH joy I am lied, and hope is dead,
if 1 indeed must leave thee.
Forgive the wild and angry words
This wayward heart hath spoken,
I di<l not dream those cbcrishod chord .
to lightly (odd he broken.
I think how very pad and lone
This life would be without thee,
Fur all thy joys this heart has known
Are closely twined about thee.
Oh, teach me to sulsbio the pride
That wounded tboe so blindly,
And lie once more the gentle guide,
Who smiled on me so kindly.
AND FLOWERS.'
Dr. JAMK
IVtry by Mm. Alfred V.
i PBcn.
Nlwtos.
Pli;.. 2s. CJ.
One moonlight uigbt
An elfin Hprite
A alight adventure wanted.
So his way be took
To a shady brook
Which he knew by Love wa<
And as he went.
He sln»k his wing*
Ami from them fell in sliowers
Bright colored things nf every hue.
Uut sumo were weeds, vine flowers.
A j iiith and maid
The fairy said
Oft rami this path together;
Iter face is bright
With summer light,
F>ut his like winter weather.
Her hand I know
Will outstretched be
To cull the flowers rvht gladly;
lint mingled weeds tiie yout'a will so
And turn him from them sadly
Chasing away the maiden's glee,
By whUpcriug U her sadly.
Tins maid and youth
pome there in sooth
And marked the scattered Ir
Tiie maid, in her hair,
Wore a chaplrt rare,
Uut unshared was her guileless |
On walked the youth
With scornful tread,
When a warning voice floated above them,
Life, like the fairy-strenn path, it is *a
Hath flowers for all who cull them.
»'<• oy uie summer sea," bv Edw;>{ (i
Sweet little Jenny," l.y M. ^debssoun
s. d.
... 2 0
*' Thou art so near and yet so far," by A. Bbicuxkot 3
" At early days dawning," hy S. 1 isosrr.JIO* g
d.
0
6
LONDON :
DUNCAN DAVISON AND CO.,
DEPOT GENERAL DE LA MAISO.V BRAND US, DB PARIS.
REGENT-STREET, CORNER OF LITTLE ARGYLL-STREET.
Digitized by Google
August 14, 1858.]
THE MUSICAL WORLD.
515
RECOLLECTIONS OF CALIFORNIA. <fc AUSTRALIA.
BT A MUSICIAN.
(Continued from pagt 600.)
I have no doubt but that, after the last chapter, my readers
will be aa glad as I was to leave California, ami take passage
with me to the Southern Dorado. And so imagine yourself ujion
a line ship, well appointed, a fast sailer originally, but commanded
by a slow and sure Dutchman : it was like yoking a race-horse
to the plough. Our captain, though a good and kindhearted
man, had the bump of caution so tremendously developed, that
I verily believe, if it had not been for our continually bullying
him to make sail, we should have been to this day kuocking
about tho Pacific liko a modern Vauderdccken I have since
boon ass enough to sail with another native of the land of fog
and herrings for a commander, but if ever I do again, I'm a
Dutchman myself. In twenty-four hours from our departure,
we struck the north-east trade winds, which bowled us along
merrily down to three degrees to the south of the equator, which
distance we made in fifteen days, and should undoubtedly have
had a very quick passage to Sydney, if our captain had tho
gumption to sail his TtlMlill. But no, we were kept poking about
in the South Pacific till all patience was exhausted, and we
thought wo should never arrive at our destination.
The voyage was pleasant enough ; the sunsets were gorgeous
in tho extreme, and the moons unimpeachable ; the vessel was
comfortable, the victuals excellent, and the passengers, mostly
connected with tho musical and dramatic profexsion, agreed
about as well as they usually do, aud we expected to make a
very humdrum aud stupid passage, when an incident occurred
which threw a gloom over us all, and rendered the latter part of
our voyage quite dreary.
Among our passengers were a gentleman and his wife, musi-
cians, who were returning to their native laud, Australia. They
had a most lovely lit tle girl of about seven months old : she was
the pet of the whole ship, and in the warm ironical latitudes
used to lie in a hammock on deck, and kick up her littlo legs,
and crow with delight. We were not very far from the Navi-
gator's Islauds. It was a dead calm, and extremely hot, and all
the passengers had been enjoying themselves upon tho poop with
song and jest, assisted by a decoction of my invention, the
principal ingredients of which were Scotch whiskey, sugar, and
lemon syrup; and I had retired at midnight to my virtuous
pillow, when I was awakened by a friend who begged me in-
stantly to rise, as the baby was dead or dying. We had no
doctor on board, and I was generally looked up to as that
functionary, and a few moments brought me on to the poop,
where I found the little darbng quite dead. Every effort was
made to restore animation, but in vain. It seems that she bad
been left in the berth asleep, and the evening being so very calm
no danger was apprehended, but the little pet bad by some
means got the pillow over her head and was smothered in her
innocent sleep. But thcu camo tho awful scene. After the
bustle incident upon our efforts to restore animation was over, a
deathlike stillness seemed to close liko a pall around us, a low
convulsive sob from the agonised mother alone breaking tho
solemn silence, when with an awful yell like some wild beast in
fearful agony, the father, who had been vacantly gazing at tho
corpse of his first born, sprung to the bulwarks, and had he not
beeu restrained by the giant urm of the first mate, would have
dashed himself into the sea. Those around seized him ; but ho
was perfectly frantic, and for thru* hours experienced a suc-
cession of epileptic fits which were horrifying to witness.
While in the paroxysms it took five strong men to hold
him, although he was a very small and slight man. The
convulsions were at last broken by the use of strong spirits
of ammonia, and then I calmed the poor broken-hearted
fellow with a strong dose of brandy and water, and an
enormous pipe, and succeeded in getting him into a sound sleep,
from which nc did not awake until noon of the next day, weaic
and sore from his struggles, but apparently tranquil ; but for
several days we never suffered him to be alone. The calm still
continued, and it was impossible for us to make the Island of
Eowa (tho nearest land) where we wished to bnry the little
innocent, and we hod to resign it to the fathomless ocean ; tho
carpenter made a little coffin, which was loaded heavily to sink
it. And hero I must relate a little trait of our captain, which
really endeared him to us all, despite his dawdling propensities,
lit' had some flowers in (Kits, which were a great delight to him
and hia dear little wife, and just before we closed the coffin lid,
he cut up every one of his plants to decorate, in his own country's
sweet aud poetical custom, tho sleeping infant: that man baa a
heart, and God bless and prosper him, wherever he may be.
The sad ceremony over, up sprung the wind, and until our
arrival at Sydney we wore favoured with squalls, which, in the
Southern Ocean, blow in circles, so that a smart captain takes
advantage of a lull in the wind to edge away into the outer ring
of wind, and get into another jerial maelstrom. But as our
Bataviau friend was not au fait to these artful dodges, our further
progress was anything but satisfactory ; for we were seventy-six.
days on a voyage that should have been accomplished at tho
most in fifty-five, and when wo arrived in Sydney there was not
a pint of water on board, and as to the grog, that had " gin eout,"
as tho Yankees say, three week before. 1 did endeavour
to manufacture a cocktail out of spirits of wine, red pepper,
aud lavender water, but it was a horrid failure, and I
became a son of temperance perforce. At Sydney they have an
original method of piloting vessels into tho harbour, which con-
sists of the simple plan of letting them come in themselves, and
then, when you are comfortably anchored out of danger, and
you fire about a dozen guns, a pilot will condescend to come on
board, that is, if he is not at his dinner, or supper, or tea, or
smoking a pipe, or taking a nobbier (Ariglici, a glass of grog).
I may be wruug, but it was always my impression that pilots
were required to take ships into a harbour, and no doubt tho
New York pilots are very wrong, too, when they come out to
sea from three to four hundred miles to muet vessels. But it is
Uke everything else in this colony, the demon of
scsses the whole land, aud it is not until some fearful
like the wreck of the Dunbar, occurred, that people
that the harbour was not properly lit, and that if the pilots had
suitable vessels they might be induced to go outside, and not be
lying "under gingerbread hatches at home." It was night
when wo arrived and passed through the dark frowning heads,
that like gigantic portals guard the enchanted gardens within.
We had been lying on and off, and firing guns to rouse the
pilots, but bless you, it was of no more avail than Mrs. Bond's
invitation to " Dilly, dilly, come and be killed." So one of our
passengers, an American captain, who had been wrecked upon
one of the Pacific Islands, volunteered to take us in, which he
did with the greatest ease. We then cast anchor, and the pilot
came on board. " We heard ye firing outside," said he. "Then
why the — didn't you come to us ? says we. " Oh ! I was at
my tea," says bo ; with which very satisfactory excuse wo had to
be content. And it's a fact he deliberately went homo again, as
he said his old woman (meaning, J pmume, his wife) objected to
sleep alone. He, however, favoured us with his company next
morning at eight o'clock, and performed the difficult act of
pilotage by hitching on to a steamer, which towed us up a
distance of seven miles to our destination alongside Pinch Gut
Island (that's a sweet name, delicate reader, is it not 1) No
description can give an adequate idea of this beautiful havon :
from the sublime entrance from the sea, every movement of the
vessel gives you a now phase in the landscape ; the swelling hills
and craggy cliffs are crowned with beautiful villas ; the bays i
alive with fast-sailing yachts ; wherever the eye falls now beaut
meet it. Hundreds of coves, where vessels of large tonnage c
lie with perfect ease, trend off on every hand, and form bays
and rivers of exquisite beauty, whose banks are lined with
beautiful gardens, rich with tho golden wealth "f oranges.
Reader, if you novcr were out at sea for three months, you
have never enjoyed the greatest luxuries that tho world can
give, which in my experienced opinion are mutton chops and
porter. It is really worth while going round tho world by way
of getting up a proper appetite : as for me, I positively revelled
in thorn. Sydney and the Australian colonies in general are
much better known — through (he medium of the many books
that have becu written for tho purpose of inducing emigration,
Digitized by Google
[August 14, 1858.
— than the wild Pacific coast I had just quitted ; and I shall
content myself with merely making such observations upon
music, matters, men, and manners, as appeared to me new or
odd, or to counteract the too highly coloured accounts of those
who had a personal and pecuniary interest in peopling the
colonies ; — too often, I am afraid, at the expense of the mis-
directed emigrant.
Music is well and thoroughly cultivated in Sydney— indeed
there are very few houses without a pianoforte ; but orchestral
music is at a very low ebb, and I had, after a twelvemonth's
absence, whilo upon a tour in the more southerly colonies, great
difficulty in procuring a perfectly efficient opera orchestra. I
stayed in Sydney about six weeks, enjoying the lovely scenery
around, and being perfectly enchanted with the lovely Botanical
Gardens, which are in the centre of a park four miles in circum-
ference, and with a beautiful little bay washing their green
awarded shores. These gardeus are public property, and are
kept in most exquisite order. At the time of our arrival the
winter (so called) was just over, and the blossoms of the apple,
peach, and pear, mingled in strange luxuriance with the fruit of
the banana and plaintaln, and the flowers of the orange and
camel ia Japonica. The country also produces most exquisite
native flowers, the names alone of which would fill a large
volume. For example, the colony of Victoria alone possesses
thirty thousand indigenous varieties of plants, some of the most
curious of which are the Bonksia, a gigantic kind of bottle
brush, which, by-the-wsy, can be seen growing at Kew Gardens.
The Moreton Bay fig (or caoutchouc-tree) also grows in Sydney
to an enormous size.
Being desirous of seeing the other colonies of Victoria, South
Australia, and Van Dieman's land, I accepted an engagement
with Madame Anna Bishop, and departed for Melbourne at the
commencement of the Australian summer, which begins in
October, at which place I hope next chapter to receive
(To be continued.)
my
Tn Smse or Bsautt. -Beauty i« sn all pervading presence. It
unfolds in the numberless (lowers of the spring. It wav< « in the
branches of the tree* snd the green blades of grasr. It haunts
the depths of the earth snd the sea, nnd gleams out in the hues
of the shell snd the precious stone. And nut only these minute
objects, but the ocean, the mountains, the clouds, the heavens,
the stars, the rising and settiug sen, all overflow with beauty.
The universe is its temple j and those men who are nitre to it,
cannot lift their eyes without feeling themselves encompassed with
every side. Now this beauty is so precious, the enjoyments it
are so refined and pare, so congenial with our tendereat and
P.0**1
noblest feelings, and so akin to worship, that it is painful to think of
the multitude of men as Siring in the midst of it, and living almost ss
blind to it, as if, instead of this fsir earth and glorious sky, they were
tenants of a dungeon. An infinite joy is lost to the world by the
want of culture of this spiritual endowment. Suppose thst I were to
visit a cottage, and to see its walls lined with the choicest pictures of
Raphael, and every spare nook filled with the statues of the most excellent
workmanship, snd thst I were to learn that neither man, woman, or child
ever cost an eye at these miracles of art, how should I feel their privation j
how should I want to open their eyes, and to help them io comprehend
and feel the loveliness and grandeur which in vsiu courted tbedr notion !
But every husbandman is litiug in sight of the works of a divine artist ;
and how much would his existence be elevated, could be see the
glory which shines forth in their forms, hues, proportions, snd moral
expression. I have spoken only of the beauty 01 nsture, but how
much of this mysterious charm is found in the elegant arts, and
especially in literature ? The best books hsve most beauty. The
greatest truths are wronged if not linked with beauty, and they win
their way most snrely snd deeply into the soul whsn srrayed in this
their natural snd fit attire, hovr no man receives the true culture of
a mau, in whom the sensibility to the beautiful is not cherished ; and
I know of no condition in life from which it should be excluded. Of
all luxuries this is tbe cheapest snd most st hand; and it seems to me
to be moat important to those conditions, where ooarse labour tends to
give a crossness to the mind. From the diffusion of the sense of
beauty in ancient Greece, and of the taste for music in modern Ger*
many, we learn that the people at large may partake of refined gratifi-
cations, whioh have hitherto been thought to be necessarily restricted
U a few — W. E. C.4 a n » in g.
A 8TONE THROWN AT MR. OYE FROM BEHIND
A WALL.
(From the Saturday Jlrnrw.)
The " Titiens' season" of Her Majesty's Theatre came to its
close on Saturday last, as far as the subscribers are concerned,
and the remaining performances of the year will be for the
amusement of those patrons who find an especial attraction in
the announcement of reduced prices. By denominating the last
three months the " Titieus' season," we adopt a mode of nomen-
clature which m«y be analogically extended to the several
seasons at Her Majesty's Theatre that have succeeded the
re-opening in 1858. Mr. Lumley, by a happy combination of
good fortune and sound judgment, has so managed the affairs of
the operatic world, that, as the Roman year could bo indicated
by the names of the Consult, each of the Haymarket season*
can be rubricked with the name of a leading vocalist. The first
year was marked by the dibut of Madlle. Piccolomlni, whose
fascinating naivetf came as a new sensation to the London
public. The second year receives its distinctiveness from tbe
first appearance of Signer Giuglini, whose exquisite organ and
perfect execution became, in their torn, the themes of laudatory
town gossip. The present season brings with it Madlle. Titiens,
whose natural gifts and artistic acquirements render her tbe
moat conspicuous luminary of her day. In each of his three
seasons, Mr. Lumley has awakened the curiosity of the world by
the announcement of a new artist. In each of the three
seasons, the new artist thus announced has proved permanently
attractive when the charm of novelty had passed away.
The period, then, of Mr. Lumley's management, sinee the
opening in 1856, may be divided into three seasons, respectively
named after Piccolomini, Giugliui, and Titiens; but even this
mode of designation is not to bo employed without note or com-
ment. Piccolomini does not depart at the approach of Giuglini ;
nor do either of them get out of the way to make room for
Titiens; but the newest person steps into a niche without en-
croaching on that of the previous idol, and thus the Operatic
Pnntheon becomes more and more densely peopled. We have a
galaxy in which all the stars are fixed, but which is nevertheless
susceptible of infinite additions. In 1856, Piccolomini is gather-
ing undivided honours in La Traviata or in La Figlia defReggi-
mento. In 1857, Giuglini is at her aide, and they warble
together the duet of Lucia and Edgardo. In 1896, the stately
Titiens has joined tbe party, but without paling the earlier lights.
When we look at the position of Her Majesty's Theatre in
1856, we find more than ordinary reason for commending the
untiring energy of Mr. Lumley. Closely associated with the
history of music in this country, sanctified (if we may use the
expression) by its connection with the name of Handel, renowned
through successive generations as the only spot on which lyrical
artists could attain first-clam honours, the large theatre in the
Haymarket had remained closed sufficiently long to allow
the combination of ancient preetige with something of the
attraction of novelty. We snail not go too far when we say
that a feeling akin to loyalty was awakened when, in 1856, Me
Opera-house par excellence again revealed ita magnificent dimen-
sions, and the old habitue's found themselves once more in their
old places. At such a juncture, many a man, moderately endowed
with indolence, and lacking the stimulus of a potent rival in the
field, might have resigned himself to n very easy mode of manage-
ment, and lost his prettioe by relying upon it too implicitly.
But such a man was not Mr. lumley. The attractions of the
newly re-opened house were aided by Madlle. Piccolomini, whose
power over the public might be compared to the fascination of
some reigning beauty, in whose countenance every one can
perhaps discern some feature not precisely regular, but whom all
agree to declare a most charming person. In the following year,
when the re-opening had ceasea to be an exciting "Mart,"
Giuglini was creating a new furore ; and in 1858, when the new
theatre in Covent Garden was bronght into competition with
Her Majesty's, a fresh prima donna, Madlle. Titiens, kept the
balance of novelty on the side of the old house. The record of
Mr. Lumley's management during the last three seasons is,
indeed, the history of an energy ready for any crisis
energy that prosperity cannot relax, nor peril subdue.
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And must fortunate it is, not only for hia own interests, but
also for the vitality of lyrical art in this country, that Mr.
Lumloy has been so indefatigable iu the search fur novelty, and
so lucky in the discovery of the desired prize. The English, as
a nation, are proverbially distinguished from their Continental
neighbours by their affectionate regard for established favourites,
and nowhere probably can the nom inis umbra attain such a degree
of permanence as in London. Bat while we execrate the heart-
less Frenchman who flung a cypress-wreath to Madlle. Mars as
a hint that age had disqualified her for the functions of a
grand* coquette, wo may be allowed the opinion that British
amiability, if carried to au excess, can easily become detrimental
to art, and that a manager who does not too much pamper the
national benevolence deserves commendation. The artistic body,
like many other*, requires a constant accession of f resit blood, or
it vdl sink into decrepitude, and the public will find ltd/ ap-
plauding a number of Jaded celebrities, and becoming confirmed
in the belief that these can have no legitimate successors. The con-
dition of a kingdom iu which all the high offices of State are
bestowed exclusively on the members of a few leading faiuilits
is not inaccurately symbolised by an operatic establishment the
success of which is staked solely on the reputation of two or
three vtterans. To estimate the deserts of Mr. Lutuley, we must
ask ourselves what would at this moment be the effective
lyrical force of London if we had never heard the arch
Piccolomini, the "golden voiced " Giuglini, or the dignitied and
accomplished Titiens t
[Here follow two paragraphs about Madlle. Tietjens, or
Titiens — the second of which will be found in our leading
columns, the first in another page. — Ed. M. If.]
Verdi's last imported work, Luisa Miller, is not worthy the
composer of 11 Trovatore; and, therefore, Madlle. Piccolomini
did not find that opportunity of distinguishing herself in a new
serious part which had generally been anticipated. But the
production of that pleasing little lyrical comedy, La Serta
Tadrona, showed her to such an advantage- as the eoubrette of the
lighter lyrical drama, that her success will probably be the cause
of the revival of several works of a similar character, which, for
want of appropriate artists, have long remained iu obscurity.
As for Giuglini, he retains the position he gained last year — that
of the first operatic tenor of his day, as Mad. Alboni is the first
contralto. Be it remembered, too, that neither of the three
artists with whom the last three years have successively made
us familiar, owed their success to a reputation acquired on the
continent. To the English public, their names were compa-
ratively unknown till the time of their several dibuts drew near,
and the approbation universally* bestowed upon them was fairly
awarded to their tested merits.
The appointment of Sig. Arditi as conductor of the orchestra
has been productive of very beneficial effects. It should be borne
in mind that, according to the theory of Her Majesty's Theatre,
the instrumentalists are supposed to accompany the vocalists, not
to earn for themselves an independent reputation, like the per-
formers of a symphony.
Ballet, of course, is no longer a cause of an excitement like
that which prevailed in the days of the famous Pas de Q autre ;
but the appearance of the classic Marie Taglioni, the vivacious
Poochini, the intelligent Rosati, and the daring Boschetti, in the
graceful little divertissements of Sig. Masset, is sufficient to
ubordiuate art connected with I
prove that the
been overlooked by the
Munich. — We have again been delighted with Meyerbeer's
Etoile du Nord. The fulness of the melody, alternating with
the sustained cantilene passages, the piquant airs, so daintily
ornamented, the concerted pieces, so delicately and clearly
worked out, the characteristic and animated choruses, in which,
also, the masterly instrumentation and clever employment of
the resources of the orchestra stand out with
> to this
Fraasini (Catharina) was greatly applauded in her part, which
is adapted to her personal powers and excellent method. — Echo.
' Qy.— a lapsus calami?
STBAUSS AND HIS SOPHIE WALTZ.
Jons SntACSs loved the daughter of a count. Sophie
her name. Her eye was bluer than Italy's heavens, and softer
than the light of the evening star. Grace and beauty were in
every motion, and music in every tone. In a word, Sophie was
beautiful. He would have given worlds to win but one glance
of love ; bat she was cold aud stern. Madness, indeed, for a
poor musician, with nothing but his violin, to dare to love the
high-born Sophie, who hotT as many noble ancestors as he had
waltzes ! " Impertinent ! " said Sophie ; nud when he came to
give her brother a lesson on the violin, she scarcely deigned him
a look. Shortly afterwards Sophie was betrothed to Count
Robert, Lord Chamberlain, who had, indeed, as many proud
ancestors as Sophie, but beyond these and his titles, had nothing
of which he could boast.
One day, when Strauss chanced to be alone with Sophie, he
sank upon his knees before her, and with burning words
declared his love, aud besought her to give him but one word
or look of love ere he was driven to despair. But neither tears
nor protestations moved her. She was as cold and unfeeling as
marble. " I am an affianced bride," she said haughtily, ■ and
if I were not, think you I would become the wile of a poor
musician 1 " She turned scornfully away, and left him alone in
his grief and despair.
The repentance which soon awoku in the heart of Sophie un-
happily came too late. The bridegroom and her father hastened
tho marriage — in eight days she would be the wife of Count
Robert. The ceremony was to be performed in the great saloon
of the city, and the Count called Strauss to request him to lead
the orchestra on that occasion, and also to honour his bride with
the composition of a new waltz. Strauss, the most miserable
man in the world, promised him both. " He wishes to wound
rae yet more deeply," said the unhappy man to himself, " but I
forgive him , ana may she be happy — may she never repeut her
choice." He addressed himself earnestly to his work. This
waltz should be the interpreter of his possiou and grief to
Sophie. It should challenge, at least, her pity, if not her love.
When all the great city slept, Strauss took his violin, opeued the
window, gazed out into the cold night, improvised, and moaned
forth his sad tale of woe to the sweet star* above, that looked
kiudly down ou thu desolate and the heartslricken musician.
The day of the weddiug came at last. This fiercu agony of
soul had given him a waltz, every measure of which
longing sorrow, a wailing woe. The hall glistened
with bright jewels and brighter eyes, but Sophie
gloriously beautiful than all. The richest gems lent their
charms and their lustre, the pure myrtle-wreath bloomed in her
golden hair, and the rare and costly bridal veil shaded her beau-
tiful features from the full gaze of the adoring crowd. Strauss,
a haggard, emaciated man, with brilliant, piercing black eyes,
and sharp, strongly-marked features, dressed in a suit of black —
as though he had assumed this mourning livery for tho bride
now dead to him — stood sad and silent in the gallery above
directing the movements of the orchestra. Sophie danced now
with one, now with another of the weddiug-gueata, and as often
as she paused after the giddy whirl of the dance, she turned ber
eyes towards the pale, grief-stricken Strauss, in hia robes of
sorrow and mourning, and met his piercing look of despairing
love. It was more tban pity she felt — it was remorse— it was
kindling love! A terrible pain awoke in her heart, like a
swelling stream, growing ever wider and deeper, threatening to
quite overwhelm and destroy her. Gladly would she have wept,
but she dared not. It sounded twelve o'clock, and Strauss gave
the signal for the performance of tho new waltz. Tho gay
dancers stood up, Sophie hanging on the arm of the happy
bridegroom— all stood spell-bound with the wondrous, witching
power of those magic sounds.
They forgot to dance, they gazed wonderingiy up at the pale
man in black, whose grief-torn soul breathed out his woo through
the sounding strings of his instrument. His bow moved with
his heart— with his spirit The bridegroom led off— they dance
and dance — Strauss follows the flying pair with tearful eyes and
bleeding heart. They dance, and dance, and dance, without
Strauss plays, and plays, and plays, with untiring
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[August 14, 1858.
energy, this wonderful waltz, which so fearfully affects both him
and them. The dancer* whirl around. He played and played.
Suddenly the £ of his violin snaps — and in that moment Sophie
falls dead upon the floor. Violin and bow fell from his trembling
hands, and with a cry of horror he shrieked " Sopbio 1 " and fell
fainting to the floor. Since Sophie's death the waltz is called
by her name. Strauss loved her until his duath. Ho too, is
now dead ; but his charming » Sophie Waltz" is imperishable
as his fame.
FRANZ LISZT;
A BIOGRAPHICAL SKETCH BT JULIUS BCntTBKllTII.*
Frasz Lisrr was born on the 22nd October, 1611, at Raiding
(in tho district of Oedenberg), Hungary. His father, Adam
Liszt, was accountant to Prince Estcrhazy, and an excellent
musician on the violin, violoncello, and pianoforte. Artists
were fond of his society, and always welcome in bis house.
Among his most intimate acquaintances were Hummel, Cheru>
bini, J. Haydn, &c. Franz was an only child, and when he was
six years olcLbut not previously, his father began to teach him
the piano. The rapid progress made by the boy was so re-
markable, that, in the course of the third year, he executed with
great finish the difficult concerto in E flat major, by Ferdinand
Riea, at a public concert in Oedenberg, besides, at the same
period, exciting astonishment by his easy fantame*. The
pecuniary success of other concerts, together with a yearly
allowance of 600 florins, given Franz by the Hungarian Counts
Amadee and Zapary, for six years to advance his education, in-
duced his father to throw up his situation in Prince Esterhazy's
service,andgo once more to Vicuna, in 1 821, where Franz zealously
studied, for more than eighteen months, tho piano, under Czerny,
and at the same time, successfully devoted himself to composition
under SalierL These eighteen months of persevering industry
did wonders for the little virtuoio. He felt himself strong enougli
to appear at a public concert, and hi3 first performance m
"Vienna excited tho greatest sensation. One concert followed
the other, and their success, in a pecuniary sense, was most
brilliant. Encouraged by this, his father resolved, in the year
1823, to make a journey with Franz to Paris, taking in his road
Munich, Stuttgart, etc., in all of which places Franz played
with great success. On arriving in the French capital, tho
twelve-year old virtuoio was equally successful, and played about
thirty tames.
Notwithstanding the fatigue consequent on this, he not
only, with uninterrupted industry, continued to improve his
pianoforte-playing, but, during the ono year he stopped in
Paris, devoted himself passionately to the study of counter-
point, even in its most intricate combination'', under the
celebrated A. Beicha. He now felt an irresistible
impulse for composition, both for the piano and in tho operatic
style. He tried his powers in the last by writing Don toncAo, or
the Cattle of /.ore, for which a friend furnished the libretto. His
work was full of peculiarities and rich in melody, and was
played ftvo times with success in the first theatre in Paris,
namely, the AeacUmie Rot/ale. A short time afterwards (in the
autumn of 182B), the youthful artist was seized with a fit of
religious enthusiasm, and took a dislike to music. His father,
in order to give a different turn to Franz's thoughts, resolved on
making a professional trip to Switzerland, and immediately
carried out liis determination, proceeding afterwards to England.
The triumphs which Liszt everywhere achieved, especially in
Drury Lane Theatre, awoke in him fresh love for art. The great
fatigue, however, consequent upon tho number of concerts at
which he played, seriously affected his health, and his father was
obliged to take him for sca-bcithing to Boulogne. This speedily
restored his strength, but his father died there on St. Augustus'
Hay, 1827. Liszt now returned to his mother in Pans, and
began to compose, play, and give lessons assiduously; thus
several years passed by, until his exertions were again interrupted
by religious enthusiasm (a natural consequence of his excitable
disposition), which did not, however, on this occasion, last long.
• Prom the MS. for the fifth edition of tho author's Jfoferi
Handbook,
Tho year 1 £34 now approached — a year which, on account of an
important fact of a private nature (namely the commencement
of a love affair, although under very unfavourable circumstances),
was a highly eventful one for him, and the occasion of his leaving
Paris for a considerable period. He first proceeded to Switzer-
land, and thence to Italy. ![•■ then gave concerts all through
Germany, Hungary, Russia, Sweden, Denmark, Spain, Arc, being
everywhere received with indescribable enthusiasm, ana
achieving unparalleled triumphs. Hungary more especially
distinguished itself, bestowing on bim the honorary freedom of
two cities, Ofen and Pcsth, and presenting him, in the theatre
of tho latter place, with a sabre of honour, Ac. Liszt has
received, in great profusion, everywhere he has ' played
or shown himself, but more particularly in Berlin, Co-
logne, KOnigsberg, Hamburgh, &c, all the distinctions
and marks of honour which can possibly fall to the lot of an
artist. We may mention more especially, in support of this
assertion, that the University of KOnigsberg conferred on him
the title of Doctor, and that he has been named knight of
several high orders by nearly all the reigning princes.
| LAYS.
(From La France Muticalc.)
We read lately in the papers the following lines :—
" His Majesty the Emperor, having heard that the daughter of Lays,
of the Open, was in s atate of the greatest poverty, ordered M. Aloe-
quart, his clif d*. cabinet, to forward her tome anittance."
In a state of the greatest poverty ! Poor artist 1 with a
career of fifty years, the applause of the crowd, the ovations of
enthusiastic audiences, the smiles of the ladies, and frequently
their favours, often refused even to patricians, poets and
scholars; with wreaths, bouquets, verses, velvet robes and
tinsel, medals and diplomas, a sovereignty renewed every even-
ing— and, the next day after all these triumphs, all this glory,
and all this splendour, a poor girl dying, for want of a crust of
bread, had not a prince hastened to relieve her !
Tho existence of Lays was brilliant, and his career still
more so. Our fathers still speak of his voice, and say they
never heard ono like it ; they go into ecstacies, when recalling
those enchanting evenings when the name of Lays in the bills
was sufficient to fill the Grand-OpSra. and was a guarantee of
success for the works in which he condescended to appear.
It is trne that artists were not at that time proprietors of
houses, and did not throw their money away broadcast, for they
did not receive the salaries of three ministers plenipotentiary
each ; consequently, the legacy bequeathed by the majority of
them to their children consisted only of withered wreaths, faded
costumes, and poverty !
Poor Lays ! It was certainly not worth his while to abandon
his theological career for the purpose of studying the law, or to
quit the latter in order to learn the solfeggio ! Priest or
prelate, ho would not have left any children with no prospects
for the future, without a dowry and without bread ; Darriater
or magistrate, he would have been able to bequeath his daughter
more than his mere artistic name, which is something monied
men arc not in the habit of discounting.
This patriotic tenor, this republican of the Court, was born
in the very centre of Oascony ; ho first saw the light in the
little village of La Barthe de Nestes. The future singer began
by singing sacred hymns in the monastery of Quariaon, and nis
first costume was that of a singing-boy.
Tho child grew up , the youth soon threw away his chorister's
surplice, and began studying the Fathers of the Church. But
the Christian philosophers were speedily not enough for him,
and he ranged the pagau philosophers beside them. With the
doctrines ot St. Angustin and St Thomas, he mixed up those of
Aristotle and Plato. Then, when he felt his mind sufficiently
saturated with wisdom, he changed his resolution, and devoured
with feverish avidity Justinian and other authors.
He was already growing pale over the LHgttt of Law, in a
poor little room at Toulouse, when, on trying his voice, to see
if tho profession of a pleader would suit him better than that of
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a preacher, ho perceived that melody waa far more adapted for
it than making speeches.
Fortunately — or unfortunately, if you prefer it — hia neigh-
bours heard hi* beautiful voice, audgossipped about it. The
young student waa aaked out to supper, and, when the cloth
was removed, requested to aiug a drinking song. He did so to
the best of hia ability, but, as he know nothing but litanies, he
sang litanies. Only he roso from the table and begged his
friends to go into the next room. The siugiug-boy's religious
scruples returned with his memory, to his credit be' it spoken.
The next day the great topic of conversation was Ijiy's mag-
nificent voice. A public functionary expressed a wish to hear
it. 11a was a melomaniac — almost everyone at Toulouse is.
After having been convinced that Lays would make an excelluut
operatic tenor, ho exerted himself zealously, aud wrote to tho
minister in Paris. The liberty of individuals waa not as much
respected in 1770 as it is now-a-daya. A lettre-de-c&chet im-
mediately tons the young bachelor from his legal studies, and
compelled him to t;o to Paris. Thia was a polite way of engaging
singers in the good old time.
Ho arrived in April, and was mode to study assiduously. He
bad innumerable lessons in singing and elocution, so that, six
months afterwards, in October, the same year of grace aud
lettrtt-de-c<\chttt 1770, he made his first appearance at the
Optra.
Tenor prodigies did not then begin with a great part,
as they are agreeably accustomed to do at present. Lays could
try his powers only on a simple piece, an air by Berton, senr.,
" Sous les loia de rftymen." His singing was not irreproachable ;
far from it, but his voice was so pure, so sympathetic, and so
entrancing, that the applause burst forth from all parts of the
house. Tho claque did not then exist ; people were so much
behind the present age !
Success having boon thus carried by assanlt, an entire part,
written expressly for him, in I.,' Seigneur Itienfetant, was en-
trusted to the young debutant. It proved a triumph, and
procured for the now tenor the honour of singing at the Queen's
concerts, and in tho royal chape). For ten years he was tho
fashionable linger in that same Paris where it is so difficult to
be remarked for ten days running. For ten years he sang at
the Opera, and the concerts of the Court. He sang the music
of Gliick, Ficcini and Sacchini. Grciry wroto for him Panuryi,
ami was indebted to him for at least half the success he obtained.
"With the Cararane and -lnacrfon, he stamped his reputation.
He had decidedly done well to leave Toulouse, and the Schools
of I ,.i v,-.
He remained at the Opera till 1822, and left, it after forty-
three years of service. Living tenors are not required to
believe this.
The last time he sang waa in 1625, for the benefit of one of
his comrades. He was then sixty-aix years of ago ! Not having
had the pleasure of being present at the perlorraanco, I will
not veuluro to affirm that his voice was as fresh in )H2o as in
177!). Above forty years of service may somewhat deteriorate
the freshncsB of any man's voice.
I have spoken or I .ays as a patriotic tenor and the republican
of courts. Lot me explain tln-se words, which might be enig-
matical to my readers.
'88 came, and Lays played at the Opera tho part of some king
or other. This personage accorded but slightly with tho young
tenor's very advanced opinions. Throwing away his wooden
scpptre and tearing from his he.nl his pasteboard crown, Lays
harried oir to the General Council to declare his zeal and
patriotism.
His meridional lire was taken for conviction. It was thought
he might render great services in tho provinces, so, when '93
came, be was despatched to tho south of France, which he
traversed as an apostle of tho Rcigu of Terror. To listen to
him, he would have made only onu mouthful of the entire
Girondist party. He Loaated that ho had not been born for
nothing on the banks of the Garonne ! At bottom he was a
good fellow, but, for all that, he was dreaded by the ewtpectt of
Bordeaux. They subsequently remembered this, and gave him
a proof they did no at the period of the first restoration. He was
compelled, in order not to lose his jJace, and perhaps hia liberty,
to sing, on the 10th of April, )8M, some couplets in praise of (ho
Bourbons, before the Allied Sovereigns. It was at thia peril
that the authorities deigned to forget the ardont enthusiasm of
thu missionary of the Keign of Terror in 1793, and his iweition
as first singer of the chapel of Napoleon I, from 1801 to 1814.
Cut the Hundred Days found him still faithful to the Emperor.
This devotion cost him dear. At the second restoration, he lost
his place as singer at the Court, and, what is more, lost it
irrevocably.
He had decidedly done ill to leave Toulouse and tho Schools
of Law.
Worn out by long service, and with a broken heart, Lays
would willingly have given up the Oticra, but he could not
resign a place, which, with that of professor in the Royal School
of Singing and Declamation, constituted hia sole means of
livelihood.
It was in 1822 that he left the stage, and in 1820 that he ten-
dered hia resignation — which waa definitively accepted — as
professor in the Ecolu itoyale (Conservatory).
Ho then left Paris, and retired to live, and die in peace, to
the village of Ingrnndcs, on the banks of the Loire, not far from
Anglers.
And now let us allow the critic to take the place of the
biographer The critic is severo, very severe. We leave him
the responsibility of his judgment. After all, it is he who has
the care of artists' reputations.
We find the following observations in M. Fetis1 book : —
* In spite of the enthusiasm he long excited among the frequenters
of tie Opera, Lay* was not a great singer; it may even be said that he
was ignorant of tho elements of the art of tinging. Ilia vocalisation
was thort. He had not learnt to equalise (lie registers of hi*
voire, and, when ho pasted from the chest notes to the mixed
ones, he did so by means of a sudden transition from a formidable
voice to a sort of flute one (voice flitet), prodneing an impression moro
ridiculous tban agreeable, lie was very fond, however, of employing
this effect, which, in his day, rau«cd professed amateurs to go into
ecstasies of delight. Uott of his ornaments were old fashioned and in
bad taste ; but, in spito of his defects, the beauty of hit voice con-
verted nearly all his audience into partisans, and an opera had scarcely
any chance of being successful if Lays liad not a part in it. He pos-
sessed, however, warmth, and could lend animation to a piece of music.
His defects were those of his time, for, when ho came ont, there was
no school of singing in France. Had be lived later, he might, with
hi* fine voice aud knowledge of singing, hare become a distinguished
singer."
It must be owned that an artist must have possessed a pro-
digious voice to excuse all these faults.
I said that the critic was severe. After all, we ought to be
guided by a judge like Fotis, who heard the person judged; who
has tho merit of being a competent authority in the matter, ami
who, as Lays is dead, had no reason to Bpare tho lattcr's suscep-
tibility and amour-propre.
Decidedly we must die liefore we can know what people
think of us. A Aldini.
HuDDKitft'iKLD. — Mr. Woodin has been performing in tho
Gymnasium Hall.
Kkiohton. — After a series of six moat successful performances,
the "Christy's" left Brighton on Monday, to proceed on their
provincial tour ; and a most remunerative tour it will prove,
should their reception at the several rcsting-placca decided uimjii
lie as cordial and enthusiastic .-is that which greeted them in
Brighton. At present it is on)y necessary to remark that tho
favourable impression which they created on Tuesday ae'unight
was heightened at every successive performance, until for their
last representation on Saturday night it was found necessary to
engage tho large room of the Tuwn Hall. On that occasion
nearly 700 persona were present ; but thanks to the admirable
arrangements of Mr. Kiiunio, who accompauics the troupe as
manager, not the slightest inconvenience or discomfort was ex-
perienced. They mloud, we hear on tolerable good authority,
to pay us a second visit in September.— Brighton (Juardian.
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THE MUSICAL WORLD.
[August 14, 1858.
THEATRE ROYAL DRURY LANE.
LESSEE, MIL E T. SMITH.
MR. E. T. SMITH has the honour of announcing
to (be |iiM,c that the eminent and populur tragedian, MIL J \Ml.s
ANDERbON, will appear for ux ulubu only (prior to In. departure fw tuc Uuitol
Malta. California. New Co:,irabla. Fiuaerii River, the 0ai.ilwl.li IJ,.iir)» .ud
Auatralan O .lo. io.) upon tbo Uiardi of •■ OU Drury." wind, be h .a ao oficu trod
in grace aud triumph *. manager and act..r Tbe playa elected f.,r this pocwliu
ftWWgajptoMw: llTOOHAB. TUB LADY 0P LYONS, and MACBETH
« ..v •""Y-"". ...=» law i ur liu.ib, ami MACUKT1I
I be supported by tbe strensth ot all the avajtabU lalcut in the
i,.c!r..p©U<uid prorr.ic*,, Monday, Aujruat W, will l>c the first i f tbo Farewell
ROYAL PRINCESS'S THEATRE.
UNDER THE MANAGEMENT OF MR CHARLES KK\N.
["ONDAY (for the Benefit of Mr. Lambert, Treasurer),
- 1 Tueaday, Wcl,u.sdav. Thurad.v. Krld.r. and Saturday will lie liimilllll
DYING "oK%'vKlt: "li,,CUAST O* VENICE. Preoc led by the Faroe of
nOYAL OLYMPIC THEATRE— OnSatarday evening
tln,v."ixt' '!• !M >«'"f"'iiOJ will eommciice with LEAD1NO
Ilmv ™v AT TUE 8WAV To conclude Willi A
IMJUUIrUI. MCTORV C m.tru.cc at tulf-pa*l 7.
GREAT NATIONAL STANDARD THEATRE
SHOREDITCH.— IV pricUw, Mr John DnOOU*.
O^nccoitniUou ol talent Great hit uf JAN El' l'KIDE. Mr II Ko lUr in lai
pi.e « vrilh Mr. rl_v!<H Scli.y. K<m Ka'C Kelly. On M a,. lay 'ami during tbi
J* llief«foiioanc« « ,11 cumin ill, the irr.ut A.ulpM drama of JANET
r I IDE, m cmckuo witl, the comic dr.u.iaof Wllos YOUR FRIEND OIL THE
1 knsiiuhy fete, ,. . i,r!i., ... , ,. , . .,, ,,, u hi.; ,
N« :,dt»l,ce lu tuc plicca.
TO CORRESPONDENTS.
Vaiswabwata.— " Stcayamlhuca."
Dt^iToi., Onions and Yeend. • We forget the name of the Arm.
Curiam Ion,,* «U4 the imuncd amateur, llu fidxUe not not
« ^radiVaixu,,alth0Ugh( uncoiucioudg, no doubt) he sold it a,
such (jv X.;0o; ,o pvor Colonel Leg. J, rrat « tad afair and
tmu$i much altercation, at the time. .Some tag Leg broke in
consequence.
T.ioth.-. To the legend of the Ring ami the Stattie-or, more
immediately, /xtrhapn, the Introduction to The Tale of Tamlauc
»>i the tccond volume of Scott', Minstrelsy of the BeottU
Borders Moo, es poem of " The Ring " u alto founded on the
tam tubjeet. The origin of the legend n,ay be traced to an old
herman teorl; rrowtnan ujwn Fascination, boot 3, part 6
chap 1 H ; but the autAcr quote, from Dduacentis. The prin-
cipal incident ti not tcdl decdoped in Zaropn.
Kbiimtm .-In our K-cond lead.r lo.t week. . luiapriut m»0* ui
oJtuo Mr. Abel Matthew*, the Maemonic Miltonian, not to 'drain"
hnnaclf. Such counael was remote from our intention ; which vraa (o
« urn him again,! •' deceiving " hinudf.
. . BTBTH.
<>n Ibe Mh i„l nt lhe Parilion, Melrose, the wife of H. F. Droad-
*iuo<i, Jiiq., or a uaugliter.
- , , MAKItlED.
On the Uth July nt Mcath. by .peri.l licence. Montagu Stephen j
YS lham, Eea., l0(..01,d „„ of j j yfM E " 1
I.ouue Mary, jounge.t daughter of Robert Keefey. Ear) , 10 Peihim"
THE MUSICAL WORLD.
LOHPOW, SATURDAY, At/oust" 14tu, 1868.
Now the Ojieras are close<), and concerts at a fli.scount
•uie of the Ko.jd things of our contemporaries may not be
unacceptable to the readers of the J/urical World, There
are so mauy opposite opinion* on variou-; subjects tlutt if we
were to toko the press as a guide we should he no better off
than the benighted traveller who attempted to find his way
.Hit of a thick forest by the light of a jacVa-lanteni. Never-
theless it is amusing to com|>aro the dicta of so many self-
constituted authorities, and perhaps not altogether uniustruc-
tive. To begin with Madlle. Tietjens, whose talent is contem-
plated by The Saturday Review and The Athenantm from
points of view so utterly at variance that it would require a
a Solomon or a Sancho to adjudicate between them :—
SiTT/BDAT RlTIBW. Aims l.n:
"The triumph of Madlle. Tition. "Of the latter lady wc hare a
haa, indeed, been the reverie of a word to **y, in fulfilment of put
'aham.' W hen the tint lurprocd promiae. Strange to tell, Donna
her audience by her |icrformance Anna it tbe leant lucoeaiful part,
of Valentine in the //«•/«< >,ott— to our thinking, in which Madame
by no mean* a ehowy part, like Tietjen* baa appeared. She i* lond,
•omo of the heroine* of Italian har*h and inexpressive. Her voice
opera rrcn many of Ihoae who form, it i* true; but never did
warmly urknowledged her great wo feel more clearly than by bar
qualitiea, and were loud in their »«ying of the grand
admiration of her 1 Do in the flr»t Ottavio,' and her
act,' imagined that there was a
limit to her power-, aud that, al-
though ahe might *liincin the great
works of the French and Italian*
repertory, a gulf would atill render
unnttainablo a distinguished eue-
eett in those character* which hare
made the fortunes of Tranaalpino
Tooalislr. But this notion of an
insuperable limit was completely
dispelled aa the season advanced,
ami tbe greatest triumph of Madlle.
recitative 'Don
singing of tbe
ana - Or sai cbi I'onorw,' how vast
it the auperiority of the Italian
production of tone. The voioe of
Madame Tietjen*. owing to want of
method and to her propensity for
singing fortissimo, is losing body
aud sweetness. After what moat
have been to her a acaaon of tin-
gular retponubihty and fatigue—
she ba* left London, instantane-
ously to resume her datiea at
ana me greatest triumph ol .Madlle. Vienna. She would do more wisely,
Titiens has been achieved in that supposing Iter d*»irou» of Anna and
most Italian of operas— the Lu- not terming srgreat artist, and of
rrrrfu Borgia of Doniielti " keeping her Engliah public, to take
«oma>r<To*« and « good singing.
" Qy. — German? master."
Now which of the two are we to believe f Each writer,
by the w ay, supports a paradox, the more firmly to esU\blisb
his twsition. The paradox of The Athenantm is that
Donna Anna is -Madlle. Tietjens' least successful," whereas
it is her tnosl successful part ; the paradox of The Saturday
Hemew is that the lady s greatest triumph was achieved in
Borgia, whereas it was her smallest The article
front The Saturday Review is curious in more than one par-
ticular ; and not to spoil a good thing, we have quoted the
rest of it in another column, under the head of "A Stone
Uiroum at Mr. Gye from behind a Wall. There we may
gather, from certain passages marked in italics, that the
Royal Italian Opera company consists of "faded celebrities"
rind " two or three veterans ;" that Signor Oiuglini ia "the
first operatic tenor of his day;" and that the band under
Mr. Csta (mid consequently Mr. Costa himself) ia uot able
to "accompany the vocalists "—besides other information
equally useful and edifying. Now it ia not our intention
to outer into any polemic about the respective merits
of the two Italian opera-houses; but we cannot help
thinkiDg that this sort of partizaiiship i3 extremely unwise
An advocate, endeavouring to serve his client, dwells upon
strong rather titan upon weak points ; aud in the present
case, instead of dragging Signor Arditi and his followers
from their well-merited obscurity, if the writer in The Solar-
day Revmo had pointed to Alboni— the greatest vrjcalist not
only at Her Majesty's Theatre but, at the present time, in
Europe— he would have elicited considerably more attention.
But Alboin is dismissed in half a line/ while Madlle.
Biccolomini and her constant companion, Signor aiuglini.
sharejhe honour* of the "ovation " (as they do the bouqueta
• " Madame Alboni it the Erst contralto." Tho word " rontralto "
here u intended to convey more than appears immediately on the
Digitized by Google
August 14, 1858.] THE MUSICAL WORLD.
and " ma bravas ") with Madlle. Tietjens or Titiens. The
seasons since the reopening of JEIer Majesty's Theatre (in
1856) are divided into the "Piceolomini season," the
"Giuglini season," and the " Titiens season "—with the fret
staring the writer in the face, that Alboni whs engaged all
the time, and singing all the time. Surely, in strict truth,
these were " Alboni seasons," if merit should have any-
thing to do with giving names tu periods. (By the voice of
public opinion, at any rate, Alboni was thrice elected
"consul.') This peculiarity in The Saturday Revmo of sup-
porting the theatre of iU predilection by pooh-poohing the
director's most distinguished artist is altogether inexplicable.
The description of the " three seasons," in the second para-
graph of the article, is almost as good as that of the astrono-
mical "yugs" of the Hindoos. One would imagine that
Madlle. Piceolomini, Giuglini and the rest, were all Suryabans
and Candrabans, and Mad. Puzzi the dragon, Cnuphis, with
power to condemn Mad. Bosio, Sig. Mario, Mr. Costa, and
the other " faded celebrities " — to say nothing of the " vete-
rans" Gardoni, Didiee, Ronconi, and Tagliafico, or of the
members of the orchestra, whose offence is that they can win
applause for an overture (which seldom arrives to the Arditian
host) — to the inferior " boobuns."
Some of our foreign contemporaries seem to have a higher
opinion of Mr. Costa than The Saturday Review. One of them
even goes so far as to attribute to him a bon mot : —
" Martha still pursues its career tt Covent Garden. Aproput to the
moat graceful eantiltne in the opera, copied textually from 'The Lut
Roae of Summer,' Siguor Coata said, an evening or two ago, that it
waa not astonishing the melody was so touching nnd genial. ' It is
Italian,' exclaimed tbe groat conductor. ' David Rixxio waa the
first to compote and breathe it in the ear of Mary Stuart, exactly three
hundred years ago. Thomas Moore has done nothing more than marry
it to the words of hi* ballad.' "
"Ma bravo!" Mr. Costa— « ma bravo!" David Rizrio.
The story would be good if the tune were of Scotch origin,
but unluckily it i» Irish. "
But to be quit* at present with our home contemporaries*
(upon whom we purpow to keep a watchful eye) lot us cite —
as a poser for all who are hostile to the Covent Gardeu
version of Don Giovanni — the fallowing astounding article
from last Saturday's Atlas : —
" The opera of Don Giovanni, produced at the Royal Italian Opera
last week, is a great fact. It represents a classical truth, embodying
art and life. The transposition of tbo music necessary to enable Sig.
Mario to perform that which Sig. Tainburim made immortal, invoked
a difficulty. Clatticallg making, this difficulty it is impossible to
overcome, though arlittieallg it baa been arranged in perfection. The
Don Giovanni at the Royal Italian Opera is one of those wonderful
successes to criticise which seems ungenorouf, •/ not little. The tchole
it to gnat that no one ought to dittarb it. The Zerlina of JBosio,
and the Don of Mario are, perhaps, unrivalled in hittrionie annals.
These are to be seen again before the end of the season. Oh ! Lon-
doners, let them not pa»» by."
Ob ! Cneph — vomit thine egg ! The Saturday Review
and the " consuls," and the " rubric," and the " seasons,"
aud the Suryabans nnd Chandrabans, and the " golden-
voiced Giuglini " arc outdone. This bcaU evcrytlring, in
short, except the description of the story of Zainpa in tho
Morning Advertieer, which lieat* it : —
" The story of the opera, all musical readers know, may be summed
up in a few words. Camilla is beloved by Zsmpa, who has a rival in
Alfonso, toho turns out to be hit own brother ; Camilla, however,
becomes the bride of the pirate, who unfortunately haa beon the
deceiver of an unhappy maiden ' Albina di Manfredi, mho now visits
the glimpse* of the moon, and causa* some little perturbation in the
mind of the fearless Zainpa, who, for bis past offences, at the close of
the drama, according to the libretto, utters a terrible lament, sad dis-
appears, with the statue (Albina), ttho sinks enveloped in names ; a
catastrophe very well managed on these board*."
To criticise the above would be " ungenerous not little."
" The whole is so great that no one ought t > disturb it."
An ass upon a house-ridge is not more extraordinary. The
shavings of the writer's beards should be preserved in a gold
box adorned with i>oarl, and consecrated in Grub-street.
Mr. G. A. Macfarreu, Mr. Albert Smith, and a host of
artistical and ingenious gentlemen, who are united by no
common tie save the interest they all take in Burger's Lenore,
may be thankful to learn how the Ghost of Clerk Saunders
called upon May Margaret. It should be premised that the
personage in question, albeit the appellation " Clerk" is pre-
fixed to his name, was not one of those respectable but some-
what humble functionaries who read responses in the church,
but that he was a wight of noble birth, being the son of an
earl. However, his intimacy with May Margaret was of a
nature that did not please her seven brothers, and they
accordingly slew him in his sleep, thereby occasioning great
distress to the enamoured lady. Her father, who waa
naturally a good-humoured man, tried to pacify her, by
telling her that he would find her a much better match than
the murdered " Clerk," but so little effect had his consolation
upon the frantic May Margaret, that she shrieked out : —
Gse wed, gue wed your seven sons,
III- wedded may they be !
Sin' they hae killed my ain true lore,
For wedded I ne'er shall be.
Now, a twelvemonth and a day after these sad events,
May Margaret was sitting in her bower, when suddenly she
heard a knock and a cry at the window. She at first sus-
pected that the unknown visitor was a burglar or an incen-
diary, " seeking of a maik," which last word corresponds
pretty closely to the Cockney argot "fake," but her mis-
givings were soon dispelled :
" I am na ony thief," he says,
"Nor do I seek a maik;
But I'm Clerk Saunders, tby ain love,
Cam here with thee to speak.
I canna rest, Margaret, be says,
Down in the grave, where I must be,
Till ye give me my faith and troth again,
I wot, true love, I gi'rd to thee."
The young lady refused to make the requested return,
unless the deceased Clerk kissed her on the cheek and chin ;
but tbe ghost wax an honest ghost, and warned her against
the imprudence of such a proceeding, which he represented
to be both dangerous and disagreeable :
"My mouth it is full cold, Margaret,
It ha* the smell now of the ground ;
And if I kiss thy comely mouth
. Thy days of love will not be long."
The badness of the rhyme somewhat startled May Margaret,
but she recovered herself sufficiently to ask die learned
Clerk what was the fate in the other world of those ladies
who died in giving increase to the population, and received
the satisfactory answer :
" Their beds are made in tho heaven's high,
Down at tbe foot of our good Lord's knee,
Wecl sot about wi' gillyflowers,
I wot sweet company for to tee."
However, the daybreak was approaching, and Clerk
Saunders was apprehensive that he might be missed. So that
more time might not be lost, he observed ;
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522
THE MUSICAL WORLD.
[August 14, 1858.
"O, cook* are crowing a merry midnight,
I wot the wild fowl arc boding day ;
The psalms of heaven will soon be i'unir,
And I, ore now, will be missed away."
May Margaret thereupon took a ciyst.il wand, and handed
it out of window us a sign that she returned the Clerk hi*
faith and troth, whereupon he expressed his thanks and
de|*artL'd. But May Margaret was uot to bo left in thin
way, ho without stopping to put on either shoe or stocking
she climbed over the wall and followed her Moved ghost,
whom she thus accosted :
" Is there any rjom at yonr head. Saunders .'
Is there any Mom at your feet ?
Or any room at your side, Saunders,
Whcro fain, fain, I would sleep."
But the ghost did not offer any encouragement. On the
contrary, he replied :
" There'* n«« room at my head, Marjarot,
There's nac room at my feet j
My bed it is full lowly now i
Amang the hungry worms I sleep.
[ is my covering now,
my winding sheet ;
The dow it falls nac sooner down,
Then my resting-place is woet.
"But plait a wand of the bonnie birk,
And lay it on my breast ;
Ami pao ye humc. May Margaret,
' • And wish iny saul gudc rest."
Whether she followed this good counsel we cannot sav, for
the pretty story, which will remind onr readers n..t oiilv of
" Lenore," bnt also of the " Pot of Basil," here, comes to an
abrupt close. But we havo in store for them another
tale, which is just as good— for it gives them three ghosts
instead of one. The impious despair which Lenore felt at her
lover's death is here matched by the rage of a certain " Wife
of Usher's Well, who, on hearing that her three wins were
lost at sea, broke out in these strong tenns :
" I wish the wind may never cease,
Nor freshes in the flood,
Till my three sons come hamo to me,
In earthly flesh and blood."
The imprecation of the wrathful old lady was beard bnt
too well, for —
"It fell about the Martinmas.
When nights are Jang and mirk,
The carliue wire's three sons ram'
And their hats were o' the birk
" It neither grew in dyke nor ditch.
Nor yet in any shcu^h ;
But at tho gates o' Paradise
That birk grew fair enough."
The poor old dame was delighted, for sho thought her
throe sons wore all safe and sound. She made tor them a
large bed, and sat down at the aide of it while they wore
sleeping, with her mantle wrapped abont her shoulders.
And at this point of the story occurs ft passage of such ex-
quisito pathos, that we warn our readers not to rush through
It in a hurry, but to pause and ponder over it aj a morsel of
i Bavour : —
" Vp then crew the red rod eoek,
And up and crow the gray :
•' The cock d oth crow, the day doth daw,
The ehannrrin' worm doth chide;
Gin we be Biitf'd ont o' our place,
A snir i .i» we ninun bide.
" liie, lie slid but'a little wee whi>,
Lie 5 1 ill but if we may;
Oin my mother should miss us, when she \
She'll go uad ero it be day."
Bo the (tad brothers hnjLg their mother's m.iutle on a j iu
ami departed.
laOM who like the above stories have only to purchase
Professor Ay tonu s edition of the ,; Ballads of Scotland,"'
which is just published, and contains a vast number of others,
equally good and in some ca«es better. Those who do not
liko them are so alien from onr sympathies, that we desire
to hold no communication with them on this or any other
subject,
THE PHILHARMONIC DIRECTORS FOR lo3.-9.
O. F. Auderson. Esq.
F. B. Jewsou, Esq.
J. Clinton, Esq.
(To be coiUinueJ.)
A MODEL rilTLIIARMONIC PROGRAMME*
I'REUlfcRK rAllTIB.
Oiirerturo de la Prison d'Kdimbourg
Air de« Mousqiiotalrcs de la Ittine. chante par 1
M. Falkcnbvrg ^ j
La iruviuta, pour piano, eiL-outee par Mile Mosson
Din do la Favorite, cl:anti< par Mile Artot el)
It Falkenberg j
Adagio rt Hondo, <bt concerto de Viemtemps, J
circuits par M. iluui iu i
Variations de Rode, chantJes pnr MUo Artot.
DBCXILUE TABIin.
Onverinrc de la S
" I'll rayon de tea youx." melodie ehaateo pa
M. Kalkcnberg
fNwl, canti»pie d'Adam, tr. p. Fuhnaealli
( t'omaval de Vcnise, exA-utes par Mile Ml
Romance de ta Magiciemic " Jc vais au fjloltre," 1
chant-Jo par iillo Artot )
Bomanet pour le violon, exi'enlee par M. Maurin
Air espagnol, ' 'Jusnita," chantee par M. Artot ...
IfalcVy.
J. Ajoher.
VN'tur.enips.
Aubcr.
Stipi'lii.
Fulmag-dli.
VieusU-mps.
Ilalery.
Beethoven.
Yradier.
• The first concert of the Boulojne-aur-Mcr Philharmonic Society.
" J'oi'ei d'ni/Uurt l« programme tompUt tie ceile grandt toin'r artMiyse."
Thus does our partial contemporary, Vlmpartial tie Houlogne «»r-
Mtr, announce the auspicious event.
M. Joium has gone to Belgium, at aUmiamk the
conci-rt-season.
BttsHtsGUAst Festival— On Monday and Friday (yostenbw)
Mr. IMmtn Jmlith was rehearsed entire in tho Hanover Square
Booms. On Wednesday, Mr. Costa's vrennta, called The Drtatu,
anil Acit and Oalalei (with Mr. Costa's additional accompani-
ments; were tried. The etitiro hand was present, but only a
few of the chorus— the Loudon contingency, we presume, which
we thought hail been abolished.
KoriTiAN Ham.— Mr. and Mrs. Howard Paul's comic and
mimical "Patchwork" nightly increases in public favour. On
Monday evening it had the patronage of tho Duke and Duchess
of Montrose, the American Ambassador, and a select circle of
the elite.
Aumnux Engagements. — Madlle, Piccolomini has accepted
an engagement lor five nioutlis to appear at Now York and
other cities of the United States. Madllo. Johanna Wagner has
also been engaged by Mr. Ulltnauu, the American conductor, as
well as M. ami Mad. Gassier. It is said, too, that oiT— u—
boon made to Madllo. Poinsot, of thu Paris Opera.
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August 14, 1858.]
THE MUSICAL WORLD.
523
HER MAJESTY'S THEATRE
The after season was brought to a termination on Saturday
with ecUU, Mad lie. Piccolomini sustaining har popular part of
Violctta in La Traviata. The house km full, and the audience
enthusiastic. The knowledge that Madlle. l'iccolomini was
about to depart for America added to the interest of the occa-
sion. The parting, on both sides, displayed genuine feeling.
Bouquets were thrown to Madllc. Piccolomini from other places
besides the Quartier de* FUurt ; and the "ciacque" was this
time at a discount. A similar ovation was attempted to bo im-
provised for Siguor Giuglini, after "Tu m' ami,' in the last
scene of the Zingara, but the "golden-voiced" tenor was not
bound for America.
Madlle. Piccolomini's departure for America will, of course,
preclude any possibility of a winter season, for which we are not
sorry. The hybernal performances, the preliminary, anterior,
and posterior seasons, at reduced prices, deteriorate from the
prtitige of tho old Opera. We have harped long enough on this
string. The best of the past cheap season is that it was brief.
The performances, however, for the moat part, were better than
ROYAL ITALIAN OPERA.
The closing week of the season has not presented any novelty.
On Monday Don Qiotanni was given for the last extra
performance.
On Tuesday Zatnpa was repeated, and received with greater
favour than at the first performance. Signor Tamberlik and
the principal artists were recalled after each act, and the
overture was again vociferously encored.
On Thursday the Huguenot* attracted an overflowing house,
and to-night Martha will bring the season to a termination.
LORD ELLERTON.
(From tho Guide Jfuticalt.)
A mcsical matinee was lately given by Lord Ellerton, one of
those patrons of art so numerous in England and Germany —
but too uncommon everywhere else. Himself an artist and
composer, known to all dilettanti by some remarkable produc-
tions, possessing several titles, and a man of talent and taste,
Lord Ellerton devotes to the art of Mozart and Rossini the
leisure which so many others in his place would fritter away in
frivolous trifles and dissipation. lie has gained by bis quartets
a very honorable position among the. composers of saloon music.
We have heard two of these quartets, one in A minor and the
other in D, admirably executed by Mr. Blagrove, the violinist,
and three amateurs.
We may also mention a pleasing romance composed by tho
noble lord to the celebrated words of the King of Navarre : —
"Si j'araii pouroir d'oublior U btafltsV
It was deliriously interpreted by M. Despret, a Belgian artist,
possessing a charming tenor, and exquisite musical expression.
He afterwards sang, in a broad and correct stylo, an air by
Stradella, and some melodies by Schubert.
A vnr i i kei.t Awrcdotk. — Tho Crystal Falace at Sydenham,
which turns everything to account, has had recourse to concerts.
An honest gentlemen present at one of these lyrical fttes, more
deafening inan'harmonions, approached the orchestra during a
pause, and addressing a violoncellist, spoke to him somewhat as
follows : — " You make six shillings a-day, sir, and play twelve
pieces ; this amounts to sixpence each. The last polka pleases
me very much ; be kind enough to play it over again for me
alone. There is sixpence, sir." " What do you mean, sir 1
You no doubt want to insult me." " That is my look out.
Will yon give mo sixpenny worth of violoncello 1" Tho indig-
nant artist replied by the most vigorous blows «ver given by a
Briton's fist— Ouide Muticale.
NEWS FOR THE " ATHENAEUM."
(From the Saturtlay Setiea.)
It is the last-named lady who, as we have said, gavo especial
significance to tho season just terminated ; and we may here
point out what may be considered a remarkable instance of a
fulfilled prediction. In the programme issued last April, Mr.
Lumley thus gave his notion of an ideal prima donna ! —
" Tt is seldom that nature lavishes on one person all the varied gifts
which are needed to form a great soprano. A voico whose register
entitles it to claim this rank is of the rarest order. Tuo melodious
quality and power, which are not leu essential than an extended
reenter, ore scarcely moro common. Mudcal limwlcdgo, executive
finish, snd perfect intonation, are mdiapensalp'.e ; and to these the prima
donna should add dramatic force and adaptability, and a largo meaaurc
of personal grace. E*cn these rare endowments will not suffico unless
they ere illumined by tho fire of genius."
This enumeration of detideranda was followed by a modest hint
that they would all be found in Madlle. Titiens. Now, a mana-
gerial announcement is, in general, the last place in which we
should look for impartial criticism ; but, in this particular case,
those who have followed the season of 1858 from its commence-
ment to iU close will, wo think, arrive at the conclusion that
the merits of the artist were very fairly described by the gentle-
man who was most interested in ber success. The cited para-
graph virtually embodies a promise, which has been most
honourably performed,
LUISA MILLER.
(From Tke Leader.)
Ip anything can cure the Verdi fever now raging with un-
abated virulence among tho operatic audience* in Dim metropolis,
it will assuredly he the performance of Luiia Miller. Such
unmitigated trash it lias never been our fate to listen to. From
the first bar to tho last, not a glimpse of frcshn< *e,nnt a soupfon
of melody, relieves tho dreary waste of dulnctss and unavailing
noise. "Full of sound and fury signifying nothing," is the only
fitting epitsph to such a production, and wo may bo permitted
to regret that an epitaph was not the first and last recognition
of its birth and death. It is difficult to imagine that Luita
Miller can have preceded (as it did) tho Trocatore, for while in
the latter there is exceeding vigour and a constant flow of what
is vulgarly called tune, in the former there is nothing but im-
potence and exhaustion. The instrumentatiou is enough to
spoil tho best orchestra in Europe by its coarseness and crudity ;
for ever and for ever a clash and clang of brass, a braying and
a bellowing in vain ; as to the stringed instruments, they execute
all sorts of painful creaking* and contortion* without a single
moment's respite or release. The "movements" of the music
arc like the movements of a man seized with nervous
(Therettislotf.—Ev.M. tf.)
Important to Mb. Lumlkt.— Her Majesty's Thoatre, Loudon,
has, this year, accorded only a secondary place to the ballet.
Everything has been sacrificed to Madlle. Titiens, tho new
singer, whose success for tho present and future it was so neces-
sary for Mr. Luinley to secure. Nothing less than the incom-
parable and always admired talent of Rosati could triumph over
this exclusive plan, so much to be deplored for tho choregraphie
art, already placed loo much in tho back ground at L'ovont
Garden. We must, by the way, remark that the only time lost
season Her Majesty Queen Victoria wout to Mr. Lumloy's
theatre, was to see Mad. Rosati in tho ballet of La Sonnambidt,
which, though fearfully mutilated, afforded unbouuded satisfac-
tion. The Queen remained in her box till tho end of the per-
formance, and, at all Rosati's pat and dramatic scenes, testified,
by her applause, the pleasure afforded her by the eminent artist.
It may, therefore, bo asserted that Mad. Rosati alone triumphed
over tho indifference evinced by tho management for even-thing
which did not tend to the obligatory success of Madlle. Titiens.
— France Muticale.
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THE MUSICAL WORLD.
[August 14, 1858.
THE SWEDISH NATIONAL SINGERS.
The performances of the above troupe of national vocalists,
in the lower room of St. James's Hall, have excited considerable
sensation. The Swedish singers are nine in number,
execute, for the most part, old Swedish
nothing, indeed, can be more original, chi
or satisfying. The voices of the singers are well
blend admirably ; the pianos and fortes are managed with per-
fect effect ; while the body of tone produced is almost unprece-
dented from so small a band. The Swedish minstrels came to
England with recommendations from continental courts, and
have performed before the Queen at Buckingham Palace, and at
the houses of the principal nobility. At the St. James's Hall
their first series or concerts was so eminently successful, as to
warrant a second. The " minstrels " have also sang in the pro-
vinces, and in every instance with the same result. They are
now giving farewell performances at St. James's Flail, and we
recommend all lovers of national music to pay them a visit.
Their appearance in native costume is very striking.
To vary their entertainments, Madlle. Sophie Humlor, a young
lady-violinist of no inconsiderable pretensions, who has elicited
the eulogiums of the press, and turned Punch's head, is engaged.
Madlle. Sophie Humler is a pupil of M. A lard, of the Paris
Conservatoire. She performs compositions by M. Alard, M.
Vieuxtempa, and other contributors to the violin, and displays
a vigorous execution, accompanied with much taste and feeling.
The instrumental department baa not always been monopolised
by the lady-violinist, Mr. F. Eben, a flute-player, having played
on several occasions. The pianoforte accom paniat is Mr. George
Loder, who performs his duties irreproachably.
Shortly after the arrival of the Swedish singers in London,
Madame Rieder appeared. This lady is a florid singer, of con-
siderable talent, and enlivens the performance with solos, in
which voice and art arc both conspicuous. Miss Laura Baxter,
the contralto, has also appeared
We append the names of the nine " minstrels," which exhibit
a greater relation to the muses in number than in euphouy : —
S. P. Rathsman (from Dalecarlia), F. A. Forsberg (from
Skfine), F. A. Hvenstrom (from Skftno), O. T. Holmgren (from
Dalecarlia), L. G. Heidenberg (from Smalond), E. R. Holmberg
(from Wermeland), J R Strom (from 8odermanland), A. f.
Lofstrom (from Dalecarlia), and A. H. Nordstrom (from
Lappland).
Paris. — The arrangements for the TheAtre-Italien
completed. The following are the engagements : — Sopranos —
Mesdames Grisi, Penco, Alboni, do Ruda, and St. Urbain ;
prima donna comprimaria — Madame Cambardi ; contralto —
Madame Nantier-Didi6e ; tenors — Signors Mario, Tamberlik,
Ludovico Graziani (brother of the txarytoue), and Galvani ;
barytone — Signors Graziani and Corsi • pritno buffo — Signor
Zucchini; prima basso — Signor Angelina. Director of the
orchestra, Signor Bonetti. Among the new works promised are
Verdi's MacbetA. M. Henri Li toll? has passed through Paris on
his way to Spa, where he goes to organise a grand musical
ftte. assisted by tho Choral Society of Li6ge and a numerous
orchestra. Signor Sivori and other artists are engaged
for the festival, which takes place on the 19th iuata
The following compositions of M. Litolff will be executed
Overture to the Oirondins; Chant det Quelfes ; fourth
Concerto-Symphonique. From Spa M. Litolff proceeds to
Baden. M. Thalbcrg has arrived in Paris on his return from
America. The celebrated pianist-composer, we are credibly
informed, intends paying a flying visit only to Paris. After a
tour in Germany he purposes retiring to Naples, his future
residence, shutting himself out from the world of mnsic, or, as a
Parisian journalist writes, " foil* des concert* el du piano." He
is nevertheless still engaged upon his Art du Chant, which, it is
hoped, may not be his last work. M Vieuxtemps has also
returned to France from America. He intends passing the
winter in Taris.
A FEDERICO GYE, ESQ.
DEL TXAT&O DI CO VENT OARDEX,
SONETTO.
A Te di verde alloro il crin a'udorni,
Cbe lodo eceeUa mcrti ci alto otnoggio,
Pel fommo too lapcro ed il cor&ggio
Di trarro a fin taut' 0]>ra in brcti
Delle Camcne il Tempio ci ritomi ;
Tsle die ognun I' immira e prcgia il
Iti d" Apollo i flgli avrun retaggio,
K mai V InvidU fia chs il plauso it.
CV wcoli rivr* too illtttlre Nome,
E plsudiranno i povtari la F«m«
Chs il nido too poso, nelle tus chiome.
L' Artists e il uioudo festi appien t'clicc,
Cbe V anelato Osgetto di tus brama,
Riuacque si par d»U' Arabs Feoice.
In segno di oasequio e di rispetto,
Lobekso MoSTiaASI,
Prompter cf the Bogal
TO FREDERICK GYE, ESQ.
roR the noi or the theatre
SONETTO.
(Translation— bf the Author).
Or green laurels let thy head be adorned,
Ai thou deservest high prase, and great
For thy great knowledge and conge
Of bringing to an end aooh a work in a few dsya.
The Temple of the Cams** thou roaurreit to un;
Sucli ss every one admires it.
There the sons of Apollon will have
And Uniy may never turn stide the
With centuriea will leare thy illustrious
And posterity will applauds to Famo
That iti nest plesed 10 thy hair.
The Art nt snd the world thou bait made happy,
Because the hopped for Object of thy wishes
Reappeared like the Arabian Pkenix.
PEL FAUSTO GIORNO NATALIZIO ED
ONOMASTICO DI GIULIA GRISL
SONETTO.
Can tar' or* to eon vo' 1' alto luo merto,
Che di tne geats interio echeggis il mondo ;
Mia brama * sol (srendo Apol seeondo)
Di lteti augarii e voti ordirtl un serto.
Delle gioje an tesor ti serhi aprrto
II Fato, e d' ogni ben ti »ia fecondo :
Nel aeno t' ergs il trou 1' ami
E mai non fia di Pace il cor deaerto.
Quest' c il bel di in cbe il ciel U die Is vits,
E Dea nomotti del celeste canto,
Pel qual vien 1' alma in eatsai rapita.
Qosi rote flan tue gote ognor Termiglie ;
E un' Eden fortni Mario a Te d' soeanto,
Cogliendo baci dalle dolci Agile.
In segno di sflettuota atima e di ritpetto
ToKBRtDOK— ( From a Correspondent).— The music performed
at tho annual celebration of Tonbridge School, by the school
choir, in the parish church, was as follows :— One-
pixrisli cliuroti,
Psalm; Chant for the Psalms, York; Service, Dr. Wesley, in
F; and the Tonbridgo Dismission Hymn. The concluding
voluntary was the Triumphal March from Gilbert's Oratorio,
The Restoration of Israel. The choir, numbering upwards of
fifty voices, performed their duties exceedingly well. Mr.
Gilbert M.H, organist of tho Parish Church, presided. At the
conclusion of service, the masters of the school wore entertained
at dinner by tho Worshipful Company of Skinners, the
governors of the foundation.
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August 14, 1858-]
THE MUSICAL WORLD.
525
Rr RMiNOH.vM.— Mil. Bache's Concert.— This concert, which
was looked forward to with much interest, took place on Thurs-
day last at Dee's Hotel. The room, we are glad to say, was well
filled. With the exception of a trio of Mozart's, and a cabalctta
of Donizetti's, the concert consisted of Mr. Bache's own com-
positions ; and of these we shall speak more particularly, the
pieces before-mentioned being too well known to require special
notice. We may, however, remark that the trio (in £ flat) was
well performed, especially on the part of the pianist, Mr. G.
Russell. The first piece of Mr. Bache's was an Andante and
Polonaise," with accompaniments for stringed instruments, the
opening movement of which is exceedingly smooth and graceful,
showing a refinement of taste in the violin accompaniments
which immediately won the good opinion of the audience. Of
the two songs, " The Wanderer's Prayer," and " Barcamola
Veneziana" (both in MS.), the first-named is by far the best, the
melody being very expressive ami tender, yet combined with a
gravity reminding us strongly of the modern German ballad
style, and most admirably adapted to the English translation
given of Goethe's M Wanderer's Prayer for Peace." The second
song is written in the "Barcarolo" style, and is piquant and
lively, though without any particular claim on the score of
originality. Miss Hill, to whom these songs were entrusted,
was evidently suffering from nervousness, but apart from this
we have rarely heard this lady in better voice, the latter part
of the " Wanderer's Prayer" being sung in a manner which
evinced remarkably pure feeling and good taste. In praise of
the next instrumental piece, the " Morceau de Concert (also in
MS.), very much might be said. The opening, which is full and
bold in conception, was performed in excellent style, and in the
second movement there is an originality about both the subject
and its treatment which attests that the author is not a mere
imitator of better known composers. Altogether it is a pro-
duction of which Mr. Bache may well be proud. The pianoforte
playing of Mr. G. Russell in the concerted piece was very
masterly. The last song, "Childhood's joy," was of a much lighter
character than those which preceded ft. The melody is graceful
and pleasing, but not so much calculated for display. The con-
cert was brought to a close by Mr. Russell's performance of a
pianoforte solo, of Mr. Bache's composition, descriptive of a
sleighing party. This is a most charming piece, and shows
imaginative and descriptive powers of a quality but rarely met
with. In the hands of Mr. Russell, it produced a delightful
effect. Speaking generally of Mr. Bache's compositions we may
say that they occupy a position midway between the purely
romantic school and the severely classical, and will be ol great
ly classical, and will be of great
use in drawing people away from the lighter class of composi-
tions towards those which are classical and lasting. It is a
matter for deep regret that one so eminent and gifted should
suffer from the want of the moderate physical health and power
required for the study and production of works of musical art.
It was announced that Mr. Bache would perform two solos of
his own composition, but his feeble health prevented his friends
from enjoying the pleasure of listening to him — indeed his pallid
features and enfeebled frame, as he sat by the side of the piano-
forte upon which his works were being rendered, painfully
indicated that he was unequal to the slightest exertion. — Ariit
(JaietU.
Birmingham. — The numerous applications which it is a matter
of congratulation to find are daily received from persons residing
in all parts of the United Kingdom for information respecting
the Festival, leads to a well-grounded hope that the approaching
meeting will be more fully attended than on any previous cele-
bration. It is evident that great interest has been excited by
the publication of the detailed programme, which is now in
circulation, and as it embraces full particulars of the perform-
ance and general arrangements, it is eagerly sought for in all
directions. The list of vice-presidents which heads this docu-
ment is unusually numerous and influential, and comprises the
names of most of the nobility and gentry of Warwickshire,
Worcestershire, and Staffordshire. It is satisfactory to hear
that the mansions of many of our leading county families will
be well furnished with guests for the occasion. The railway
companies too, we are glad to find, have behaved with a com-
mendable spirit of liberality, the published special railway
arrangements showing unusual facilities for the convenience
of visitors. Altogether the prospects appear most encouraging;
and when we bear in mind that it is yet three weeks to the end
of August, and find that public attention is already so much
directed towards our Festival, there can be but little fear as to
the ultimate results, which we have every confidence will be all
that could be desired by the warmest friends of the General
Hospital. The ballot for places for the Tuesday and Wednesday's
performances takes place on Friday, the 27th of August ; for
those of Thursday and Friday, on Saturday, the 2dth ; and
strangers have the pledge of the committee that they will select
in every case the best places which the chances of the ballot
permit. The advertisement containing other matters of detail
appears in another part of our paper. We observe that there
aru arrangements made for special trains on the London and
North Western, Great Western, North Staffordshire, Midland,
Oxford, Worcester, and Wolverhampton, Stour Valley, and
South Staffordshire railways. In every instance the trains
arrive in time for the morning and leave Birmingham after the
conclusion of the evening performances. Among the visitors to
the Festival will be Herr Joseph Joachim, the celebrated
violinist, who has postponed his departure from England on
purpose to be present It is also rumoured that the meeting
will be graced by the presence of the Duke of Malakoff. — Bir-
mingham Journal.
Destruction bt Firr or a Pianoforte Factort. — On
Friday morning, August 6th, a fire, involving the destruction
of a large amount of property, broke out shortly after five
o'clock, on the extensive premises of Mr. Henry Squire, piano-
forte manufacturer, No. 25, Hollingworth-streot, Liverpool-road,
Holloway. The discovery was made by some of the neighbours,
who aroused the inmates, and dispatched the police for the
Society's fire escapes, which were promptly on the spot, undsr
the direction of Inspector Baddcly, and rendered most essential
service on the occssion. The brigade engines from Watllng-
street, Farringdon-street, Jeffrey-squsre, Holborn, and the two
powerful parish engines of Islington, followed very quickly.
As is too frequently the case, there was at first a scarcity of
water, aud the most strenuous exertions of all present failed to
make the slightest impression on the flames, which ignited the
dwelling-house, which also fell a prey to the flames. A plentiful
supply being now obtained, the engines were got to work in an
admirable manner, but, notwithstanding great exertions, the
manufactory and dwelling, with their valuable contents, were
burnt out, and the adjoining houses considerably damaged. The
cause of the outbreak is unknown. The loss will fall on the
Phoenix and other offices.
A New Prima Dossa — (From the Monileur). — " The last com-
petitions, both in comic opera and grand o]>era singing, has
shown that the Imperial Conservatoire has trained some beauti-
ful voices; a few still crude and hardly free from their native
roughness ; others sufficiently cultivated to evoke ero long the
plaudits of our leading theatres. First of all, we must congra-
tulate Professor RoVial, whoso unprecedented triumph is well
earned by his unremitting labour, indefatigable zeal, and un-
surpassed efforts. Two first prizes, awarded unanimously, a
second prize worth as much as a first one, and an acceuit,
equal to a second prize : such are the results of this
glorious campaign. In the ladies' class the first prize has
been gained by Mademoiselle Augusta Thomson, whom the
Opera is sure to lose no time in securing. She has a magni-
ficent soprano voice, of excellent tone, great flexibility, purity,
and vibration. She is said to be of Scottish origin, and has
studied for twenty-seven successive months in Professor Rcvial's
class, to whom the success of this pupil is pre-eminently due.
Madlle. Thomson sang, in a most admirable manner, the grand
scena from the Huguenot*, 'T» beau pays de la Touraine.' In
the Gentlemen's Classes, the first prize was awarded to M.
Hayet, also Monsieur Revail's pupil, who gave the air of
'La Fiancee' with great expression. In the Female Classes,
next to Madlle. Thomson, who toto vertic* supra ett, a second
prize was divided between Madlles. Breuill6 and Litschener."
We understand, adds the North Britith Daily Mail, that Madlle.
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526
THE MUSICAL WORLD.
[August 14, 1858.
Thomson is the sister of Mr. James Thomson, the well-known
Glasgow professor of the pianoforte, and that she bos already
been offered n»handso_e engagement at the Grand-Opera,
Paris. ____________
BRIGNOLI AND GAZZANIGA.
(from JJ^Ci Journal of Mn,\c)
Bkiqmoli is incorrigible Ho should be made to wear trousers
full of thistles, to keep him awake. The roVc of Phaon, though
somewhat threadbare, is still full of dramatic interest. The rule
of Violetta U equally threadbare ; but iu the hauds of Gozza-
uiga, it becomes absolutely great. Phaon can ho made a
magnificent role for dranuitic intensity, but Itrignoli (who
appears to detest the character) Rings it like a sticl. Whirs
and how he will end, if he persists in pursuing
this sleepy course, Heaven only knows. The nria,
in the first act, was deficient in fire, and very bad
in the upypr notes. He has lately acquired a trick of
singing high notes as if from the roof of his mouth — a mode
Very easy of execution, but tending in the end to what might be
called nasality. Brignoli can siug divinely, if he chooses. He
is enormously fat, but " vidth and visdotu," in his case, do not
come together. His repose on the stage is death-like, and
enough to throw a cold chill over the impassioned Gazzaniga.
The costume in this opera seems made up from Sorma and
tkmiramide ; and Briguoli's, in particular, is abominable.
Of Gazzaniga, what can we say ? If we had swallowed forty
dictionaries, iu as many different languages, we should still be
uuable to do her justice. Her face is childlike and full of ex-
pressive simplicity, with the BWCutcst (looking — for we cannot,
alas ! vouch |>ersonally for its saccharine qualities,) sort of n
mouth imaginable, that utters sounds of joy or woe IS the most
wonderful manner. From the beginning to the end of this opera,
her performance was a triumph. She carried the entire weight,
almost, like Atlas of old, upon her own shoulders. The duet,
in the second act, with Miss Phillipps, was tender and bo witching.
The second act was magnificent. Madame Gazzaiiiga'a lower
notes have a wild, waihug tone about them, at times, that
ap]veols strangely to tho heart. The trio in the third act was
admirably given. The nuptial song and the ./i'W« were trulv
grand. Her acting throughout was superb. This opera demands
so much intense action, that we fear, in other hands, it would
prove a failure. It so proved iu Loudon, when first produced
there, and was withdrawn after the second representation.
Here Madame Gazzaniga has made it a great success. Mr. Gye
should have secured her for Co vent Garden, and pitted her
against the reputed formidable Piccolomini, of Luroley's troupe.
Loudon would be swept, as if by a tornado, at the rivalry of two
such actresses.
YVsEXS. — We waked the other morning — one of thoso May mom"
iii't — notwithstanding our domicile it a oity one, with delightful
sounds cominu in at the window. They were the notes of twect -singing
bird*. What IotcIt muiir. It was 'tho first of the *cs<on tlist had
come to our cart, and it struck a chord that called to mind scenes of
youth, long, lone spo. We hastened to tho window and looked out.
Ha, ha, my old frieudt, wo cried, and so you have com? back sgaiu.
It wat tbo wrens, the tame ouea, undoubtedly, we built a ncttliug-
plaee for last year. Tlioro was one pair then, now two pair — tho
progeny, wo suppoir, of those thai aung for u« laat year. And to, wo
said, you hart both come for a iicitluig-pluce, have you? Well, there
it the old one, hut you mu-t have another. An increasing family needs
more room. You shall have it. Notwithstanding the morning was a
rainy one, we feared our pets might feel neglected, tad to down wo
went to provide for their neecasitict. ITuw amply were we repaid the
little labour; for all the line *o.werc engaged they were hopping
about the peach limbs, picking off the insects and singing all tho while
moat merrily. Who would not cul'ivato tueh tociety at this ? Who
would not like to have their faces protected from insects that dettroy
fidiago tad RwH ? Every one, surely. Then protect tho wrens, build
tiestling-placcj for I hem. and they will como every tpring and tend
their »wcct note* into your open window some pleasant May morning,
to waken yoa to sec the beauty of annriae, or lull you into dreams
of tho old form house, orchard-, aud tingiug-hirdt.— Tribune.
FREDERICK DENT,
Chronometer, Watch, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
Ktft fflafcrt of tht 6rtat Cloth for tftt Rousts of
61, Strand, and 34 and 32, Royal Exchange,
JTo connection with 33, Coclsynr-ttreet.
gUItn's SllusirntttJ tXamlogur
cs, Tro'ellln* Bj«
Mtfor two tump..
I, with four Con,.
Of riwtm»llU»Hi, n-.-apa.Ub. Boxen, Writing mid DrcaatnlOlvs. Trer
Willi square f)n-,iliiir». :«udse»o;hur»rtlclo«fortn»TrUliiir.T)y peat
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ALLEN'S PATP.NT DE8PATCTI BOX. with and without Dtessbi? C!
ALI EN'S PATENT TRAVKLLI5U BAG, wtlh f )uar. opmlug. TbcacarUd*)
arc the bent ol ths kind yut iuveuled.
J. W. and T. ALLEN, Manufacturers of Portable R.-urack-room Furniture mi
Military outfilUta (MO wpsrato Oataloftua), 18 and 82, MimL
pREY HAIR RESTORED TO ITS ORIGINAL
VX COLOUR — Neuralgia. Norrons llisadache. Rheumatism, and Stiff Joint*
curd by F. M. HERRING'S PATENT MAGNETIC COMBS, 11A1H AND FLESH
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beeomwOrey, and Its Remedy. ' trails, or by post tor four stamps. Sold byall
chomista and porfuuaeni of repute.
OMPLETE OPERAS FOR VIOLIN, Is. each, Booscy
J an>l Bona' Now Soma:— U TrovHfre, The Bohemian Girl, la Traib.fi.
Rigolotbs. Maritana, Le Prophet e. La Sutiuambula. l.ucrcxis Doic/la, Korea*. Lira
di Lnmrocrmoor, Bli*ire d'Amorc, Krnani, Maaaniello. Poo rVqoale, 1 Purlvjit,
Lea Uurucnota, II BarM> re. Don Juan. Aixi 100 Ihuxna for tbc Yloiin. la.
riut:«t»*s I0» Operatic Aira far the FlnU, 1* Od. Caae * 100 Sacra.! M«k>.lloa Ibr
Uu^MircrUna^ U. »' ]^c'"» J^ j}'iu,JrtJJjl0dk* l''C a>uccrU,u'' U~
BOOHKY AND SONS' CHEAP SERIES OP OPERA8
FOR PIANOFORTE HOW -Hach Toliim* cootaiaa the wltalc of tho f
with an IntiMilui'tory artldo doaeribiuf lb* ntrd and cbaruter U tho «au»i«. Iu
cloth. IJiiai Miller. 3a. ; Rik«.I ua. Sa ^ 11 TrovaUiro, t* ; la TravUu, At ;
Leu Vt-pr-a Sidlieunea, Ta M. ;
Luoa, ia. ; PunUuti tS ; No
lh.n Jnoui, r.a. ;
IS. Uullcs-tlrcet.
Figlia del R«irj^mi«tn^4a. ; Uicrt-ila^U. rriai 4* |
M
USIC FOR BRASS BAND. — Booscy's New Brass
Band Journal it published every oiontli, f.r eight performers, pnoe 4a. ;
and i'.r sixteen |>crfarmer«, priee Ta. per number. The iu£lnim<nUUult la aa
r«>llowa:—lat and Znd Comata U list ; 1st and 2nd Valva li'iirl^.. B flat: 1st aad
Ind Alllionia. E flat; Althom, B Bat; Enplionl.ai, B fiat leliht prrfcrmcn) ;
Sojinun. Coniet, E flat : lat and Xnd Trumpet, E flat ; 1st ond !nd Hoena, E flat ;
lat aud ii»d Trwnlion**— Baaabaidpn. B flat ; Drums, ad lib. (aUUeu
July couulns the "Maul Valae"nnd "Jlar^erit-
Lament F'Jll particulars giatla. BoOiCy and Sons, 24
BOOSEYS 100 DANCES FOR THE VIOLIN, la.
100 Ballads Tor tho Violin, la. ; 100 Operatic Air' f.w th« Fluto. by Fntteu,
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the Cwiuxn-tlia. by Case, Is. «l ; II StvUn* for the Violin, la.; La TranaJi
ditto, la ; lti^olelio. Is. ; The Bobonilan tjtrl dlttn, U ; Marltaua dltio. Is. ; *c.
Booacy and Suna, HoUeav-street, Londcti.
B
OOSEY AND SONS' CUEAP MUSTC— R. S. Pratien's
10u OjieraUc Aira for the Flute, la. Sd. ; Oase'a 10.) Sacred KcUxlloa for t'.J
L'.'nool'tiika, la. IM. : Caac'a 100 Popular Mclclica far tbc Concertina, la. ; Ikoaey a
100 t)ajic<r» for the Violin, ta- ; BWey's eomplcto Operns for the V;orm. la. cica ;
Bix-sbv 'a complete Oi^-r.u» f.n tlm Flajionirte. in cUnh, from 4*. to 7m
Laurent's Albnm ..f Dance Mual.. 5a, ; lira Verdi Album f« ar.niitX 6a. ;
aolin a i*on(ra Wittmut Worda (0 books), Cs. Ikwsey aad Sous' Mutlca
?S. Ho'.lcs-atrcet.
I^ASY MUSIC FOR CONCERTINA AND PIANO.—
J 19 numbers, |iric« la each, Popular Rerroatl'ina, arranired by OeotfJsOaiS.
(Eteb oontalDs i or 0 pagea.) 1, Rigcilctto: "La dotina « mobilo.'' and •■Qms-..
oqii«t]a." a, II Tmratt.ro: "II biden." and "Ah! ch.- la im-ru" (TtouK_«u;
Sony) 3, Lurla di lamniermoor: " Fra jocoamo " ruid •,Tucbe DloaapieTast'-
4, Scnnambtila : "All is lost now." and "Still an Rently." 4. Norma: "D— '
nun to." ii. Selection of tlio DaSSC liopiilar Vulsoa, by D'Aibert- ", rotta:
"L'Enf.int." Iv D'AIbert. 8, Vu'ao (miir by Madame Gassier! Vensai.i P.
FlOtehAtts: " Partant poiir U Hyrio," "l« Mnnicil'siae." an.l "Monrir poo' u
patrie." 10, Irish Ah-« : "Tlio Harp tbat «ieo tlirougb Tarwa llalla, ' St.
PalricV's Dar." aud "The I_t Rose of Hummer" 11, Scouh Airs: ■ Bauaie
Dun.lce," "Rbio Bella of .Hand," "Ann!- Laurie,- and •'ComlD' thru H>
in Aira: "MlutiU," "Old Folk* at Ifcaw." sad "Nally Bj.:
ryo.- U,
Bcasay au
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MUSIC FOR CORNET-A-PISTONS.
CORNET SOLOS.
BOOSEY'S CORNOPEAN JOURNAL.
Contains 874 of the moct tawnarite Optrotk- Melodic* Dancee, 8.-0311, *c. Fublielied ia Ten Number*, J*.
handeomciy bound, li*.
each ; or, complete in Olio Volume,
La SonrmmVula.
(MM
Dear, at c*mi|un:<ttia
Now with toy
Aa I view that* acnes
Ibid, tbota hrfgl
!'■.-» it-: i clioria
Mnnndt ao joyful
Take now tlito ring
| Qua! d' over
, A eonaolani.i atTri ttl
rlot.utoln lr.»
I Dimmi. ah ; dimtnl
Ah .' valine, o earn !
Oh I eta la cotton
! * Nylin nib quel augulu
rXdtiani Is lit
jCViorue— DotK> I' lutioluzioiio
I IS,)
I
Oh I
•II.,
II, ,
K K-i
Tea
All I
Sli I
Yea.
I'm
* C K'\ |TC3"l0 I
tint inc not
oUy
Iota
I ma
I poi
Echo^<Juvinll™-Mu=nr,l
So. 2.
Oh I d. verd amn*mtci
Oh I (uchc ralma,,,! r»
I ml.-I Lunmli
I/.li»ln tniwil
Oio, iMuiitoru
Noil Trlldet'-I piil
I'j-iiiuii iuvcluul
Yin to !.prrr.«»
Inf' l « o tu
'" l""> O'lo— Duetto
r.u <!' i~ni
I.i volnino— Ami
Vklli lO'.CU Bill Jo inao
MirWa
Oh 1 cook feJce
Lo Dnnoia— Qiudrrtc*
U hclle V
3.
|YUro .otiaaUi il trulo
Itai nrtw in H Ha Qiuddiica
Alpculiedir Wait* a.
Lucy Ncal
BulLdogi!.
Near t'io l«ko
1-iiMy K m
Ole Joo
Who in d t V bucking at dc dour!
The Iry [Tvoil
My ole mint H dly
HwiaB Air
Le Depart dc5 Styriem
Tie i aim
My iK-arCa ot. the F.lilno
Pcatal
Dcir Italy, my FatbciUud
The p-irtlng
tiyrt wl habl— Svicdlnh melody
Ole Din Tucker
M.co tu vlcnl. from S'.ranioti*
J«m.y Liltda Hojdu Uila Hicka
iluiiluTiracjooi', auui by Jcu.y
Tic o too
AuniacmeiiU .1'.* jflunc* Mica—
Waltaw
Lee Iiavijaautea— Qu.idrii:.a
Ho. a.
Rimliui Air
French iiiuteuec
lAv pi ine./.ti Ain Aoio Fini**.
Lombard!.
Oil ! nobll c sctDpij
Bf on fn fco;no
Coma p iteva
1 he Brtawkn
Appnrvl alia iuCO
March
B un hrloconl
Tal vollo
I'l quel Irhltlto
A iota
D un aacolto
Che dro. the faro
Convien i ariir
CUc n.-*qul al
Sirvttl ill ■
Tyr ! • —
Fur tliorar
A liic on the
Ixa neVjnlaai
Nightingale
f.CCiUl Kl'C
taj — Quadnllca
Ittlka
B.
Ho.
fa •float
U..n .lu Ul
La Iloao
i. i: v .1 i ■
M chrlcnitr
Mn
I.i «e;trp«--t'ii
Ikdda crnillo
CanuelclVi— Neapolitan air
French Li ,f no
U'Ki'linnn. apnre that Irea
1 1 mb er.ollL- miiij
The bonny cuck-4>
Tb,; Iil»!i |«uuot'a UltMiit
Nay. toll me no n «ru
Oil! U-lHurUt uf plciuuro
Alrt Pfiiii«.'.'»
II acstrto
e '
Sfuininh war aoiiif
The at:uuUrd bearer
Austiian Liiidlcr
fnitriiuil jlirt /ni"i
Eliiire d'Ara
Qtiauto t bollu
Del ooiifor'.o
IMUmidrla
Come P nidc
F irulo Wzraaa
Cfaiedl all' aura
I<*iaio^M«r.t
I'diU, 1'illti
K-tilti pur U Ixirtura
QHMattM
In iriicrra ed i" amor
Io inn riew— K.tvjro:
Me prutcgjii
March
Sol pronileio Dio
Vlcnl In Roma
Oh .' di quel ati
Dch conto
Si fino ah* ora
Ah I d-.l Icbro
TK- f.r.ael)Htl .f„./r,m /luT,i:rt.T/ hua Ucno*
Linda <li Chamouiiii nrbaate
A tul "i n .li-l:,,„ ,rtf» H"*-'* » U,c cnd ' * iht **P
The jiriieifint Airtfmm aMkaSft Hi.n»o'» hvnir.— Spanish
' Jiglil del EoggimealO. , Aria .}raOTue«»
Claacnu jo d:ee 0.uand d. la nuit
Compi, ociJul Prayer
Dl |M IK-liu a| al vo
Dn ii'i ldiclie
Wr.ua QiiadiUla
Mincm ValajB
Pile dca Dee-^cJ
llelie Gatoip
1a Ui\-L ijtran^ae.'
Ilarcamlli!, rt>nu /iiupa
Alr-ll liravo— Jlarilanl
Auatriiin u^eiiHiy
Ho. 7.
Ttu-slan marcli
VrvjUodllO
Duet
Una furtiira— Rennauut
QflMB of the Night
Ho. 8.
Miro dana cca ycux
The u:ghl
Adieu, Marie
Utile Untannia
Ah t tiitnpt urn ti'-.t
The renaatit'a aetng
May kick
Jurlinirro dt mi rida
The Conuur
Mia cam coci'lo
l.ilta, a a lady— Corman air
Itory O'Moro— Iriah
lluntiiik' ehoma
Rua.lan Kraoorinclc
Kiitu K- ir.i' y — li h
Venetian mcJc-iy
Sicilian Mmthore hymn
Ahacnce— Tyndieune
Heb urn Wallxea
teublutheu Waltxca
Ho. 9.
La Vedara Itnmaita— Nca[ otltui
air
The Tru-i Lore
I/iat Koae of Summer
Viro Hetiri IV.
Ovd aire the Qiicen
Prixeljial Ain from MeMa
Dell' nnra "orma-
M«o aU'
I! faut plcnrer
II euro PellcKiino
\ ii.i . i I: .• .
Nel ailcuaio
Zephyr ct I'Aa
Ho. 10.
CajMfcn de(
U U, fauti
Ma No,
La Jul
Rua^au m-jwly
Extra Poet Walt.-.
L'furtoTina
Aia»;fiui'>«— Cinikm I
Harearolle
lri-h quadrille
liumalice — llcroM
Now l« the month of Maying
Oorman (rali'p
Ti c evening hymn
Austrian meloily
Air, h la va'an ,
The Plrotu'a Lullaby
O Nannie ! wilt Hum gang
Qalorp, farourito
Drid.il Kvo
Airt from AtUtr'l
Market CTiorua
My.
Cotne o'er the
Vailnai via di qt
lata hare a da
Dan eo
The Itakea nr Mallow
French Quadrille
Oali>pade
Jenny Jonoa— Wel.,b Air
Air ftom Zanqn
Charlie,
h
TEE
CORNET AND PIANO.
CORNET MISCELLANY.
FIRST 8ERITS.
Ho. I. 1 Ito
f. 11 Trovabcu
3. 1 Puritan!
4. L'tcr. /.Li llotgia ..
5. Krioiui. . .. .. .,
«. Luc a di Latum'.niioor
7. In TtwMa
». Ito- FiciachUti
9. ~
A Collection of New Mu-ic for fhu Cotn:l o-l'Utcna and r.ar.of it-j. By TaoHA* li iarxa. Price 3a. each number.
Verdi
Vciil
Bellini
D.niactU
Verdi
Donirctti
V, , Il
W.'.er
aVubct
FIRST 8EEIES-( ™i,
So. I* T.lmbj di Chamuunis
11. WUk*
IS. ll-jbert lu D-alile ..
w.7).
Donlictti
SECOND SFErES~(er,ntinitfrf).
. in
ii
1.-..
ii).
SECOND
Ix* Ilu.ucnoia
FiHo du UOioKiit
l>cti PiiBqudo
SE2IES.
Moyorbecr
Mererberr
Don: io Mi
17. Lea Vcjirea fiiei:iclil.ca
IS I^i ^lnnamb'ila ..
I? Fr.i DUrulo..
» Favori'a
SI. I Lombardl ..
■I-:. 0m launiv Tc'l
I (iiovnnn'l'
Verdi
IVilinl
Aubcr
DieiixttU
Vcnli
linv.nl
Ilc-mld
Mtxatt
Ia Sonnarahnla : —
I. t ome p r mi.— Ciia CUi:ip.'igr.e
» VI rawia — Tn u.m ».\i
BOOSEY'S REPERTOIRE.
Cmitaitiiug Ite iac«t |iopiih,r MOUKRX OI'KltAS, etc
3. Tultoiacioltu— Ah, i
I. Trcndi P niicl ti dimo .
«. Ahfnai-nGelO-Ah. u
« fi.>ll k-elmo— TuUo b s
tdi(_
jdl qtioit'aulm.i
LJ 0
B R la tocc— Ah. conaolarmi ..
* Ah. b<l rtcaUu— Ultap.uo..
rroAtai :—
It). Enianl. Involitui t
11. Bo'iugocmintc— Infelici:— VIV!iA'ign>.t",«c, S
11 Come nigiaiia al ccij ite 3
Gordiglani :£.):—
13. Three cc'cl ratcd »cnj,-a 3
< d
3 0
3 0
e.d.
H Pcornvd ulectiou i f souga * 0
Eipoldlto:—
10. In'roductiou— Qurata o quella — Tutto 4
jri ja— lla lata, Ao. S4
13. K il B. l dell* anitna— e:iro nimc- Zitti,
Zitti-lAh lion lurl.t > 0
17. I' rml void— In duuoa e UKiblle— Bella
SO
NEW CORNET INSTRUCTOR.
BOOSEY'S UNIVERSAL CORNOPEAN TUTOR.
I'lii:', I by Sxamom JoKEa; contninitu the Klcnioita of Mu^ c, m ith ojidoiti itiafnivliona in the Art of Playing the Cornet 1-Piatona. followed by 1C0
-:i/u«,"by C.i iasluua, Foccttler, C-iniand, ir.d nthors. U«difa M popular Operatic Mel.dica, A-o., fomilnjf the m >Bt complete an 1 uaeful work fcr thla
erer puUialiiil P.i|»rco»er, 3*. ; price &s liandaotncly bvind.
BOOSEY and SONS' Musical Library, 24 and 28, Holies-street, Oxford-street
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528
THE MUSICAL WORLD.
[August 14, 1858.
BIRMINGHAM MUSICAL FESTIVAL,
GENERAL HOSPITAL,
OK
AUGUST 31, SEPTEMBER 1, i, AND 3, 1858.
pmxcrriL vocalists.
MADAME CLARA NOVELLO,
MADEMOISELLE VICTOIRE IIA1-FE,
ABD
MADAME CASTELLAN.
MADAME A L B O N I,
MISS DOLBY,
AND
MADAME VIARDOT GARCIA.
SIGNOR RONCOM.
MR. WEISS,
AUD
SIGNOR BKLLETTI.
Mr. STIMPSON.
Mr. COSTA.
MR. MONTEM SMITH,
SIGNOR TAMBERLIK.
Okoakist ,
ELIJAH
ELI
JUDITH
• • •
LAUDA SION
SERVICE IN C
On the
Tufttday Morning.
• •• 4*4 tM
Wednesday Morning.
tM ... ...
Thursday Morning.
Friday Morning.
. (A yew Oratorio)
MlMEKLBSOlIX.
Costa.
ItSKBT I.::.- :.n:
Mkkdklsbohk.
Biktbovkh.
of Tuesday, Wednesday, and Thursday,
GRAND MISCELLANEOUS CONCERTS.
And on the Evening of Friday,
A DRESS BALL.
PRICES OF ADMISSION TO THE HALL.
Ticket* for Secured Place* for tbo Morning Pcrformnnroa
For lr«j««rnl Placea
fnr See-unit Piter* for the
For Untcurrd Places
For the Hall— Gentlemen's Tickets
,, La. lien' Tickets
For admission to all the Performaucee, and to any part of the Hall
mat
admission to all the Performancee, and to anr part of tl
the Orcheatra, »w without the pritilef, of a Sararerf Sent.
a? a. d.
I I I
0 10 <
0 15 (
0 s c
0 12 (
« 8 (
5 5 0
Tlila
..-plac-a for partita (whether reatdcot In
'uTth **n'10' 50tlTBI?'<,n'1r h»'.,ot for their own placo*.
_ the Strange ra' Committee may bo made, either personally or by
letter, to OrouiR WHaTCLaT, Esq , 41, WaterWHMreet, Birmingham, and will be
received U|. to Thursday, the JSth of '
No application will bo attended to
thi/M price of Ike plane rrentmL
It bo
by.:
LODGING B.
VISITORS desirous of ENGAG1NU APARTMENTS dining t
Featlval, are raq.ieaed to make application, fry lattrr, to Mr 11
acller, Oolmore-row and Bennctt'a-I.ill, Binutnghwi.
SPECIAL RAILWAY ARRANGEMENTS
mo entered into with the London and North-Weeteru. Groat Western.
, Oxford. Worrratcr, mil Wolverhampton. HUmr Valley, Nurth Stafford
Programmes, containing foil detail! of the Performances, and
Arranirementa, may be had. oro/n, <.u application to Mr Henry Hoivell
to the C^'^a^f'*. Uenaett'a-hUL Birmingham, who will alao
J. F. LEDSAM,
LEEDS MUSICAL FESTIVAL,
i«r am or the nira» or rat
©ximsba!. mfmm&TCt ay
TO ac BaLD IX Ml
NEW TOWN HAUL.,
Wednesdsy, Thursday, 8»!nrd*y>
»lh, 0th,
In cwneiiuence of the expr. i
on Tuesday. Sept. 7lb tho
Uth,
mora ".ill immeuiats • ATnoaaoi or
HER MOST GRACIOUS MAJESTY THE QUEEN.
aerd Inteution of ner Majsaty to open the Town Halt
as o:i„tuaHy Iix*»; _ ^
■Sjrii
S.Y MORN I NO
THURSDAY MORNING.
Stabet Mater
Selections from the
Pa'alona Muaik. "
(.<<r«r<f ><n t» Out inc./ SI Motlknr)
0»<ia* PtnroaMAHi a
Mount of Olivee (AV.mii)
FRIDAY MORNING.
The S*uouH (Spring n».< Siiaaatr)
Oboah PEsroajsAace.
Israel In Egypt (with the Organ AccompanimenU by
SATURDAY MORNING
Messiah
gearusi
J.Sefi BbA
Jlandei
Grand Conocrta will be given on the Evening! of Wednc day, Thursday, lad
Friday.
On! Wednesday fEienlng. the Pn cram me will Include a NEW CANTATA by
Dr W. Sterndale Bennett, entitled "The May Quocn."
of the Urge Hall, and further information may be hat 00
•ARK, Secretary to the FcaUv .l C-mmittaa.
of the Committee,
ROBERT BARB, .
ALDETLSON SMITH, } Hon
J. N. DICKINSON, )
Pat k,-niw, L#oiiflL
i.
BRINLEY RICHARDS' LATEST PIANOFORTE
MUSIC.-Tbe young Recruit, 2a ; Chime again, beautiful belle. It. ; Nel
oar pin win ml eento. with vwiationa, Sa. ; The N'ativl * Iireaiu, Sa ; Warbling* at
Etc, 2o. ; Tie Echo Nocturne, Ja. ; Marie, nocturne, Op to, 5s ; Serenade.
Op. M. Sev; The Farewell, romance, Sa ; Tba Falrlfa" Dance, Sa ; In Alieontc,
GEMS from the GREAT MASTERS, both Sacred and
Secular. Selected and Arranged for the Pianoforte by 0. F. WEST Toe
ft rat series It now complete of thai popular work. By tin) same Author. V«
Hymn, 3a ; Cujue Animum, Sa ; Risaaian Hymn, 5a. ; March from C*
Sound the Loud Timbrel, "a <M. ; the Prayer from Maae In Esdtto, >a.
NEW CATALOGUES OF VOCAL MUSIC— Songs,
id jxietaitt free
W.
VINCENT WALLACE'S LATEST PIANOFORTE
PIECES - German Melody. Sa «d. ; B».tboven'a celebrated Re rain, a ia
P, Sa : The Song of our Natire Land, <a ; Robia Aiair, «a ; O, my lore ia lite
Hie Rod. Red Wetc, and Como o'er the Slrcam, Charlie, 3a; Gruic-la. Nocturne,
5a ; Slyrieniie. |wurplaiin. 3s. ; IL.mr, Sweat Home. Sa
London; ROBERT COCKS aud CO.. New Burllngtou -rtrtet.
A CATALOGUE or VALUABLE and IMPORTANT
MUSIC; conialning Handel's work* In full score, by Dr. Arnold. «0 v.-la.
large rotK-r ; alio by Raiid.ll and Wrlgb:. U'ge |Hiper ; and by tl.e Haadel B.5C*ety;
Puroella Sacred Mm-le ; Oiera Scoree by eminent comnosera: Pianof.tle Werta
PuUuhed by JonH Bou.tr, of Caallc.hw-I.ill. In the pariah of Ealing, ta the
County ...f Mid'lleaox, at the oflloe of Boo«rv St So»». 2S, HolU-street. SoW
alau by It£r.n, 14, Jolin-atreet. Great Portland-atrcet ; AUJt*. Wannck-
Une ; Vtcxcna, Holywell-atrcct ; Knrii, Pauiwaa. * Co., 4S. Ctvenpaade;
G. ■ i ' mm, S4, Ncwgate-at reet ; Johk SHKrwran. Newgau -.tr^rt ;
Habbt Mat, 11. Hoibom-bara. AgenU for Scotland, FiTraau a> Sow.
Kdiulmrgh and GU^row ; for Ireland, n. Duwai.L. Dublin ; and all M.««r-
Frlntod by William Srrscnt Jo
I'ae, in the Pariab of Si. Marl
Saturday. August 14, ISM.
i.in-the-Field., in the County of :
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"Th« wobtii op A*t appkabs most tMnrnrr nr Music, mci it smqctixi no matxiul, no srwiCT-xarrrR, whose bfpkct
:— Stamped for Postage, 20 b. per annum— Pay able in advance, by (
to B008EY & SONS, 28. Holies Street, Cavendish 8quare,
VOL. 36.— No. 34.
SATURDAY, AUGUST 21, 18.r>8.
. PaiCE4d.
IBTAMPED M.
M
R. W. SCHULTHE8, bogs to announce that he ha»
lo ». Alfred -place, Alexander Square, Brampton, B.W.
WANTED by
man of ctcnJr
letter.
■A young
habits, to loam pianoforte tuning ; one who can pt*y at
ronld be preferred. A small progressive salary will be given. Apply by
addressed, A. B., ore of Meter*. Bo.*oy and Sou*. Hollos-street.
A YOUNG MAN, who is engaged during the day, would
like to meet with employment from 7 till 10 in the evening. He would
keep a aet of books, or mako himself useful In any capndly for n email r<
' booka, or ma
lion. AddroaaA.il., care of
square.
ARTHUR NAPOLEON begs to announce to his nam
reus paimua and friends bis arriv U at liverpool, from Flnull and Bio da
Pruta During his short stay In England, he wilt receive ensp«*tu.: ite (lor the
provinces) at So. !M, BMford-stroet North, Lleeriiool.
TO VIOLINISTS.
WANTED immediately a CONDUCTOR for the CAR-
MARTHEN MUSICAL SOCIETY. He must be a skilful violinist, fully
competent to tend tho orche»tra, and to arrange and adapt the music. Salary.
*M and a BcneOt Concert.
A geuUsman who understands choral
It will be
MR. AND MRS. GERMAN REED'S NEW ENTER
TAINMKNT.—rosi lively Ike last five nights ef the season Introduction
A'a. TAINMK.vr.— restively the Inst nvc nights •! Uie »«ukvu Introduction
or f Atr Original Character* and Song*. Every evening (except Saturday) at Eight,
RalunUy next (bast time) at Three. Admission, ls„ 2«., and 3s.; Hulls secured
ra charge lit the Boynl Gallery uf Illustration, It. Regent-atroet,
icr. B-aLe. and Co. 'a. SOT. Regent street, The Oallery to be let
and Mrs. Reed's provincial tour. Application by latter only lo
without extra
and at
PIANOFORTES.— DEVVRANCE'S COMPENSATING
PIANO may now be seen at Use depot, 33. Soho-svpisrc. By the application
of this principal a heavier string can be used, the resalt of which is, that tho full
power of a grand is obtained from a cottage Instrument, at tile same time tho
wi re* and the frame on which they are strung expand and contract with ch.-uico
of temperature equally and together, * > that toe i>oce«aily fur frequent tuning, na
in the ordinary instrument, la entirely obviated- Par fulness and roundness cf
tone, with extraordinary powers of modulation, three instrument* are quite un-
equalled, at tho same Ume the price is no higher than that of an ordinary piano.
LEEDS MUSICAL FESTIVAL,
tznaazR », 9, 10, sat. 11, iim.
VrU. Ticket*, favdudlug admlNtao to the) Town Hull at the
Queen, c*n b« mirchfitevt until furtli»r notice* eit cr by partK<ii
letter tvlJro4%Md to T W. Oourgo, E*q , Coennjittrr Uconi*
by t he
1. or by
the pnri»S« «* entree to the
B:ngle
•1 Tickets, admitting
Ditto ditto
Hall at the tuanjrU!
e Tickets for eacli Morning Ferf- rmanee. Prout Seat* . .
ttto ditlo Bocond Sent*
Ditto for each Kreuing Performance, Fr. nt Seats , ,
11
t
0
0
Transferable Ticket*
r Serial or Simile Tieketa can make chojeo I f seals at the Committee
s Tieketa
£ s. <
« 4
6 1
1 1
0 10
0 19
0 T
will bo profiled
1 may be called f.T on every following Tuesday
«n balloted f,T are tmw rc-.dy for deliver,-, and
send responsible |«rsone f.T thetu n* early na
peaslble.
Tickets will be forwarded by post, on p re-payment of one alillling.
Th* Second Heats ire numbered and reserved
Detailed Programmes can uow be had at the Committee Room*. 7, Greek-
'34
RUDOLPH NORDMANN'S LAST
"M' AI'PAHI TUTT' AMOR." from Plotow'e
Boeawy and Sons- Music .1 Ubrnry. M, Ilollee-slreet-
PIECE —
FAR ON THE DEEP BLUE SEA. New song, by
J R. TIIOMAS (Composer of "One Faiihf.il Heart,'' «to , *c\ 3
"Mr. Thomas ha* fairly wnn the repntttimi of a nr*t
' Fsr on the deep blue sea' will bu as much sun* ss
-•crybody's favourite.''
- Robert OoCki ai d Cat, New Burlington-street, W
ttatiw of a nrat-rate ri»mpa*er in this Hue.
Fading away,' wiiirh la
DURHAM CATHEDRA L. — The api>ointment of a
COUNTER TENOR 8INfiP.lt <o the vacant plico in Durham Cathedral,
will l« made on Tuesday, the '.tttb dny ef Sei'tcnil>cr next.
Tho trial will take place on the Thursday, Friday, and Saturday t flbe preceding
week, immedla'ely after Morning Servic-.
Ail apptlcatioos and testimonial* mint I* sent In. addressed to Mr. Knwasn
PxaXB. RcguUrar lo the Deau and Chapter «f Durham, at hu olllce in Uie
" d*y of
Durham, on or before Prlday, the 3rd
the trmtellnig oxpeii*e* ei the (iuididate*,
will be paid t'V the Dean and Chapter
July 31, IMS.
to tho trial.
Cillege. Ihirli!
ONE OF THE FINEST 0R0AH8 IN THE WORLD
TO BE SOLD,
tirraai.v, row a
CHURCH, CATHEDRAL, OR GRAND MUSIC HALIa
Apply to tbe Publisher* of the " Musical World. "
MUSIC STRINGS.
WHOLESALE WAREHOUSE - THE CHEAPEST HOUSE IN LONDON
14, EAST PLACE, K ENNINGTON ROAD.
MONSIEUR ALPHON8E VILLIN (de Pari.) Impfwier
of Italian, Pronch, and German Rtrings tor all Instruments. Ust of pricsa
and mm plea fiirwardad (Iroe^ on application.
Tbe eeUbrntcd ACRIBKI.KS. now unlvciaally adopted by aU Vi.*nU4a, uani ot
he had GKNUINK but at Uieab.^c addrc-«...( Monsieur A- Villin, sole «od exi
Whc4«*Ue Agent for the United I"
V.
rni: raTitunAnx or
It.
Ds. Mai
Ml»T GRACIOUS MAJESTY THE Q
II R II THE PRINCE CONSORT,
THE nOTAL PAM1I.T
rcspeetfully to annoniioe that be I*
ly approved, inlercailnv. pl-aalng,
i^tds highly
MUSICAL ENTERTAINMENT,
DK. MARK AND HIS LITTLE
numbering upward* of thirty Instn
whole forming a
JUVENILE
1 ^O"0^
ORCHESTRA,
poem or
MEN,
LilUc Enu'l-h. Irisb, .i-d St.-tcli Iwy*. from five t.
operutie selection*. eolo«, duet*, qiurb t». quadri
sing S.4U/S. chorwea. *e , in a nv at erTsrtlvo mai
graiuitcua general and musical education in order
system of musical eduea-.ion. and with whom he tiavola ah. 'it tbe count; y te.
excite an mtetot for and help to establish musical InMltnUooai CaUad 'Cw ■
•fo,ltu:e cla-lrn. lu ever, town, dty.SS vil!** c( tl\.
sixteen Tears of age, wl o pUy
<■», rriiilvbe*. nnd (»-lkiia ; mill
uer. ;ind to whom lie t**»a ,v
bi Uluvtrate Uls h'gitiy*|*[iN>Tii:
great empire
All letters addrcw.
530
THE MUSICAL WORLD.
[August 21, 1858.
Eg 8rr iBajaftB'0 Kogal fcetttr* Itatait.
MOIRATO'S PATENT WATER RESERVOIR,
ArrUCAIlLI TO
BRASS INSTRUMENTS OF EVERY DESCRIPTION.
arising- from the coUeetijn nf water
the breath, but all attempts have hitherto failed. Lately, a key (a very old svstem) hu been
rd to escape, rtiU the water dott eolttct in the instrument, and a performer must bare oc-
tant o«e, the key becomes loose, and the water rots the pad of the key; in either ciue, tho
Fo» many year* past, manufacturers and profrsaon hare endeavoured to lessen the
tn wind initrnmenU, caused by the condensation of
re-introdnred, by opening which the water i« allowed
playing to ait rid of it. After a time, from constant
instrument cannot be air-tight, and the tone is injured in consequence.
The ordinary mode of turning the water nut, by taking on" the tuning slide, is still more injurious to the instrument, as the constant polling
in and out of this slide soon renders it loose. This evil is more particularly experienced in the army, where the slide is continually exposed to dust,
which it readily catches. Moirato's Patent Water Reservoir entirely eradicates this evil, and by means of this simple contrivance, which requires
no adjusting, and is self-acting, a |>enu>u may now play any length of time without experiencing this inconvenience. The outward appearance of
the Reservoir is that of an ordinary semitone valve slide ; its application is, however, quite different. The tubing of the instrument, where the
Reservoir is attached, is perforated with several small holes, the slide on either side being filled up with a sponge tightly lilted, which absorb* the
moisture, and at the same time keep* the instrument air-tight. The water, after passing through the sponge, falls into the Reservoir.
PRICE OF THE RESERVOIR ATTACHED TO ANY NEW INSTRUMENT OF B008EY AND SONS' MAKE, FROM I5». To2l».
THIS PATENT 13 ALSO APPLICABLE TO MOST INSTRUMENTS AT PRESENT IN USE,
A FEW OF THE MAHY TESTIMONIALS ALREADY BECEIVED:
Oswrtinr — I hare much pleasure in hearing my tcalimouy to lit*
us- fulu- ss of ila.nuo's Y aleut Wsicr Beserratr
efucuii-'-y And
The evil eradto*te4 by tit's almi Is contrivance Is one nf t he greatest we bare to
~ 1 against tn military bauds, sad 1 feel convinced r<"' patent must shortly
Your obedknt ti- rraaf.
J A KAPPA V,
I Muitir, 1st DiiUion Aojm< Manna, (AotAou.
Piaucu,
I have tried "Montos Hoarrvor" attawhed b> a o»mope*n, and nnd it luiawcra
admirably. With Ml attacUment. an artlet can perform for oarer*', boors on bis
instrument wtt beut drawing off the water. 01 ZEISS.
Ill Trnmptt ftoytr at U<r Moje>t/t Theatrr.
Ut, Caauamoa erasn. Waawica on,
Ahguti r, ltu.
I have tried in my band. Motrato 'e Patent Water Reservoir - attached to five e»
III dlnVr.nl leuae In-lrumciiU." ai>d can apeak WVI, e»i 6den. r- of ita i
I aaa also very glad to due. rt c
at an inn
a BOOSK.
sueesss.^ I aaa alao very^gUd to And it <
VMJm,. ISM.
••e-Mli'it t J'lin. i.y t ■ v« ii !.v. ti i-l a
on, ana I ballav. applicable to all hnies
g aeon Ha capability fality tested. I am bound to apeuk in
f tU full and complrto auece-s. and toucur In your aeecrtlwa
• •o may now play any length or time without the water mtUetuig in
jent." I trust, ere lung, to see your Invention attached to aU brass
With my bStTUcs for j oar .ucowi.
I rrr.iala.
Tour obodknt Serum.
J. HUITR.
I» Mr. J. Moiaatu Dav M. *a»J J/o*«r. Reynl AriAUr,.
Mr Dut
1 ptaton to i
Toe lm|»ov»i»-ut of tbs way to gat rid -f tbs water by r
Is the most simple, and at tba asm. time tba moat • ftVetliefcr the |nrpoa* I I
e»^r own 1 am elro bour-d to aay, that It does not Injure the lone or lot'
of the instrument in the align test decree.
I am, dear B r,
To Uoaun. U.»ty and ¥•>*-
Yours tail f.Jly.
SOLE VENDORS OF THE PATENT:
BOOSEY AND SONS,
MI LIT AH Y MUSICAL INSTRUMENT MANUFACTURERS,
AND 28, 1I0LLES-STREET, OXFORD-STREET, LONDON.
Proceedings will be inxmediately commenced against any Person infringing this Patent.
August 21, 1858.]
THE MUSICAL WORLD.
531
MOZART'S BON.
To the Editor of the Musical World.
Sir,— In reading your last paper my attention was drawn to
the letter relating to ilotart'e son, whore I learnt that he was
living in Milan, and suffering from poverty. Wishing to assist
the son of our immortal composer, I should feel greatly obliged
to yon if you would favour me with the Address and all the
particulars relating to this interesting man.
I remain, Sir, yours faithfully,
Cam. A. Lash, l'rofeaseur de Musi que.
Place St. Franco**, No. 13, Latuanne, Juli 30, 1*58,
(Can/on de Vaud) Svititrland.
[We regret we are unable to furnish our correspondent with
auy particulars whatever.— Ed.] _
BIR5UN0HAM MUSICAL FESTIVAL.
To the Editor of the Jfuneal World.
Sir,— In your notice last week of the programme of the in-
tended performances at the approaching celebration of this
important festival, yon allude to tho " additional accompani-
ments by Mozart " to Handel's AcU and Galatea, used some
years since at Exeter Hall.
Of the desirability of amplifying and enriching the original
score of this cantata, so as to give scope to the full resources of
a modern orchestra, I suppose there will hardly be a question,
any more than, as you say, the competence of Mr. Costa for the
task can bo doubted. Still, however, the question remains to
be answered— What has Mozart already done in this matter,
and why arc the accompaniments made use of by the Harmonic
Union, if really the work of so great a man, to bo now set
aside _? I hope some of your correspondents may be ablo to give
a satisfactory answer to the query, or at any rate to throw
some further light njwn the subject by informing us of the
authority for holding tho arrangement* in question to bo the
genuine work of Mozart, and further, whether the word
atraeailti" must be understood to mean that the band parts
have been rewritten or merely adapted to an orchestra of b>
cr.-;«ed jx.wvt-. Il wirl.t »U be a m.iU.-r ,,f interest to it. .mire
whether any other of Handel's now neglected cantatas, such as
the "Triumph of Time and Truth » and " Hercules," has ever
been, or might be, similarly " travaillie" with advantage. — I am,
sir, your obedient servant, Amative.
OPERA GI
To the Editor of the Era.
Sib, — I was at the Opera in Covent Garden on Saturday
night, when an opera glass fell from one of the upper tier of
boxes into the pit. Had it in its flight struck one of the audi-
ence on the head, either instantaneous death must have been the
result, or such an injury as would have rendered tho sufferer an
idiot for life. This accident occurred from a person having
placed an opera glass on the ledge of the box, and then
accidentally pushing it over.
Now a light brass wire screen carried beneath the boxes would
be extremely ornamental, and would be a perfect guard against
such an accident, to which so many arc exposed I have seen
the Qocen look very forward from her box at an interesting
stage of the performance— the fall of a heavy opera glass from an
upper tier-box, and a whole nation might be in tears.
The managers of theatres will not, I feel certain, require more
an their attention being called to this admission.
ruTt .. Chiri'eoics.
Labile securing accident from the boxes, a lady complains to
S"i i u i,lconveu!el,ce she experiences in tho stalls, having to
hold her Opera-glass the whole evening. She suggests a small
shelf or pocket at the back of each chair, which could not
possibly be in the way of any one.— Ed. of £ra.]
Edward Loder's Opera of Laymosd a*d Agnes.— It is
reported that Miss L. Pyne and Mr. Harrison have accepted the
above-named opera for their forth .omiug season at Drury Lane
Theatre. Thi-. would bo infinitely preferable to au English
version of Herr Flotow'a Martha.
RECOLLECTIONS OF CALIFORNIA & AUSTRALIA.
BT A MUSICIAN.
{Continued from page 516.)
From Sydney to Melbourne is a sea ]>assage of about livo
hundred miles to the southward, which we made in a very swift
steamer, the Telegraph. The coast is visible the whole <"
and the two principal points, Capes Howe and Otway,
in bold relief against the horizon. The steamer wi
ler was a very
swift ono (that is, swift for the colonies, whore tho majority of
the boaU are worn out old screws from the Clyde), and we
arrived at Melbourne in forty-eiaht hours. The harbour (Port
Philip) is very large and commodious, but possesses none of the
natural beauties of Port Jackson (Sydney), and the city baa-
altogether an air of nevnete strongly resembling those extra
ordinary towns in tho great west of America, which spring up
as if by magic. Many of the public buildings and large stores,
banks, tee., &c, are noble piles, but the majority being of a dark
blue stone, of volcanic origin, give the city a prison-like appear-
ance. Tho streets are laid out principally at right angles,
alternately wide and narrow, and named accordingly, as for
example, Great Bourke-stroct, Little Bourke-atreet, Great Lout-
dale-street, Little Lonadale-street, and so on with the dittos to
the end of the chapter (or rather municipality). Its rapid
growth is of course, in a great measure, owing to the discovery
ul the Victoria gold fields, but has been greatly accelerated
by the presence of Americana, whose go-ahead propensities
have inoculated their steadier neighbours, and the consequence
has been that the colony of Victoria has progressed in a much,
greater ratio than her sisters New South Wales, South Australia,
Tasmania, and New Zealand. Indeed, to such an extent has tho
"curse of gold" infected, Midas-like, the land, that the great Aus-
tralian staple, wool, was for a time neglected for the evanescent
prosperity induced by the auriferous discoveries ; and while her
slower aixter, New South Wales, was quietly plodding
Victoria (tike California) baa had to pass, and is still t
through the period of mercantile depression consequent upon
over-trading, and the neglect of the natural staple product*
which alone are Uie true wealth of a nation. Ana to this
unpleasant condition she has been brought in a great measure by
the ridiculous conduct of merchauts and manufacturers at home,
who would persist (spite of the entreaties of their cor respondents
in the colonics) in glutting the market* with every description
of wearing apparel, hardware, &&, &c., which were sent on con-
signment ; the consignees had, in order to pay freight charges,
fie., &c, to force goods into the market at nominal prices, and
very often articles of excellent manufacture could be bought at
a discount of fifty per cent, below the London manufacturer's
rata*. And while I was in Melbourne there must have been an
impression at home that the colonists fed upon leather, for there
were boots and shoes enough to give every man, woman, and
child in the colony a pair daily for a twelvemonth to come.
Now I think we have had quite enough of political economy (or
wastefulness as the case may be), and let us indulge in a little
meietic, as a delicate gentleman of my acquaintance calls it
The good people of Melbourne are great lovers of music, mora
especially when placed before them in an operatic form. They
possess three tbeatrea-theBoyal, the Princesses, and the Olympic
— orCoppin'sIronPot aa it is called, being built of corrugated iron,
and well calculated, from its materials, during the hot summer
months, to eauii an audience. The Princess's was originally an
amphitheatre, ninety-two feet in width, and was altwed into a
theatre, or opera-house, for our opera season, in 1857. The
Loyal i« a handsome theatre, of which Coppin is the lessee, but
the exterior is unfinished, and as the entrance is through a large
saloon used as a promenade by the vilest of the vile of both
sexes, in which the most disgusting scenes continually occur, it
is not to be wondered at that the theatre is not generally patron-
ised by the elite of the inhabitants. Mr. Coppin is also the pro-
prietor of Cremorne, a very pretty establishment some three
miles from the city, in the district of Bichmond, upon tb*
pretty Yarra-Yarra Liver, fend is frequented much by the same
description of ladies and gentlemen as the London establishment
Of the same name, and tCo Ui3h Ji
Digitized by Google
532
THE MUSICAL WORLD.
[August 21, 1858.
gala nights after midnight, beggar all description. Concerts are
given in a little room, holding about four hundred people,
called the Mechanic's Institute ; and in the Exhibition Building,
one of those glass cucumber frames called into being by Sir
Joseph Pni ton, and about as badly adapted for Bound as the
Crystal Palace, St James's Hall, the Thames-Tunnel, or any
other similar establishment in which music and poetry, like the
babes in the Tower, are smothered. When will architects be
convinced, by practical experience, that a segment of a circle
is not the shape for the ceiling of a hall intended for
musical purposes J and that a lot of kneeling, fat, iude-
lioate cupids, the colour of dairy-fed pork (as at St James
his Hall), can by no possibility assist vibration 1 Rot
your stencilled ceilings and Venetian red walls, say 1 1 Give
me rather a " Plain Brick Playhouse," as old Cobbett said (or
rather as Horace and James Smith said for him), where you
can hear a fiddle or two without swearing at the architect Our
stay at Melbourne this time was very short, an we only gave a
concert in the cucumber frame for the benefit of the hospital,
which, I am happy to say, was nobly responded to by the music-
loving people of Melbourne. Our next destination was across
the Bay to Geelong, the second city in point of population in the
colony of Victoria. Here we played an opera season of a month
with excellent success, much to our astonishment, for the town
looks as if it had taken a spell of forty winks from Rip Van
Winkle's lone nap. From thence we were to penetrate " into
the bowels or the land," yea, even unto Ballarat, a distance by
coach of ninety miles. The coaches are square waggons of
American manufacture, mounted upon leathern springs, and are
well adapted for the heavy woA they have to undergo in
travelling the exceedingly rough roads leading to the gold
regions. They are owned and driven by Americana, and I have
often beheld good English wkipt quite astonished at the appa-
rently reckless, though really careful Jehu-ism of the drivers as
they dash forward at a fearful pace through the half burnt
woods and over the ragged mountain courses which are dignified
with the name of roads ; and there is a good story extant of a
comical coon, one of the best drivers, devil-may-care, and good-
hearted men in the world. His real name is Bradley, but he is
generally called (as a term of endearment T presume) by the
monosyllabic designations of Brads or Brad. This amiable
youth once started from Ballarat at six o'clock in the morning
tor Geelong, at which place he was due at three in the after-
noon ; and some idea may be formed of the pace at which he
went by the fact of his arrival at eleven o'clock, four hours in
advance of his time, and with one solitary passenger (an old
sailor used to holding on), having dropped all the others, nine in
number, at various points along the road. Mr. Brad did not
drive that line again in a hurry, but he is now comparatively
steady, and is one of the most reliable drivers upon the Ben-
digo route. From the extreme roughness of the road, and the
rate at which you are carried, by the time you arrive at your
destination you feel very much as if yon had been taking a
night', ride with the Black Huntsman, and had lost leather in
the operation ; and I was really so much fatigued with being
driven through the top of the waggon, and being bumped on the
bottom (of it), that I recollect nothing of the scenery or the
approach to Ballarat, except a confused idea of trees with lead-
coloured leaves and burnt trunks and branches, varied with tufts
of a high rank grass that resembled stumpy palm trees. At
length habitations began to take a position among the eternal
stringy-bark and blue gum trees, and for miles we passed through
numberless huts and tents, our coach meandering through a net
work of holes full of muddy water, which were the remains of
trials for pay-dirt, as it is called ; and at length reached the end
of our journey, Ballarat Flat, much to our delight and personal
comfort
The Flat (so called in contradistinction to the Camp), which is
upon a hill adjacent) is a long straggling street, macadamised with
quartz, and filled with hotels, public-houses, theatres, casinos,
singing-rooms, shops, restaurants, miners, horse dealers, jockies,
and those hordes of lazy hangers-on that are found in every
mining camp all over the world. An atmosphere of dirt per-
vaded everything, and during the six weeks that we remained
it rained on an average twenty hours out of the twenty-four,
and had been doing so, according to all accounts, for eight
months before our arrival. There are three theatres on the
Flat : the Montezuma (at which we played), the Victoria, and
the Charlie Napier (the two last being semi-casinos). We
played operas four nights a week, sometimes in Italian, some-
times French, and once the Sonnantbula in English, Count
Rodolfo by the light comedian (weighing sixteen stone) of the
dramatic company, who certainly gave a new appearance, if not
a new reading to the part, by sporting an exceedingly black eye,
which he had obtained the night before at a ball at the Charlie
Napier, the said balls at that aristocratic establishment gene-
rally winding np with a fret fight, at which all present were
expected to assist
Onr audiences were of a very heterogeneous description, with
a slight sprinkling of German and French gentlemen, merchants
in the place, to whom our advent was a perfect Uod-«end, and
though our operatic efforts might not bear a very critical exami-
nation (excepting, of course, the principals), nothing could
exceed the enthusiasm of the mass of our patrons, ana the six
weeks' opera season at the Ballarat Diggings was a profitable
one to Madame Bishop.
(To be continued.)
DON JUAN AT THE THEATRE FRANC^AIR
(From The Ltader.)
Tax Ftttin de Pierre, of all Moliere'a piece«, is perhaps the matt
difficult to put upon the stage. For this reason, managers from time
to time make the attempt after careful study j and, whatever may be
the success, the event always creates a sensation in the dramatic world.
We should rather say in the Paris world generally ; for what member
of it is sot interested in theatrical matters ? Who ever heard of a
Parisian, between infancy and decrepitude, in whom the theatre had
not been a passion at some time or other of life ? Accordingly, the
revival of thta singular drama at the Franc, sis has been as much talked
of as many of Mr. Kesn's revival* st ths Princess's. Its chief cha-
racteristic, however, it not its new scenery, although that ha* been
carefully executed, nor its effects, which have been suffered to bo
too much trammel. ed by tradition. The mode of the appearance of the
statue, for example, except when first seen upon its pedestal, tccoi* to us
a mistake. It is too evidently a mas* of platter, with joint* st it* neck snd
knees, »o that the incredulity of Don Juan appears natural andcttimable,
whilst the affright of his followers is ridiculous. Even when the liberl ine
goes somewhere so much before his time, dragged down by the huge pup-
pet, instead of being swe-strnck we feel as if bewere the subject of s prac-
tical jest, snd have no fear for the wages of Sganarelle. How different
would be the effect if, instead of slavithly following the tradition of a
time when stage-magic was unknown, an opening of a sombre chsracter
were managed between the banquet ting-table, disclosing a vast half-
lighted *Uirca*e, leading down aa if to unknown depths! Up this the
statue should glide, not walk ; and, indeed, in all his appearances it
would lie perfectly possible to invest him with a special character.
Then, again, the skeleton that come* in wrapped in s aheet ia simply
ridiculous, and inspires no more awo than a child's Old Bogie. In
Molicre'a time this might be well enough. But now, with the mean*
at our dispoial, we should not be sat it lied with such meagre arrange-
ments. 'Ibis spectre should make it* appearance st the hack of the
stage, in tuch a manner aa to strike awe into the soul of the spectator
as welt aa into Don Juan. All these changes would not be in the
slightest degree drpsrting from the original conception. Molilre would
have been delighted to have the support of such appliance*. M. Empis,
who ha* already ahown so much intelligence and taste, and has suc-
ceeded in interesting the French public once more in their national
theatre, should take these matters into bis consideration.
In every other respect we rsn give almost unlimited praise to the
manner in which this piece baa been brought out. There wsa something
Macule. Judith's interpretation of the character of
to object to in Madfle. Judith's
Elvira ; but Msdlle. Favsrt ha* since
with nieces*. Thi* is part of the new system of M. Empis. " He set*
the various member* of his company to try their banda successively at
the same characters, so that though a piece may remain * long time in
the bills, there is constantly something new to attract, at any rate, the
amateur. Mad lie. Fix, however, remaina |>er*everingly in the p*rt of
Mnthurine ; and certainly a more delightful creation cannot be imagined.
With reverence be it spoken, the character itself, and the scene in which
it is developed are, a* Mobcre left them, of i
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535
enthusiastically applauded, especially that of Aix-la-Chapelle.
Tho Prince von llohenzollern, with several members or the
court, were | iresent.— Niederrheinuche MiuHc-Z iivng.
Vienna. — The season just concluded has again proved that
Italian opera hat outlived itself. Don Giovanni, Le None di
Figaro, Coti/an Tutte, with Rossini's best works, constituted
the life and soul of the three-monthly attempt. Trovatore,
and RigdUtto, it is true, -were brought out to satisfy the unedu-
cated and badly educated portion of the public, but it was im-
possible to rummage out anything new in this line. Verdi's
Arolao, and Perelli's Ctariua Harlove were two wretched
failures, while Cott/an Tutte lent a freshness and charm to the
season. Where, then, is tho influence of the Italian element,
conjured up in vain at such an expense.
Of the 7.1 operatic performances, 22 were devoted to Verdi
(II Trovatore, 11; Rigoletto, 6; Ernani, 3; ArrJdo, 2); 20 to
Rossini (// Barbiere, 10; La Cenertntota,\; .Vast, 4; OH Italiani
in Algieri, 2); 16 to Motart (Cori fan Tutte, (J; Figaro, Z ; Don
Giovanni, 6) ; 10 to Bellini {La Sonnatnbvia, 5; Norma, 3; 1
Monteccki « Capuletti 2); 5 to DouUetti {Luerezia, 4; Don
Patquaie, 1); 2 to Pcrolli {Claritsa liar hue, 2). Herren Prodi,
Esser, and De Bnrbieri conducted in turns. A total of seventeen
opcrss by six different composers wns given during the season.
Great hopes are entertained of the German operatic season.
Eckert's career, although it commenced last winter, may be
dated from July, 18." 8. He commands the good wishes of very
many persons, but time alone can prove what he will and can
do. There can be no doubt of the ability and intentions of the
new directors of the Opera-bonse. The fact of Wagner's
Lohengrin opening the season is laudable only inasmuch as that
the work is by a German composer. It is to be hoped that
Marschner's Hiarne will follow, at least, although wo do not
hear much about it. We have yet to learn whether we shall
have Jdomtneo, and Titu*, Die Vettalin, TimpUr und Jiidin, Bam
Iteiling, Cherubini's Medea, Gluck's Armida, Ipkigenia, and
Orpheu*, which for us are nearly as good as new. It is impossible
to do everything at once.
On the 29th July, the distribution of prizes to the pupils of the
Conservatory took place in the rooms of tho GexUtchafi Jer
Hunk frevnde. It was preceded by a concert, opened by
Robert Schumann's symphony in D, performed, under tho
direction of Herr Joseph Hellmesberger, with as much
precision and force as could be expected from the youth-
ful orchestra. Among the solo performances of the pupils,
we may particularly mention the execution of Mendelssohn's
violin concerto by Herr Leopold Auer, and of the grand air
from Norma, by Mdlle. Gabriele Krauss. Mdlle. iuttharina
Bauer, too, in the aria from Fidelio, proved she possessed a fine
voice, especially in the higher notes, but that a pupil of the
Conservatory should have already contracted the defect of
broadly pumping out the lower notes, does not say much for the
correctness or strictness of the method pursued there.
It is very satisfactory that Gttang- Vereins for full chorus —
the Singrerein, uudcr tho direction of Herr nerbeck, and the
Sing-Academie, under that of Herr Stegmaier— have at last been
established again here. Neither of these associations has been
able to withstand the temptation of giving a public performance
only a few weeks after its foundation, a proceeding which,
for two reasons, we consider premature : Firstly, because
they have not acquired sufficient certainty, although they
admirable material ; and, secondly, because such
satisfies vanity more than it forwards the object
of institutions of this kind, and is only too liable to make
people exert themselves more for outward show, than for a
revival of a lively fooling for music and its noblest works. The
able and excellent critic on sacred music in the Wiener ilonai-
ichrift speaks of both performances in the following terms:
" The Singverein of our Getedtchaft der ilurikfreunde has taken
its first step in the way of publicity by performing Palcstrina's
mass, ' lute Confes*or,' composed about 1590. The selection is em-
phatically deserving of praise. This musts was a perfect uove ity
for Vienna, and, looked on from the point of view of an aesthetic
church style, is a perfect gem. In the • Et incarnatus ' the
simple and lofty three-toned web soars upward even to
the level of a certain dramatic spirit. Thanks to the
zealous exertions and dramatic intelligence of Professor
nerbeck, tho performers — although, on account of the short
timo the association has been in existence, somewhat pre-
mature— grasped with spirit and tolerable certainty this
beautiful composition, especially as regards the devout in-
tonation of tho pure points of feeling and dramatic effect
contained in it. In the 'Gloria' and first part of the 'Credo,'
however, the chorus — which, though full and powerful enough
in the higher and lower notes, is not sufficiently intense
and effective, nay, not numerous enough in the middle ones— fell
into the fault, unfortunately too common in this case, of
merely singing the lapidary notes, beneath which, however,
a profound and glowing feeling mostly slumbers. The new
portions introduced by Herbeck, Pertinax, and Hauptmann,
although invariably impregnated with the spirit of our own time,
and, therefore, not quite adapted to the original work, stood out
very favourably, partly on account oi their powerful expression,
and partly on account of their dolicate and harmonious cha-
racter. The former decidedly laudable quality belongs to the
compositions of Herbeck and Pertinax, and the latter, no leas
effective one, to Hauptmann's wonderfully feeling ' Benedictus.'
We regret, however, its indescribably confused execution,
swarming with faults of every description. Wo hope the
association will soon think of this composer's Vocal Afati.
Herr Bibl, jun., distinguished himself as a modern organist, in
Mendelssohn's style, as much as ever, but his settles, which
were nearly all chromatico-enharmonic, formed the most glaring
contrast to Palestrina's mass, which is treated in a strictly
diatonic manner.
"The Sing-Acadentie has, also, adopted the motto: 'Omnia
ad majorem Dei gloriam,' by selecting the performance of a
mass as the first sign of its public existence. It has been more
careful in its programme than nerr Herbeck's association.
Whether it has been more artistic is another question. Follow-
ing our own conviction, if we do not answer this by a complete
negative, we can only give an affirmative conditionally.
Friederich Schneider's Vocal Afau, like almost everything
written by its composer, who, in many respects, was a merito-
rious musician, belongs to that period between Haydn, Mozart,
and Beethoven, which we may justly designate ss a deplorable
one, destitute of godlike inspiration, and founded merely upon n
sort of mechanical musical understanding, or, at most, on the
period of the so-called filligrco taste. With the exception of the
correct 'Kyrie' and the single ray of dramatico-musical life
which flashes through the ' Crucifixus,' Schneider's mass offers
us nothing more than dry passages skilfully copied from the long
naturalised masters of the South-German church style. We
meet too many old acquaintances from tho time of Haydn and
Mozart, whose features are only too easily recognisable in spite
of the borrowed mask. Schneider's work is well adapted for
singing, like all the creations of his models, each of whom was so
great in his own way. The effect of such music upon a certain
class is unfailing. The compositions of the Dessaa master—
like those of the illustrious Rohrau • and Salzburg minstrelst—
are full of the spirit of unadorned nature. The mass in question
was most carefully studied in its minutest details. With the
exception of a few blunders, it went admirably. The tempo was
generally good, and there was a proper distribution of light and
shade. The voices were fresh and vigorous, and ennobled, more-
over, by real enthusiasm. Rotter's additions, composed expressly
for the occasion, and consisting of an 'Asperges,' ' Graduate/ and
' Onertorium,' were remarkably effective."
Piirsic vice Music jlxd Vice Versa. — The New York
journals apprise us of a celebrated American doctor of medi-
cine, by name Standish, who has renounced his profession to
appear on tho stngo. From the same source we learn that
Dr. Ward, a medical practitioner of New York has composed
an opera, entitled, flora; or the Oipsy't Frolic, which was
performed in presence of a select auditory of artists and con-
noisseurs, and achieved a great success.
•Hsydn. tMozsrt.
possess
haste
Digitized by Google
£36
TilE MUSICAL WORLD.
[August 21, 1858.
Last weA bat One of the
of the
KOYAL PRINCESS'S THEATRE.
UNDER THX MANAGEMENT OP MR. CHARLES KF.AN.
TO-MORROW (Monday), and during the week, will be
pmtntcil SbeVopm r*t»y of THE MERCHANT OF VENICE, ftliylock
VTlXa TORCLOVEPO,1U' 1>y °' Ka"'' PrWsdcd *» t,Mi ,aPC*- cutuUrf.
ROYAL OLYMPIC THEATRE— On Saturday evening
August 51, a BENEFIT. Id aid of lb" fuuda of the DRAMATIC COLLEGE
tor founding homos for aged and Infirm acton add oiiliooMn. nr.d providing main-
and education for the rlitbtren of uctora, on wbicb occasion will bo
1 A DOUBTFUL VICTORY. HUSH MOXEY. and TIIE WAMIK.RINO
• with other attraction* to bo hereafter an-ouueeu l ..... , , v.
GREAT NATIONAL STANDARD THEATRE,
8nOREDITCH— Proprietor. Mr. Joiik Dottuiata.
Anothi r week of tbo Adeljhl ArUstee, Mr. IS Webster. Mr. C. 8elbr, Mr. Rruco
Norton, Mm Kuto Kelly. Mr. B. WcbaUr will appear nay oonliig In three
pUeca On Monday and duriug the week to comineuco with tbo Addfhi drama
of MASKS AND FACE*, simpoitod by Mr U Webster. Mr. C. Helby, Miaa Kate
Kelly, and tbo whole auemtta of ttie Coropauy. To be followed by the comedy of
THK WOMAN HATER, in which Mr. B. Wit.r-.r* i.l npptur Couch "
the drama of WHO'S TOUR FRIEND, in which Mr 11.
and M.as Kelly will perform.
NOTICE— ilk JAMES ANDERSON, tbe
twulve uigbta, and will aptienroti Monday tbe
tbe annual visit ot Mr. aua Mrs Kims Reeve*.
TO CORRESPONDENTS.
Cossack.— "In consequence of peculiar, private, and perianal
reasons, M. Rubinstein is unavoidably prevented fulfilling his
engagement ictfA Signori Biletta and Solieri this morning."
This teas the announcement. The concert teat that of Signers
Biletta and Solieri.
S. E. M. — The verses are too poetical for our prosy columns. They
vould exactly suit the Morniug Poet, or the Saturday Review.
DIED.
M. Bosuio — tho well-known compoeer of dance
d'orehettrs of tho Crcmoruo Gardens for eight
apoplexy, on Sunday, at Paxil.
mask-, and chef-
ly of
THE MUSICAL WORLD.
LONDON, SATURDAY.
21st, 1868.
After Birmingham, Leeds. The Yorkshire Festivals ore
reviving. The moody county town, with its inharmonious
clergy— who can hardly have listened at any tima to the
wind whistling past the corners of their big cathedral, of
murmuring in the trees whose heads confront its towers —
must look with envy on tho commercial capitals of the West
Riding. The ancient seat of music, the erewhile art-
archiepiscopacy of York, is put to shame by blackened Leeds
and wooly-headed Bradford. In the vapour of these manu-
facturing conglomerates, nightingales sit and sing, the sky-
lark trills, and the thrush utters its mellifluous note; while'
in clear-skied York only tho screech owl bides, or on its
grey walls »omo queer sparrow hopx, unlike as possible
to the bird of Lcsbia, the chirping rival of Catullus —
" Passer delicic tnese puellic " —
Qurni plus ilia oculie auie aniebat."
It is manifestly a disgrace that Bradford and Leeds (no
offence to Leeds) should hold festivals, while the county town
holds none; that Leeds and Bradford (no offence to Bradford)
should be noisy with the fiddle and the drum, while York
lies quiet as a stone — its silence sanctified by moonlight.
Fye ! old York — fye I old city — venerable but no longer
ve iterated by the disciples of Orpheus and Amphiou ! For
thee Hermes in vain riddlctl the tortoise — on thee in vain
Apollo rains his beams, since in baso ingratitude thou dost
despise his lyre.
But York is not wanted here. It is of the first Leeds
Festival we have to speak — and that at no great length,
for with most of tho details our readers are already
acquainted. With the inauguration of the new Town Hall
by Her Majesty the Queen— on Monday arid Tuesday, the
Gth and 7 th of September — we, simple music-chroniclers,
have nothing to do, and shall therefore jump over that
edifying ceremonial, and come at once to the Festival, over
which is to preside Professor Sterndale Bennett, born at
Sheffield, and therefore exercising his fair prerogative as
conductor of a Yorkshire music-meeting.
There being no cathedral, the performances, morning and
evening, will take place, as at Birmingham, in the Town
Hull. By this we are spared a long sermon, and a church
service, not tho more enlivening for anybody " in D," or for
the doubtful "intoning" of some sleepy minor canon. The
Leeds virgin Festival, then, begins on Wednesday,* with
Mendlcssohn's Elijah, which thus, as wc have previously
remarked, has the honour of inaugurating all three festivals,
In the distribution of parts, wo are glad to find Madame
Novello, Mr. Sims Reeves, and Mr. Weiss in possession,
respectively, of the whole of the principal music for soprano,
tenor, and bass ; and sorry to find the contralto divided be-
tween Misses Palmer and Dolby. If this must be divided
at all, the process should be effected in a wholly different
manner — with reference, in short, to the meaning of the
text. We shall, however, return to the subject, which, just
now, we have no time to discuss. Mr. Santley sings bass in
the two quartets, and Madame Weiss has to do with recita-
tives, and three of the most important morceaux d' ensemble.
On Thursday morning tho selection is more varied than
judicious. For example, it commences with Rossini's Stabat
Mater, after which, in a sacred performance, for reasons that
will at once present themselves to musical readers, notlUng
can Ikj heard to advantage. But to follow up the Stabat
Mater with selections from J. S. Bach's Grosse Patsians-
Musik makes matters worse. Beethoven's Mount of Olives,
conclude* this strangely constructed programme. In the
Stabat, two of the Italians— Alboni aud Giuglini— make up
the quartet with Mad. Novello and Mr. Santley. In the
Passions- Musik, Mr. Sims Reeves is to sing the fine air,
"With Jesus I will watch" j and Miss Dolby, "See the
Saviour." Mud. Novellu, Mr. Reeves, and Mr. Weiss are
the singers in the oratorio of Beethoven. On Friday morn-
ing we art? promised {paring aud Summer from the Seasons ot
Haydn, and the whole of Handel's Israel, which last is of
itself sufficiently long and important to demand no extra
attraction.
On Tuesday the important organ-part in Elijah devolves
upon Mr. W. Spark ; on Thursday Mr. Henry Smart presides
at the organ, as accompanist, and in revonge Mr. W. Spark
plays a solo ; on Friday Mr. W. Spark undertakes the rery
important organ j»rt written by Mendelssohn for Israel in
E'JVl'1' iU1d in revenge, Mr. Henry Smart plays a sola
Thus is the new instrument of Messrs. Gray and Davison, to
be exhibited — with the addition, that on Saturday nio
when the Festival winds up with the MessiaJi, the
part falls to Mr. Henry Smart.
Tho programmes of the evening concerts are all extremely
• lite day of the tint
Tuesday to Wcdneiday, for
inconvenience of tbe public.
of Royalty, and to the
Digitized by Goo
August 21, 1858.] THE MUSICAL WORLD.
537
long, but on the other hand they all contain (as at Birming-
ham) Home decided points of interest. For example — the
first (on Wednesday) comprises Mozart's delightful sym-
phony in C, No. 1 some part-songs by Mr. Henry Smart ;
a violin solo by M. Sainton; Mendelssohn's pianoforte con-
certo in G minor (pianoforte, Miss Arabella Ooddard) ; and
Professor Bennett's MS. "pastoral," entitled The May
Quern; besides miscellaneous singing by Alboni, Sims
Reeves, Clara Novello, Miss Dolby, the Weisses, etc. In
tbe programme of the second concert (on Thui°sday) the pro-
minent features are the overture to Zauberflote ; Professor
Bennett's Caprice in E (pianoforte, Miss Arabella Ood-
dard); Mendelssohn's symphony in A minor; J. S. Bach's
overture in D major ; and the overture to Oberon. On this
occasion Madlle. Piccolomini and the "golden-voiced"
Giuglini, with " el cetera*" from Her Majesty's Theatre, join
Alboni and the English singers already named; Miss
Ooddard plays " Home, Bweet home," and Mr. Sims Reeves
sings " Phosbe dearest " — his only contribution, by the way,
to a somewhat remarkable entertainment.
The programme of the third and last evening concert (on
Friday) includes the Symphony in C minor, of Beethoven ;
the Concert-stuck, of Weber (pianoforte, Miss Arabella
Goddard) ; the IsUs of Fingal, Guillaume Tell, and Jubilee
overtures ; and tbe second part of Beethoven's Septet, by
seven of the principals of the band, led by Mr. Blagrove —
the vocal pieces beiug shared among the the singers already
named, with the exception of Alboni, who, after the second
concert, de -Leeds's or decamps— a flight premature, to May
the least of it.
On the whole, programmes far less rich in excellence and
variety of material have often been lauded to the skies, and
given more than satisfaction. We are quite oouvinoed that
Professor Sterndale Bennett has done everything in his
power; that his presence will exercise the most beneficial
influence on the entire proceedings ; and that his experience
as a conductor will have no small share in the success which
we hope and believe awaits the first musical festival at Leeds,
in aid of the funds of its General Infirmary.
" How frightfully dull it is in London about the middle
of September," exclaimed a baronet, well-known and highly
respected among artistic circles. "Why, then, don't you
go into the country 1" asked a friend. " Because the country
is so much duller" was the baronet's reply.
This brilliant display of repartee occurred some years
ago, which was a fortunate circumstance for its repuUtion;
for, this present year, we have reason to anticipate a period
of dulness exceeding everything hitherto known in cither
country or town.
The Olympic closed, the Adelphi cloned, the Haymarket
closed, the Lyceum closed, the only theatre regularly open
at the West-end is the Princess's. A little convulsive vitality
that will be exhibited next week at Drury Lane, where
Mr. Anderson is to play in some of his favourite characters,
will scarcely disturb the general lull. On the 10th of
September, too, Mr. Charles Kean will have brought his
season to a close. What is to be done then I
Talk not to us about the Adelphi. We peep through
the entrance in the Strand, and sec a waste of bricks
and rubbish, where once Miami bounded over her bridge,
• Played »t one of the Philharmonic I
t The other- being Hettrt. Webb, '
and Muster Grinnidgc hoped the serving-man would not
be too proud to give him a mottel of cheese. There was, we
believe some ancient prophecy to the effect that the new
Adelphi would open on the 1st of September ; but, if so, the
seer was manifestly mistaken. Unless the evidence of eye-
sight be altogether without value, we may as soon expect to
see the Arch-Druid celebrating the rights of his church in a
restored Stonehenge on the 1st of next month, as to find Mr.
B. Webster summoned from the destruction of partridges by
the resuscitation of his theatre.
How about the Haymarket ? We can't say. That's an
affair of mere painting and beautifying, and there is no peep-
hole that puts us in a position to report progress.
The "entertainments" too have melted or are melting
away. Albert Smith has departed sooner than usual, be-
cause he has had a long distance to travel, for tho learned
in geography say that China is further than Chamonni.
Mr. Wood in has not favoured us with bis presence at all,
but left us to reap consolation from the advertising columns
of the daily papers, where we read of his provincial doings.
In another week or so, Mr. and Mrs. T. G. Reed will have
shut up tho Gallery of Illustration.
How in the world will the large portion of London that
does not go out of town fill up its idle hours 1 People can't
go to see Mr. and Mrs. Howard Paul every evening ; not is
Okey's "Paris and the Parisians," delightful though it be,
sufficient to supply the gap.
Come back to us, Mr. Abel Matthews. We unhappily
slighted you in the days of our prosperity. Come back, wo
say, and repeat the whole of Milton's Paradise Lotl, together
with the — something — of Cowper, and St. Martin's Hall
shall be crowded to i
THE PHILHARMONIC DIRECTORS FOR 1858 9.
G. F. Anderson, Esq.
F. B. Jewson, Esq.
J. Clinton, Esq.
Joseph Calkin, Esq.
(2b be continued).
Ma. Howkll, tho eminent double-bass player, has been for
the last few days confuted to his room by an attack of illness.
It is confidently expected, however, that he will be enabled to
perform his duties at the festivals, where his presence is of such
material importance.
Leeds Festival— The orchestral parts of Professor Bennett's
May Queen were tried yesterday, among other things, at the
Hanover-square Rooms.
Wixjuawski.— This "fouffueiurvioloniste," as tho Belgian press
entitles him, recently took part in a concert at Wiesbaden, at
which the King of Holland and tho reigning (why reigning I)
Duke of Nassau were in the middle of a talle comble an potribU.
So pleased were the Dutch King and the reigning (why reign-
ing !) Duke, that the former, etance tenante, promoted the
" f'ou-tueux violonitteS' Wicniawaki, to the rank of Captain of
the Order of the Oaken Crown, personally presenting the
insignia of office, and attaching the ribbon to the button-hole of
the "fougueux vioUmitle," amidst the acclamations of the Rhenish
and excited audience.
Crvstaj. Palacb. — A concert was given yesterday after-
noon, at which Madame Alboni sang for the first time here. It
was eminently successful. The great canlatrice was encored in
all her solos (" Di piacer," " Rode'a air," and " In questo seiu-
plice"), and the audience were delighted beyond measure. Mr.
and Mrs. Weiss, Miss Eyles, Mr. M. Smith, and Mr. J. L.
Hatton were the other singers. Mr. Hatton conducted Alboni's
pieces. The band played two overtures, and the Aihalie
Digitized by Google
538
THE MUSICAL WORLD.
[August 21, 1858.
ROYAL ITALIAN OPERA.
Thk season terminated on Saturday with Martha. The
performance was admirable. AH the principal singers were
recalled at the fall of the curtain and received with enthusiasm.
At the end of the opera the National Anthem was sung,
Madame Boaio and Mario taking the solos.
The past season baa been an eventful one. The new theatre,
scarce out of tbo hands of the decorators, carpenters, and
painters, opened on the 15th of May, the day specified in the
prospectus. Mr. Gye kept faith with the public, but his
exertions and anxieties brought on an attack which confined
him to his home for many weeks. About the opening of the
new theatre at the appointed time speculation had been busy, and
hundreds of pounds changed hands on the result. How brilliant
and commodious the interior was found, what pains had been
taken to accommodate the occupiers of every |»art of the house,
what holes had been pricked by architectural martinets in some
of the adjustments and fittings, what faults were found with the
entrances to stalls and pit, and the stair-communications betwoen
the tiers of boxes, with other points of praise and dispraise, have
been too frequently dwelt upon to need recapitulation. Enough,
that the new homo of the Royal Italian Opera was capacious,
magnificent, and admirably adapted for seeing and hearing, and
that the subscribers and Mr. Costa were perfectly satisfied
The new Covent Gardeu Theatre was inaugurated with the
Huguenot*. The performance was not quite up to the old mark.
The absence of Herr Formes was a serious drawback ;
M. Zelger did hit beet with Marcel, bnt his singing and acting
did not make the audience forget the renowned German basso.
The chorus, too, was not steady. Moreover, the difficulty of
setting the scenes, and managing the new machinery, pro-
tracted the performance to an unconscionable hour, and the
last act had to be omitted. All these circumstances deteriorated
greatly from the cfTect. On the other hand, the band was
acknowledged to be as complete and powerful as ever; and
Grisi and Mario sustained their high reputations in Valentine
and Raonl. The house was crowded to suffocation.
That the management was determined and full of energy, is
borne out by tbo fact that cloven operas wero produced during
the season, each of which required new scenery, dresses, and
decorations. The operas were the Huguenots, Fra Diavolo,
La Traviata, 11 T roeatore, Norma, Martha, Otdlo, Lucrtzia Borgia,
11 liarbiere, Don Giovanni, and Zampa. Of these, Martha and
Zampa, according to the promise held out in the prospectus, were
produced for the first time. Mercadante's 11 Oiuramento bad
also been promised, ,: should time permit." but time, on this occa-
sion, was not condescending, and Mercadante's oft-pledged opera
was once again laid on the shelf. Of the new operas, Martha
pleased the public most It was played eight times, while
Zampa was only given twice. The triumph achieved by Flotow
over Hdrold was in no small degree to be attributed to Mario
and"
The production of Don Giovanni, however, caused the sensa-
tion of the season. We have written so much recently respect-
ing the performance, and have given so many Quotations from
the public journals repecting the ■ controversy/' that wo may
dispense with opinion or remark in this summary. Don Giovanni
was represented four times, but did not improve by repetition.
It is to be hoped that Mario will take into serious consideration
the wisdom of perpetuating the transgressions of Signor Alary.
The addition of Signor Tamberlik to the Company was a great
fact. The admirable tenore rolntsto made his first appearand!
in his favourite part of Otdlo, and displayed all his former
excellence. He was hardly so successful in Zampa; the music of
Herold not suiting him quite so well as that of Rossini.
Mario, it was universally admitted, sang better throughout
the season than he had dono for years, and displayed all his
accustomed genius as an actor.
Grisi appeared in the Huguenots, 11 Trovalort, Norma, Lucrezia
Borgia, Otdlo, and Don Giovanni — in six operas out of the
eleven. None of her performances surprised and pleased more
than Desdemona, which was uuexceptionably beautiful and
Madame Boaio exhibited delightful singing in the Traviata,
Fra Diavolo, Martha, and Don Giovanni, .not to mention 11
Barbiert. As before, this charming artist was one of the
mainstays of the establishment.
Signor Ronconi did admirable service by his performances in
Fra Diavolo, Otdlo, Lucrezia Borgia, Barbiere, Don Giovanni,
and Zampa. In Don Giovanni he essayed Leporello for the first
», and won the unqualified admiration of connoisseurs. Iu
d the part of the bellman with irresistible
time, i
A word mustsufficeto chronicle the services of Signor Tagliafico,
(a pearl), Neri-Beraldl and Polonini (another pearl), and M.
Zelger. Madlle. Marai did not reveal any decided improvement ;
she is, nevertheless, entitled to a word of prats? for her careful
peformance of Donna Elvira in Don Giovanni. Mdlle. Pare pa,
as Camilla in Zampa — her only part— did not improve the posi-
tion she enjoyed last season. Mad. Nantier-Didiee, on the other
hand, sang and acted better than ever, more particularly in
Zampa, in which she was admirbale.
The past season has been entirely successful in a monetary
point of view, and the theatre bids fair to revive the triumphs
of the old.
MUSIC AT BOULOGNE
{From a Correspondent.)
Thk second grand coucert held at
on Monday eveuing, '
being no orchestra
so-called grand concert receutl „
Philharmonic Society of Boulogne-«ur-Mer, which you quoted
lost week as a " model Philharmonic"
The music-room was filled by a gay and fashionable assembly,
between six hundred mid seven hundred in number. The per-
formances began, in the London style, at eight o'clock — a reason-
able hour, affording lime for bans vivans to "cuver" their
Bordeaux, before rushing into the open air, which, for invalids
like myself, is a matter of weight ana consequence — at the sea-
tide, where the breeze is occasionally uncompromising, especially.
" Hoc ego" (Calull* dit—dit Janinut) — " Hoc ego, ti singula
coulitcor. '
The first part of the entertainment was as follows :—
Grand duo de Topers, * Tsneredi," chaste' par
Mad. Xontier Didiee ct M. Keicliardt
Solo de concert, compose* et execute* par ...
Air, " l"n Aura Amoroso," chante" psr M.RetrhanH
Grand Senate dediee k Kreutxer, execute* par Mad. |
Arabella Goddsrd et M. r 1
.though not absolutely a grand concert, there
l, was more like a grand concert than the
sort recently given by, and in the name of, the
TioMini.
M. Sainton.
Mozart.
Romance du Propbile, " All ! mon Fil»,"
par Msd. Nsntier Didiee
UccthoTcn.
par
Mad. Nanticr Didiee was welcome to
Mad. Nantier was educated in the Paris I
all here a great respect for that institution. She was also
for her excellent singing, which was made apparent In
the duet with our much esteemed Keichnrdt, who by a certain step
recently takeu has iu a measure identified himself with this water-
ing-place. M.Sainton, theadmirableSouthrou, oncofthe niostgal-
lantartisUthat ever fled the bosom of "La Belle France," todo her
honour in foreign lands, M. Sainton, too, was welcome. Prosper*
was welcome, indeed, as the prodigal son in the parable; and to
our fatherly townsmen and motherly townswomen killed the
fatted calf for him. His Solo de Concert was a peace-offering
worthy of the man who thuB tendered it eagerly to hit long-
abandoned country; and as such it was received. Herr
Reichardt's "Aura Amorosa" was sung in a manner which
showed that he had rightly conceived the poetical spirit of Mozart.
It was — to employ the English of a Boulogne journal — " pure
music deliciously sung ; the public hung upon every sweet and
rich note from his agreeable throat," Then followed,not the whole
of Beethoven's truly great sonata, as had been expected, bat the
last two movements only, for which wo were all sorry. We of
Boulogne can put up with half-a-dozen such sonatas uncurl* < <M
— provided only they are played as the andantt and final* of
Beothoven were played on this occasion. It
Digitized by Google
August 21, 1858.]
THE MUSICAL WORLD.
539
Yardi.
M. Sainton.
Donizetti.
performance, nod nothing lew ; and as proof that the audience
Lad not heard enough, they recalled Mdlle. Arabella Goddard
and M. Sainton at the end, and this, too, with honest enthusiasm
Of course there were many English in the room, who had heard
both Mdile. Goddard and M. Sainton, and these, though charmed,
were not aurpriaed ; but the simple Houlonais, loving mimic
without amirt pensie, waa both charmed and aurpriaed — and uo
wonder. The plaintive romance from the Prophite, uttered
with true feeling by Mad. Nantier Didiee, brought to an end
this very agreeable first part.
Nor waa the second part uninteresting, as the following will
show :— .
Duo du Trovators, " Si In stanches**," chants' par
Mad. Naaliar-Didi*. «i M. Beichardt
Solo l'ianoforte. Home, tweet home," execute1 par
Mdlle. Arabella Goddard
Chanson nations!*, chantee per M. Betchardt
Pantasie *nr 1' opera " Bigoletto," composes ct
executes par
Air de " Bctlv," chante par Mad. Ksntier-Didieo
The duet from the Trow tore was another excellent piece of
softened warbling : the " Chanaou nattonalo" waa delivered with
infinite gusto, and obtained for our worthy Reichardt a m un-
deserved encore ; M. Sainton's " Bigoletto (his own composi-
tion, like the first) wss a great piece of legitimate fiddling, nnd
produced a commensurate impression ; while Mad. Didiee, in
the tyrolienne of Donizetti, was encored, but instead of repeating
it substituted tho equally-spirited brindisi from the same
composer's Luerezia Borgia. Her success was remarknhlo.
The great "sensation of the second part has, nevertheless,
to bo named. " Ilome sweet Home " — that deliciously natioual
air, which is really neither English, nor French, nor Spanish,
nor German, nor Italian, nor Russian, but emphatically luitiou d
—with variations, some say by Thalberg, others by Vincent
Wallace, but which I can only believe are by Arabella Goddard
herself, so entirely does she play them as if she were improvising
them, with such ease, such grace, and such seemingly urtless art
— ■ simplex munditiis" (Horace dit—dit Janinus) — this national
" Home, sweet home," thus naturally varied, enchanted every
hearer, and the result was a " bit," so unanimous and stoutly
expressed that it was not to be denied. And ao the fair English-
woman (whom the Boulogne Gaulle already claims for a St. Ser-
vanian — consequently a qu&Bi-JlouloHaue) came forward in the
midst of the plaudits, ana performed, with admirable perfection,
another brilliant morceau, which, on inquiry, I was told was the
Cascade, the composition of a distinguished Sclavonic prince.
A native critic (" and to the manner born ") in the Boulogne
Gaulle, has thus spoken of tho Kreitzer Sonata and of " Home,
sweet home":
"The elesr, distinct, iparkling touch of Miss Goddard waa happily
responded to by Sainton. Oar apace forbids our saying all that wo
would throw off upon this exquisite music so dalioioutly played ; there
was no lightning to astonish, no thunder to confound, but limpid
■oundt blended together in s harmonious phrase such as wo had never
previously heard in Boulogne. Miie Goddsrus 'Home, sweet home,'
by Thalberg, was particularly delightiul to Euglishcsn. Its execution
was all that could tie de.ired, whether the air was played by the right
hand whilst the left revelled in a delightful accompaniment, or whether
the lelt took up the sir snd tl:e right struck forth a joyous danre of
sparkling fairy sounds, all wsa sufficient to wrap tho audience in an
ecstaey of enjoyment."
"Mr. Wells has kindly informed us (we regret that wo cannot insert
his latter st full length) that Mi«s Ooddard was born at St.-Scrvsn in
January, 1830, and exhibited at four Tears of age an extraordinary
taste for music. Kslkbrenner, in Paris,' Thalberg and (name illegible)
in London, were her infractors. It is needless for us to state with
what result. We only hope tbst we shall again havo tbo pleasure of
hearing her ere she leave Boulogne."
The writer will be gratified if what I hear be true, viz
that Madlle. Goddard is engaged to play at the second concert
of the Societe Philharroonique de Boulogne-sur-Mer, on Tuesday
next If the entertainment warrants, I will send ;
account of it.
Chat
'nATsXAiirx Victor MoirWAUCos de
I you a short
Cisq>rorjRg.
MUSIC AND THE DRAMA IN LIVERPOOL.
{From our oten Correspondent )
AmtR an unusually long musical interregnum, we had the
pleasure of hearing two fi rat-class artists at our Philharmonic
Hall on Tuesday, whon Bosto and Tamberlik made their first
appearance in Liverpool this season. Being a subscription
concert, the hall presented a very brilliant appearance,
every portion being well filled. Bosio, of course, was
the "bright particular star" of the evening, and never
did we hear tide charming artiste to greater advantage.
She sang as solos, "Vedrai cariuo," from Don Giovanni," the
"Polka,'7 from Alary's Tre A'oue, and "Qui sola, vergin rosa,"
from Flotow s Martha, and in each the vocal perfection of the
artist, so brilliant, graceful, aud expressive, created the most
spontaneous and unanimous enthusiasm. All her performances
wore re-demanded flujf grands crii, though Mozart's and
Flotow's arias were alone repeated. The charming quality
of Madame Boaio's voice, ana her musical skill, were also
most effectively displayed in dueta with Signor Tamberlik,
from Rigoietto and Jloti in Egitto. Signor Tamberlik, who
had not been beard in Liverpool for three years, when he
sang at [the Thcntro Royal with Cruvelli, gavo " Gentil sem-
biaute," from Zimpa ; " Per se voi," from Otdlo ; and " II
mio tesoro," from Don Giovanni, which we have so often listened
to with delight on the Liverpool and on the London stage. By
Ottavio's lovely so tig, the audience were roused to enthusiasm.
The band, at times too noisy in tho accompaniments to the
vocalists, played Mozart's symphony in G minor, No. 2, with
great care and precision, and in the overtures to Jeesonaa aud
Fra Diavolo were deservedly applauded. M. Gounod's " Medi-
tation on a prelude of J. S. Bach," admirably played by Mr. G.
W. Thomas (violin), Mr. Hirst (organ), and Mr. Toms (piano),
elicited a hearty encore. The choir gave a madrigal by Orlando
Gibbons, a chorus from Weber's Preciosa, and Henry Smart's
" Ave Maria."
The Swedish Singers ap|>oared at Reynold's People's Conceits
last Saturday, wilh great success ; and arc re engaged for
next Saturday, when Madlle. Humler, the violinist, will make
her dtbul in Liverpool.
ChriBty's Minstrels appear shortly at the Clayton Hall.
Alboni, Belart, and Vialetti at the next Philharmonic Concert ;
Giuglini, Piecolomini, &c, at tho Theatre Royal, in // Trovalore,
La Zingara.nad La Traviala, early in September; Louisa
Vinuing and Arabella Goddard at St, George's nail, on the 31st
instant. J* N. H.
Liverpool, August 18/*.
ITf.hu Rcbinstejx, recently at Baden-Baden, on his way (or
rather, out of his way) to Moscow, is said to have won 11,000
francs at the gaming-tables. Since then, ho has jMtssed through
Leipsic, whero he was not serenaded, and reached Moscow,
where he was serenaded.
AjtoTHKa Acoookt of Miss Thomsox. — Last week I ex-
pressed a hope that Scottish talent would carry off high honours
at the Conservatoire of Music, and I have now the pleasure of
informing you that the highest of these honours — the first vocal
prize — was yesterday won by a young lady from Glasgow — Miss
Augusta Thomson— who, after only two years' study, and in the
face of most formidable competition, has thus been pronounced
the " sweetest songster in the grove" of young Prance. The
jury awarding the prizes is formed of MM. Auber, HaUSvy,
Ambroise ThSmas, Carafe, dec, assisted by M. Monnaie, the
Government Commissioner. Last year tho first prize was
divided among three competitors, but this time the judges recog-
nised the eminent superiority of Miss Thomson by awarding her
a sole first prize, which I need not say was well and honourably
merited. The voice of this young lady is a soprano of magnifi-
cent volume, and of unrivalled purity and flexibility. The
morceau chosen for her trial waa the beautiful scena from the
huguenots, " O beau pays de la Touratne !" It was executed by
our young Scottishwoman with a brilliance and grace which called
forth universal plaudits from an assembly of the keenest musical
judges in Europe. The first prize for tuuor was gained by
another pupil of M. Revial.— Correspondence of the Glasgow Argue.
Digitized by Google
540
[August '21, 1858.
AMATEUR MUSICAL SOCIETY.
HASOVER-SQCARE ROOKS.
ANNUAL GENERAL MEETING, JULY 5,
1 Fitxgerald.
i chair:—
I the account*, m riow presented, be approved."
Carried unanimously.
"That the thaoks of the Society be given to Messrs. Broadwood and
Co. for the generous use of their instruments during the paut season."
Carried unanimously.
" Tliat the members now going out of office be re-elected, and this
meeting do expreat it* high appreciation of the valuable service* which
those member* hare rendered to the Society daring the past sea nun."
Carried unanimously.
The Honorary Secretary informed the meeting that in con-
sequence of Lieutenant-Colonel Parrick Paget having resigned,
in January last, the Committee of Management had elected the
Rev. O. Croke Rowden to serve on the Direction in his place,
and that gentleman had accepted office.
"That Mr. Henry Leslie bo requested to act as conductor during
the ensuing season, and that the cordial and sincere thanks of this
meeting be offered to him for his able and valuable services during last
season."
Carried nemint contradicenU.
The following report of the Committee of Management was
then read, and adopted, after some discussion, unanimously: —
"Your Committee hare had under their anxious consideration mea-
sures for increasing the efficiency of the orchestra, and improving the
concerts, and they recommend to the meeting that the Society shall,
in the coming season, return to its original number of eight concerts i
that there shall be two full rehearsals before each concert, and that the
i of the members of the orchestra at both rehearsals shall be
in the
Proposed by Mr. C. Grainger, and seconded by Mr. A. Cohen :—
"That the attention of the Committee should be drawn to the bad
effects of admitting member* to the Society without ascertaining to a
greater extent than is done at present their capabilities of executing
orchestral music."
"That the Committee of Management may, if they thiuk fit, use the
surplus of the funds of tho Society in purchasing music for tbo use of
the Society."
Mr. VaL Morris undertook to take charge of such music.
Some conversation then arose as to the expediency of removing
the Society's concerts from the Hanover-.iqu.irc Booms; and
after some discussion, in which several members took part, it
was determined not to change, unless the Committee of Manage-
ment should consider it would be beneficial.
^ Proposed by Mr. C. Pit >wden, and seconded by Mr. A. A.
"That the special thanks of this meeting be given to the manager of
tho orchestra, Mr. VaL Morris, and to the honorary secretary, Mr.
Stanley Lucas, for the care and trouble they hare taken in each of
their departments daring the past season."
Proposed, seconded, and carried uuaninv u I —
"Thst tho thanks of this meeting be givru to the I/Ord Cerald
Fitzgerald for his able conduct in the chair."
Musicians AND Rjvolctioxists.— Bad embroiderv and beadledom
may between them play strange tricks with a party of" pleasure, as the
gentlemen of Lourain know, if the papers tell true. The other day, at
the " Procession des Miracles" at Brussels, it appears thst a society
probably musical, presented itself, in Belgian fashion, to swell the pro'
cession with its ensign. This had the same effect on the polios as the
well-known scarlet rag has on the bull in the Spanish amphitheatre.
The n«g was red ; it was surmounted with a truculent, bearded, gilt
head, looking perilously sinister— and the legend was thought to be
" OrsinL" Lourain was taken up wholesale, withdrawn from the show,
and set apart for examination. It proved that the innocent and musical
gentlemen of the (own had wished to put themselves under the banner
of an Italian, but that Italian (represented awkwardly in the whiskered
bust) turned out to be. not the prison-breaker and conspirator, but one
who had nothing more to do with rebellion thar/by composing
Manchestkr— (From a Corrttponden^.—Hitn is |
artist of the present day who is a greater fa'
provinces than Madame Bosio. Her name is a I
.nid when she is to be heard there h<
announcement of a concert in which the I
was to sing, drew a very large audience to the Music Hall on
Tuesday evening. But Madame Bosio was not the only
attraction. The name of the great tenor, Signor Tamberlik,
was added in the bills, as was also that of the favourite
barytone, or ha*to-<antanU, Signor Tagliafico. A pro-
gamtno suited to please the unfastidious was provided,
and a better selection, in all probability, would not have
been so acceptable The singers were well suited, and some of
the vocal pieces, which during the season created the greatest
sensation in Loudon, were introduced. The concert opened with
tho grand duet for tenor and bass from Rossini's Moti in
Egitio, powerfully given by Signors Tamberlik and Tagliafico,
though altogether out of place in a concert-room. This was
' followed by Mad. Bosio with the Italian version of "The Last
Rose of .Summer," from Martha, which created a furore, and was
unanimously eucorod. Signor Tamberlik succeeded (in every
sense of the word) with the popular air from Zampa, "Toi
dout la grace soduiaante," a noble specimen of pure chest
siugiug, vigorous and manly in expression. In the air of Peter
from L'EtoiU du /ford, " O lieti di tra pace," Signor Tagliafico
displayed the great power of his voice, and his genuine artistic
style. ' Both these efforts were loudly applauded. Tho next
murct'.m, the favourite trio from / Lombardi, delighted still
more, and was redemnnded with pertinacity. This closed the
first part of the concert, and seldom have I witnessed greater
pleasure afforded by fire vocal pieces given consecutively. But
there is a limit to all things, and I verily believe one more
song, duet, or trio would have dissolved the charm. An
instrumental performance would have been a relief. Luckily,
the first part concluded at tho right time, and the highest grati-
fication was the result The second part comprised the air,
" U mio tetsoro," from Don Giovanni, by Signor Tamberlik ^
Alary's Polka, by Madame Bosio; duet from RigoUtto, by
Madame Bosio and Signor Tamberlik; the popular air from
/ Lombardi, " La mia letizia," by Signor Tamberlik , and the
drinking song of Plunket, from Martha, by Signor Taglia-
fico. Need I inform your readers how exquisitely Madame
Bosio warbles the dancing measure of Alary's tune ; what
tenderness and passion Signor Tamberlik infuses into the song
from Don 'iiovanni; or how the love-duet from Verdi's opera
executed by the
>mplishod soprano
id tenor t The
beautiful air from / Lombardi was rendered with irresistible
taste and feeling by Signor Tamberlik; but surely a better
termination for the concert could have been found than the
insipid " beer-song" from Martha. Dr/BiLLO* d'Ej»o«mtre.
[Our correspondent has forgot to mention where the concert
took place, ami whether there was an orchestra, or an instru-
mental solo performance. His predilection as a connoisseur
appears to l>o exclusively in favour of vocal music— Ed. M. IK.]
Borr.oo.NK.— Too much praise cannot be given to Mr. Bour-
gois for his various attempts to make the Etablisaemcnt what it
should be. Last week we had occasion to praise his taste in the
embellishments lavished on the ceiling of the outward
room. This week we cannot praise too highly his
to throw comfort around all, and really make his
attractive by throwing up a wooden partition, where curtains
formerly hung, and thus raising a stout screen between
the hot dancer and the cold sea breeze. The advantage of
this wooden partition was particularly felt at the concert
on Monday night, when the faintest note was distinctly heard
in all parts of the room. Thus it is again shown that
Mr. Bourgois is the " right man in the right place." Ob
Monday evening came off the second concert of the season.
That it was a concert it is only necessary to say that Arabella
Goddard, Sainton, Reiehan.lt, and Nautier Didioe were the per-
formers on the occasion ; and tho musical public of Boulogne
are indebted to Mr. Bourgois for giviiig them the opportunity
to luxuriate in such music as Beethoven's, when struck from
| such fingers as those of Arabella Goddard and M. Sainton^—
Digitized by Google
August 21, 1858-]
THE MUSICAL WORLD.
541
HENRI HEINE ABOUT MUSIC AND
MUSICIANa
{Trautlattdfar Dmghft Journal.)
Paris, April 25, 1844.
A lout tetgneur tout Aonneur. We begin to-day, with Berlioz,
whose first concert opened the musical season, and might be
regarded as the overture thereto. The more or less new pieces
that were here brought before the public met with due ap-
plause ; and even the most sluggish souls were carried away by
the impetus of genius that reveals itself in all the creations of
the great master. Here is a flapping of wings that indicates no
common song-bird ; it is a colossal nightingale, of eagle's size,
such as may have existed in the primeval world. Yes, the
Berlioz music has for mo something primeval, if not antedilu-
vian ; it reminds me of fabulous kingdoms and of monstrous
sins, of high-heaped and towering impossibilities ; of Babylon,
of the banging gardens of Semiramis, of Nineveh, of the wonder-
works of Mizraim, such as we see in the pictures of the English
Martin. In fact, if we look round for an analogy in the art of
painting, we find remarkable resemblance and affinity between
Berltoz and the mad Briton ; the same feeling for the monstrous,
for the gigantic, for material immeasureableneas. In the one,
sharp effects of light and shadow ; in the other, screaming in-
strumentation ; in the one, little melody ; in the other, little
colour ; in both, little beauty and not any soul. Their works
are neither antiqae nor romantic ; they remind yoa neither of
Greece nor of the Catholic middle ages; but they point much
~ -— *~ — ft"" 1 MMV MM t JIV1UV OiUCU
lurtner back, to the Assyrian-Babjlouian-Egyptian period of
architecture, and to the mere maasiveness that is expressed
■, is our Felix
What a regular modern man, on the v.
Mendelssohn Bartholdy, our highly-honoured countryman, whom
we mention next on account of the symphony which was brought
out by him in the concert hall of the Conservatoire. We owe
this enjoyment to the active zeal of his friends and patrons here.
Although this symphony of Mendelssohn was very frostily
received in the Conservatoire, yet it deserves the recognition of
all true connoisseurs In Art. It is a work of genuine beauty,
one of the best of Mendelssohn. But how comes it that since
the I'aulu* was presented to the public here, no laurel crown
will bloom on French soil for an artist so deserving and so
highly gifted 1 How comes it that here all efforts go to wreck,
and that the last desperate resource of the Od6on theatre, the
performance of the choruses to Antigone, was followed by the
same lamentable result 1 Mendelssohn always affords ns an
occasion to reflect upon the highest problems of aesthetics,
imperially are we always reminded in him of the great
question— What is the distinction between Art and false-
hood ? We admire most in this master his great talent for
form, for ttyiutict, his gift for assimilating what is most
extraordinary, his exquisite invoice, his tine lizard's ear, his
delicate feelers, and his earnest, I might almost say passionate,
indiBerence. If we seek in a sister art for an nnalogous appear-
ance, we find it this time in poetry, and its name is Ludwig
lieck. This master, too, knew always how to reproduce what
was most excellent, whether in writing or in reading aloud-
he understood how to produce the naive, and yet he has never
created auytWngwhich subdued the multitude and lived on in
their hearts. The more gifted Mendelssohn would be more
likely to succeed in creating something lasting, but not on the
ground where truth and passion are the first requirements,
not upon the stage ; so Ludwig Tieck, in spite of his most
* » n*Jongingi never could bring it to a dramatic performance.
Besides the Mendolssohn symphony, we heard with great
interest, in the Conservatoire, a symphony of the blessed Mozart,
and a no less talented composition by Handel. They were
received with great applause.
Our excellent countryman, Ferdinand Hiller, enjoys too great
an esteem among the intelligent friends of art to make it neces-
sary for us, great as the names are which we havo just named
to mention his among the composers whose works have found"
deserved recognition here in the Conservatoire. Hiller is more
• thinking than a feeling musician, and too great learned-
aa objection to him. Mind and science may
frequently, perhaps, impart a certain coldness to the composi-
tions of this doctrinaire, vet they are always graceful, beautiful,
and charming. Of wry-mouthed eccentricity there is here no
trace. Hiller has an artistic affinity with his countryman,
Wolfgang Goethe. Hiller, too, was born at Frankfort, where,
when I last passed through, I saw his paternal house. It is
called " Zum griinen Frosch," (the Green Frog,) and the image
of a frog may be seen over the front door. But Hitler's compo-
sitions never remind one of such an unmusical beast, but rather
of larks, nightingales, and other sorts of singing birds of spring.
There has been no lack of concert-giving pianists here this
year. The ides of March, especially, were notable days in that
particular. Everything jingles away, and will be heard, if only
for a show, that one raayput on airs as a great celebrity beyond
the barriers of Paris. These artist youths, especially in Ger-
many, know how to speculate upon the begged or stolen rags of
feuiUtton praise ; and in the newspaper puffs there we may read
how the celebrated genius, the great Rudolph W.,» has arrived —
the rival of Liszt and Thalberg, the pianoforte hero, who has
excited such a great regard in Paris, and has even been praised
by the critic Jules Janiu. nosanna ! Now, one who hss
chanced to see such a poor fly in Paris, and who knows how
little notioe is here taken even of more important personages,
finds the credulity of the public very entertaining, and the coarse
shamelessness of the virtuoso very disgusting. But the sin lies
deeper, namely, in the condition of our daily press ; and, again,
is only a result of worse fatalities.
I must still come back to the conviction that there are but
three pianists who deserve a serious consideration, namely:
Chopin, the gracious tone-poet, who unfortunately has been
sick, and seldom visible this winter ; then Thalberg. the musical
gtntltman, who, in fact, would havo no need to play the piano
in order to be greeted everywhere as a fino appearance, and
who actually seems to consider his talent merely as an
appanage; and then our Liszt, who, in spite of all bis perverse-
ness and his sharp corners, still remains our dear Liszt, and at
this moment has ngaiu thrown the lxan monde of Paris into ex-
citement. Yes, he is here, the great agitator, our Franz Liszt,
the knight-errant of all possible orders, (with the exception of the
French Legion of Honour, which Louis Phillipe will not grant to
any virtuoso;) he is here, this Hohenzoller-Hcckingen state
counsellor, this Doctor of Philosophy and miraculous Doctor of
Music, this resurrected rat-catcher of Hamelin, this modern
Faust, who is always followed by a poodle in the figure of
Belloni, this ennobled and yet noble Franz Liszt ! He is here,
the modem Ampbion, who. with the vibrations of his strings,
set stones in motion at the building of the Cologne Cathedral, so
that they fitted themselves together like the walls of Thebes !
He is here, the modern Homer, whom Germany, Hungary, and
France, the three greatest countries, claim as their child, whereas
the minstrel of the Iliad was only claimed by seven small pro-
vincial cities. He is here, the Attila, the scourge of God to all
Erard pianos, which tremble at the first news of his coming,
and which now again quiver and bleed aud whimper under
his hand, till it becomes a fair case for the society for
preventing cruelty to animals ! He is here, the mad,
beauteous, hateful, enigmatical, fatal, and yet withal the
very childlike child of his age, the gigantic dwarf, the
furious Roland with the Hungarian sabre of honour, the genial
harlequin, whose mad pranks turned our own head for us, and
to whom in any case, we render loyal service in here publicly
reporting the great furore he has been exciting. We candidly
confirm the fact of his immense tuccet; how wo interpret this
fact to our private thinking, and whether we accord or refuse
our own private approval to the admired virtuoso, must be a
matter oi indifference to him, sinco our voice is only that of a
single individual, and our authority in the art of music is of no
especial significance.
When I heard formerly of the giddiness which broke out in
Digitized by Google
542
THE MUSICAL WORLD. [August 21, 1858.
sabbath-like Germany will not bo slow to improve the oppor-
tunity of a bit of permitted movement ; it will shake its
aloe p- paralysed limbs a little, and my Abderites upon the
Spree will gladly tickle themselves into a given enthusiasm,
one declaiming after the other : " Love, thou ruler of both
men and gods r Their interest at a spectacle, thought I, is in
the spectacle itself, in the spectacle for itaelf, no matter what
the occasion thereof may be called, whether George Ilerwegh,
Franz Liszt, or Fanny Elssler ; if Herwegh is forbidden, they
will cleave to LUzt, who cannot barm or compromise them. So
I thought, so I explained to myself the Liszt-omania, and I took
it for a sign of the politically un-free state of things beyond
the Rhine, But I was mistaken, and that I remarked some
weeks since in the Italian Opera House, where Liszt gave his
first concert, and, indeed, before an assemblage which one might
call the flower of Parisian society. At all events they ware
wide-awake Parisians, men quite familiar with the highest
manifestations of the present ; men who, for a greater or leas
period, had been contemporaries of the great drama of the
time; among them so many invalids to all artistic enjoy menta,
the weariest men of actioD, women equally weary, after having
crowd
But what ia the ground of this phenomenon? '
of the question belongs more, perhaps, to pat
to aesthetics. A physician, who makes female
1 the polka all the winter through, au innumerable
of pro-occupied and biati minds — that surely it wi
German, sentimental, nor Berlin sensibility-affecting public
before which Liazt played, all alone, or rather accompanied
only by his genius. And yet how powerfully, how thril-
lingly his mere appearance operated! How impetuously
all hands clapped applause! Bouquets were thrown, too, at
his feet! It was a sublime moment, when this iriumplmtor,
with a calm soul, let the nosegays rain upon him, and at last,
smiling graciously, drew a red camelia from one of the bouquets,
and stuck it in his breast. And this he did in the presence of
Home young soldiers who had just come from Africa, where they
had seen uo flowers, but only leaden bullets, rain upon them-
selves, and had adorned their breasts with the red camelias of
their own hero-blood, without attracting much notice either here
or there. Strange! thought 1, these Parisians, who have seen
Napoleon, who had to give them battle after battle, to fix their
attention — these men now go into jubilations over our Franz
Liszt! And what a jubilee! A kind of
1 of in the annals of furor*!
The solution
ethology than
diseases his
speciality, smiled very strangely, and then said all aorta
of things about magnetism, galvanism, electricity, of the
contagion there is in a clone room, filled with innumerable
wax-light* and with some hundred* of perfumed, perspiring
men, of histrionic epilepsy, of the phenomena of tickling, die, &c.
But perhaps the solution of the question does not lie so adven-
turously deep, but on a very prosaic surface. It will continually
seem to me, that the whole witchcraft of it is explained by the
fact, that no one in the world kuows so well how to organise
his successes, or rather the mi*e-tii-tcint thereof, as our Franz
Liszt. In this art he ia a genius, a Philadelphia, a Bosko, nay,
a Meyerbeer. Tho most distinguished persons serve him as
contpiret, and his hired enthusiasts are models in good dress.
The crack of champagne bottles, and the fame of lavish gene-
rosity, trumpeted through the most reliable journals, win recruits
in every city. Nevertheless, it may bo that our Franz Liszt was
actually by nature much inclined to spend, and free from avarice,
a shabby vice, which cleavea to ao many virtuosos, especially to
the Italians, and which we find even in the sweet and flute-like
Rubini, of whose niggardliness a very funny anecdote in all
» ia told, Tho celebrated Binger, it seeme, bad, in con-
i with Franz Liszt, undertakeu an artiatio tour at joint
e, and the profits of the concerts, which they were to give
in various cities, were to be divided. The great pianist, who takes
everywhere about with him tho gcneral-iutendant of his cele-
brity, the before-mentioned Signor Belloni, delegated to him on
this occasion all the business matters. But when Signor Belloni
gave in hi* account after the business was closed up, Kubini,
with dismay, remarked that among the common expenses also
. down a considerable sum for laurel crowns, bouquets,
eulogistic poems, and other oosta of an ovation. Tho naive
singer bad imagined that these tokens of approval had been
thrown to him on account of his fine voice ; he fell now into a
great rage, and sworo he would not pay for tho bouquets, in
which, perhaps, the costliest camelias were found. Were I a
musician, this quarrel would afford me the best subject for a
comic opera.
But ah ! let us not investigate too curiously the homage paid
to famous virtuosos. After all, the day of their vain celebrity
is short, and the hour soon strikes when the Titan of music
perhaps shrivels up to a poor musician of very subordinate
stature, who, in his cofiee-house, tells his fellow guests, and
assures them on his honour, how one > bouquets were hurled at
him, with the most beautiful camelias, and even how, on one
occasion, two Hungarian countesses, to get his snuff-box, throw
each other down upon the ground, and fought till they were
bloody ! The ephemeral reputation of the virtuoso soon exhales
and dies away, lonely and trackless as tho c;
the desert.
THEATRE ROYAL DRTJRY LANE.
UHI| MR K T. 8X1111.
TIAREWELL NIGHTS OF MR. JAMES ANDERSON
X (prior to his dsparUir* for tin Gutted ftws*. California, New CotumW.
'» Hlvor, Iha Sandwich Islands, mid Australian «ilant« , who win
camel's scent upon
Kir positively »ii night* only. On Monday. August 2% will Iks |«xf»rn>ed the
much Admire, 1 play of 1NGOMAR ' I roomer thl* ori intial **h*r*cter) by Mr. Ja-nes
Anderson, mm! Parthetiba. Mia Elawortby. T«**d*y, THE LADY OF LYOMS:
Clause Mflu-.'tt'J, Mr Junes Atii v.m, au*! Pauliii'i, Mil* Elsworthv. Wcvlusaday.
SiiskapeTc's tragedy of MACBETH : Machctb, Mr J ime* Anderson: Kacdnn,
Mr. Hoynt4.il ; Lady Macbeth. Mia* Unworthy. Saturday, August SS. (or Um
HENEFIT of Mr Jaw* Anderson, and last night of tin arpearancs BuotBoe
opeu diiily from 11 tilt 3, under the direction of Mr £ Chattcrtoo, where ticket*
and p'aoos con be obtained, and at the principal bookseller* and libraries.
rpHE IMPROVED HA
A EVANS, invent'* of the E igltoi II
HARMONIUM. — Mr. W. E.
glish Harmonium (extiihlted in London in 1S44X
calls attention to the improvement* he him lately made in this Instrument. That
subjoined testimonial from Mr. Alfrod Mellon Is on* of tho many lie ha* received
from eminent prufsewor*
Tux Vxls. Kixo'a Roar. C
March llHh, l»W.
i > ■ n Sib, — I bar* rau'h pKupiro m firing too my cyenlott
narmouium ; it is the beat instrument of l»* kind I have ever heard.
To Mr. W. B Eroni. * '"aLFRED
SI, Hortoik-strrxt, Bbeffleld.
FREDERICK DENT,
Chronometer, Watcb, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
anl> ftUhir ot tljr ©rut Clock far iht femurs of
61, fltrand, and 3-1 and 34, Boysl Sxeaaage,
i'o connection ici'M 33, Cocttp%r-$trttt.
GREY HAIR RESTORED TO ITS ORIGINAL
COLOUR — Xeoralgia, Nerrona Hmdftcbe. Unci mutism, and Stiff Joint*
cured by V. M. UEKai.W.- TATEN'T MAGNETIC COMBS, HAIK AND FLESH
BRUSHES. They require no preparation, >.re always ready for use, and cannot
Bet out of order 'B>U"tiQ*, 10a and 15*. ; Comb* from S*. bd. to We. Orey hair
and Im,UIu*u p rev anted by F. M. II. 'a Patent Preset. tl*s Itnuttt. price **. ant 5a.
OfBcM, iS. Bttswgballitreet, London. Illustrated, pamphlet* "Why Hair
t™« Qrrr. and Its lUmody." uraUv or by post for four stamp*. Sold by all
•rout* an.i parmmcr* of mpute.
TIT It. HOWARD, Surgeon-Dentist, o2, Fleet-street, has
• I lutroluce.l an outh. ly now dc«<rtpiSo« of AHT1F1CI.VL TEETH, filed
without *priii!7«. wire*, or ligatures. Tory »o i>s>f-ctly rvsouitile the natural
tuoth n* not to bsdisJiiitrtiisoed front tbsorigtt-ati by the rloemt observer They will
nuviir c1 an^o cn'our or deray. an t will be found superior to a*.iy teeth svsr odor*
ussl. This method does not requira the < xei-icdon of roots, or any pniufiil opora-
ti»n, vrlll support an t preserv* teeth that are loose, and t« fvuwanteed to reatora
artiuuLttion and uja*.Uoet!"!*. lX<csyvd t«ctii stoi^xkd land reevdervd sound and
us-, ful in mastication. 52, Fleet- utrect At liooie trum 10 till 5.
rPHE MODERN OUIdF TO THE STAGE, OR,
A AMATEUBS' INSTBCCTION BOOK, desert btng and tanehlng aU t V arts
and ruses* rhyairaliy and Elocutionary, in I. ve Dapnir, Grief, J**Josnry.
Midiiej*, Reniorw. tbxge. Hatred, Itevcnge, Joy, HyioctHy, Tyranny, and
Vlllany; with all tho mere elnnnt pntnti In Opera. Burtenqtie, and O.inode,
Dt* s**ry to r|«edily qualify vouna; [leraona c f both sexes far thta lucrative and
pluLsaut iircfaanion. Also tho Natuc* and Residence* of Managers sod their
Tnc.itras all over the Kltmdom, the C-'tnnle', and the L'uited Kute«. TbU new
work (warm fmoi the wsas). and never bsf re la prlnl. will bo neiit to I
Fi1bTttn'd6obr P"
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THE MUSICAL WORLD.
NEW AND POPULAE SONGS
PUBLISHED BY
MESSRS. DUNCAN DAVISON AND CO.
TiM
TM NOT IN LOVE,
M. wl'lULTE.
IWylyjBKic* Uajckix. Price S.. 60.
Fritbe* tell me, gentle air.
Why tuy heart is full of cam.
And why no pleasures charm me ;
It is not Ioti! torments mo so,
I scorn the wily urchin'* bow,
His arrows cannot harm mc.
I try to sing— uiy voice U sad,
I sleep — but thon 'tin just as bad,
Such gloomy things I dream on.
Can «?o« not tell ? nor you ? nor you ?
Ob then, I know not what to do
To charm away the demon.
I sometime* think, if " I know who"
Were here — he'd tell me what to do
To bid the demon slumber;
Could I but lienr his voice again,
I'm turt 'twould cheer my heart, but then —
I'm uot Id love, renumber.
QUICK ARISE, MAIDEN MINE."
fhsSJMMl if
J. DESSACEB,
rskxi l-y Jobx OxcurOKD, Esq
Quick arise, maiden ruins,
Wako not thyself too fine.
Let thine eyes brightly shine
Like any star.
Tra la la, Ac.
Quick arise, maiden dear.
Blue is the »ky and dear,
Ooiit* o'er the mountain* peer,
Tra la la, 4 c.
Quick urine, maiden mine.
Brighter tluin sunbeams shine,
Sparkling with joy divine,
Tra la la, 4c.
"MY MARY."
CfcssjMSttl &y
II. KNDERS30HN.
Poetry by Jon* Etusoa. Price 2a.
On the blue deep
Silver beams sleep,
My bark glides as swift as a bird o'er the a
And in the calm light,
So holy and bright,
Mary, my Mary, I'm tldnking of thee.
From our dear home
Away on the foam.
My visions as far as an angel's can be,
And oft thy dear form,
1 see mid the storm,
Mary, my Man-, while thinking of thee.
"OH, TAKE ME TO THY HEART AGAIN.
« Go at by tho summer sea,"
'Sweet UttloJkony," by M.
O.
" 2
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Poetry by J«
Oh, take mc to thy heart ugaiu !
I never more will grieve thee,
All joys are fled, and hope ia dead,
If I indeed must leave thee.
Forgive the wild and angry words
This wayward heart hath spoken,
I did not dream those cbcrishod chord.
Ho lightly could be broken.
I think how very sad and lone
This life would be without thee,
For all thy joys this heart has known
Arc closely twined about thee.
Oh, teach mc to subdue the pride
That wounded theo so blindly.
And be once mure the gentle guide,
Who studed on me so kiudly.
"WEEDS AND
p*nj*>M<t by
Dr. JAMES PECH.
roelry by Mm. Altbu> V. Nswro*. Price 3s. «d.
Ono moonlight night
An elfiu sprite
A slight adventure wanted.
So hi* way he took
To a shady brook
Which he knew by Lore wa. lautited.
And as be went,
lie shook bis wings
And from them fell in showers
Bright coloured things of every hue.
But some were words, some f
A
11th and maid
hirv said
Oft roam tliis pnth together ;
Her face is bright
With summer light.
But his like winter weather.
Her hand I know
Will outstretched lie
To cull the flowers right gladly;
Hut mingled weeds the youth will we.
And turn him from them sadly
Chasing away the maiden's glee.
By whispering t j Iter sadly.
The maid aud youth
Come there in sooth
Aud marked tlx- scattered treasure ;
The maid, In her hair,
Wore a chaplet rare,
But un&hared was her guil
On walked the youth
With KoraM tread.
When » waruin
:n u warning voice floated abora them,
Life, like the miry-strewn path, it is aaid
u flowers for all who cull them.
" Ttion art iw nc
At early day's
Hath
: and vet so far," by A. Heicha&DT ...
byS. Okosvmob ... ...
.. 4.
... a 0
... a c
LONDON 1
DUNCAN DAVISON AND CO.,
Dfil'OT GENERAL DE LA MAISON BRANDUS, HE I'AHIS,
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544
THE MUSICAL WORLD.
[August 21, 1858.
BIRMINGHAM MUSICAL FESTIVAL,
t» AID W THE 1VNM OF TBB
GENERAL HOSPITAL,
ON
AUGUST 31, SEPTEMBER 1, 2, AND 3. 1858.
PRINCIPAL VOCALISTS.
MADAME CLARA NOVELLO,
MADEMOISELLE VICTOIRE BALFE.
ASD
madame castellan.
madame a l b o n i,
miss dolby,
and
madame viardot oabcia.
SIONOR RONCONl,
MR. SIMS REEVES.
MR. MONTEM SMITH,
an
SIONOR TAMBERLIK.
Oboasist
CoXDOCTOlt ...
MR. WEISS,
ant>
SIONOR BELLKTTI.
Mr. STIMPSON.
Mr. COSTA.
ELIJAH
ELI ...
OUTLINE OF THE PERFORMANCES.
... M«ND«lssOH!».
JUDITH
LAUDA SION
SKRYICB IN C
Wcdneadny Moniini;.
Tlmrmlay Morning.
... ... ...
Friday Morning.
. (.1 A'r*. Oratorio)
Cotn.
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On the Evening* of Tueaday, Wednesday, and Thuraday,
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No appltoatioo will be atteaded to ante** it be accompanied by a remittance of
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MAHTH A, Fantaisie «ur dea motive* de Vopera " Martha » de Ftotow.
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Oh I rertthee.
; wilt thou sang wi' mo
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PIANOFORTES. — DEW II A NCE'S COMPENSATING
PIANO may now be aeon at the dcpf.t, S3, Soho-eqaire By tno applicutioei
of this principal a heavier "trlng cau bo uaed, tbc result of which is, that the rttll
power of a grind U obUiucd from a cottage instrument, at \hc aani'j time tbe
wires and the franc on which they are lining expand and contract with cbnuge
of temperature
-ee and the [nunc on whicli they are itrung expand and contract with cbiui^e
lemperaturc equally and together. »> that the necessity for frexpient tuning, aa
the ordinary tnetrumtut. i» ontlrtly obviated Pit hi nese and ronnunos* of
*. with extraordinary powrnt of moeluiatwa. Hire.' instruments are -luiio un-
NtLtd. .1 tbe -s;.v :.r> tl , u- tighcr l« tint of an ordll_.ry
rPHE IMPROVED
X EVAN'S, Invent
calla attention t<i the Unpi
subjoined lewUuiotiial from
from eminent professor* ; —
E.
HARMONIUM. — Mr. W.
r thv English Harmonium (axUIMtwi to Loodouln 1444X
prvveneuia Iw. l.aa latsly ir-a.lv in lust m went. Th..
iui Mr Alfred Mellon la one of the many be liaa received
Taut Vtu. Kiau'a Boan, Cuac ri,
March Itith, IsAS.
Daan Mia,— I have much pleasure Lu givinj- yoo my opinion upon joul
ncnt of tbealod 1 nave ever heard.
1 ; U >• the best 1
To Mr. V. E- Evana.
01, Nor'aik-etroct, ghefiVU.
Yours very tiuly,
ALFRED MELLON.
MUSIC STRINGS.
WAREHOUSE — THE CHEAPEST HOUSE IE LOUDON
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tONSIEUR ALPHONSE VILLIN (de Paris) Importer
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516
THE MUSICAL WORLD.
[August 28, 1858.
NEW AND POPULAR SONGS
PUBLISHED BY
MESSRS. DUNCAN DAVISON AND CO.
" I'M NOT IS LOVE,
ConjXHtd by
M. W. BALFE.
Poetry by Jex-jla R»»kix. Prioo is. Od.
Prithee tell me, gentle air.
Why my heart it full of care,
And why no pleasure* eliarrn me ;
It la nut love torment* we to,
I scorn the w'dy urchin'* bow.
His arrow b cannot harm roe.
I try to sing — my voice is sad,
I sleep — hut then 'tis just as hid,
Such gloomy things 1 dream on.
Can yon not tell t nor you ? nor you ?
Ob then, 1 kunw Ml "hat to do
To charm away the demon.
I sometime* think, if " / knots ipAo"
Were ben: — he'd tell we what to do
To bid tbo demon alumber;
Could I bat hear his voice again,
I'm nre 'twould cheer my heart,
I'm not in lore, remember.
QUICK ARISE, MAIDEN MINE."
Computed by
J. DESSALEB,
r Joan Oxtsroao. Esq rricc !s,
Quick arise, maiden mine,
Make nol thyself too fine.
Let thine eyes brightly shine
Like auy star.
Tra h la, Ac.
Quick arise, maiden dear,
Blue is the eky and clear.
Goats o'er the mountains peer,
Sco them alar.
Tru Li la, Ac.
Quick arise, maiden mine.
Brighter than sunln-ame shine,
• ; with joy divine,
i are.
Tra U lu, Ac.
"MY MARY."
flmjawri h
V. ENDERS80HN.
IVwtrylyJou* EuaaoX. Price Is.
On the bine deep
Silver beams sleep,
My bark glides as swift as a bird o'er the sea,
Hut'
i the culm light,
So holy and bright,
Mary, my Mary, I'm thinking of thee.
From our dear home
Away on the foam.
My visions as far aa an angel's can be,
And oft thy dear form,
I see mid the storm,
Mary, n>y Mary, while thinking of thee.
by Edwiv «. lioai
"OH, TAKE ME TO THY HEART AGAIN."
M. W. BALFE.
Toolry by J wilt.. Kaskix. Trice 2h.
Oil, lake me to thy heart apaiu !
I never more will prievc^ther.
Ail jovs are fled, and hope is dead,
If I indeed must leave thee.
Forgive the wild und angry word*
This wayward heart hath spoi
I did not dream those cherished
£o lightly could be broken.
I think how very sad and lone
This life would be without tine.
For all thy joys this lieart hu* known
Are closely twined »Wul tbee.
Oh, teach me to subdue the pride
That wounded thee so blindly.
And be ouce mure the gentle guide.
Who suiUed on me so kindly.
("WEEDS AND FLOWERS."
0.ia/wMiI t.y
Dr. JAMES PECU.
roetrjr by Mrs. tUW V. Nrwroa. Trice is. W.
wne mooiiuguv mgin
I advent me
, his w»y he took
To a shad'v brook
Which he knew by Love was
And as he went.
He slwok his wings
And from them fell iu shower-
Bright coloured things of
But some were weeds, some '
A youth and maid
The fairy said
Oft roam this path together;
Her face is bright
With summer light.
But his like winter weather.
Her hand I kr.nw
Will eutitri-tchcd be
To cull the flowers right gladly;
Hut mingled weeds the ynuth will I
[ turn him from tlwm sadlv
Chasing away the maiden's glee.
By whispering t i her tadly.
The maid and yutitb
Come there in sooth
And marked the scattered treasure;
The moid, in her liair,
Wore a duplet fare.
But unshared was her guileless j
On «alked the vonth
With scornful tread.
When a warning vol
Life, like the lairy-strewn path, it U said
for all who cull I '
Hath
• Go sit by the summer sea," by Edwiv (J
" Sweet huh, Jenny," by II. finmn
*. d. •
2 0" Thuu art to near and yet »o far," by A. Rr.icHABDT
1! 0 I " At early day's dunning," by S. (iuosvt»08 ...
t, &
... 3 O
... 3 6
LONDON:
DUNCAN DAVISON AND CO.,
DEPOT GENERAL DE LA MAISON BRANDUS, DK PARIS,
244, REGENT-STREET , CORNER OF LITTLE ARGYLL-STREET.
Digitized by Google
August 28, 1858.]
THE MUSICAL WORLD.
547
RECOLLECTIONS OF CALIFORNIA k AUSTRALIA.
BT A MUSICIAN.
(CoHtimud from pagt 632.)
It to at least a fortnight before I could manage to get time
enough to have a look at the surrounding country, or form any
idea of the site of this great mining camp, for my days were
taken up with interminable rehearsals, and my evenings and
nights with the performance at the theatre, and tho alteration
or condensation of band-parts ; but at length I di.l get a spare
day, which I devoted to a good long wander, and was perfectly
astonished at the wonderful extent of the place. The raasjes of
*5 2 tentS Becmed perfectly incredible; and when we as-
cended Black Hill, where we got a good pauorainic view, I can
compare the sight to nothing more graphic than that fine passage
in Aumben, in which Balaam the Prophet sells lt.ilak the King,
by blessing, instead of cursing, the hosts of Israel. As far as
""8 eye can reach, and trending off into the numerous defiles
and valleys, nothing can be seen but the whito canvass of innu-
merable tents, diversified with gay flags of various nations,
from the bi-crosscd union-jack to the Chinese dragon (for these
pig-eyed animals, the Chinese, infest this land in almost as
great numbers as California), while the upturned earth, and the
numerous whims as they are called (large barrels horizontally
placed upon a vertical shaft, and turned by a horse), which
puddle out the pay-dirt— that is, separate the gold from the
clay— give evidence of the largo amount of capital employed,
and the enormous number of miners who are continually risking
life and limb in their search for gold. And when the reader
considers that most of tho shafts arc over a hundred feet deep,
and that Ballarat is only one of many cany is equally large, ho
can form somo idea, by looking at the official returns of the
amount of gold received, of how very small is the individual
profit to each worker so engaged.
Tho business portion of Ballarat is as great a Babel as a
fashionable watering-place in the season, which 1 think gives the
best idea of anauricular pandemonium that can be conceived, with,
on an average, three street bands and five pianofortes con-
tinually playing together ; for at Ballarat every public-houso
had in it cither a barrel organ, or two or three Dutch girls
pumping accordions and pounding tambourines, while ever and
anon they accompanied those instruments of torture with their
most "sweet voices," until 1 wished that tho "Bold Privateer"
was swinging at his own yard arm, and " Poor dog Tray *' con-
verted into his ultimate destination, tautaget. But at last, much
to my delight, we left the Paradise of Pot Mouses, and returned
to Geelong were en-route for Melbourne, thenco taking steamer for
Adelaide, the capital of South Australia. The city of Adelaide
lies about five miles inland from the port, and is supposed to be
built upon an imaginary river, tho Torrens, which was originally
depicted in tho lithographic viewsthat wereprinted with the view
of inducing capitalists to Invest their spare cash in the land
speculations of the colony, as a « bright and flowing river." It
contained about enough water to rinse a moderate-sized teacup
when I went to its banks one morning in the vain hops of getting
a awim. This want of navigable rivers is much felt in tho
four continental colonics— I mean New South Wales, Victoria,
So"tn Australia, and Swan River. The colonists must perforco
™*e railroads to supply the deficiency, although some grave
philosophers rather scout tho Idea of building railroads until
cities are erected in the interior ; about as sensible a plan as
of the Irish architect who built his house and omitted tho
society in Adelaide is decidedly the most refined in
the colonies, for the curse of convictism has never bo en
forced upon them, nor has tho lust of gold, with its
gambling influences, affected the somewhat staid demeanour
of its inhabitants. This valuablo portion of these colonies
OJn tains immense hoards of copper, and the Burra-Burra
minos are celebrated the world over. Silver is also found
in considerable quantities. Added to theso natural advantages,
agriculture is carried on upon rational and scientific principles.
Fruits of every description, including the delicious almond, are
in great plenty. When the projected railroad to the river
Murray (the only large stream in the colonies) is fini
thereby avoiding the difficult navigation at tho mouth of that
river, there can be no doubt that Adelaide will take a high
position among the Australian cities : at the present time it is
one of the pleasantest places in the colonies, and I shall often
remember the kindness and hospitality of its inhabitants with
grateful feelings.
A public spirited gentleman, Mr. White, has erected a beautiful
concert-room, holding eight hundred people seated comfortably.
It is admirably adapted for sound, ana fitted up with great
elegance. Here we gave concerts for six weeks, four concerts a
week, with very great and flattering success : the audiencee
were of the most rtcktrehi and appreciative description, the
Governor, Sir Bichard O'Donnell and his lovely wife, being our
constant patrons ; and as our party was small, consisting of
Madame Bishop, Mr. Qiede, a very charming flutist, and myself,
the profits must have been considerable. We also visited
Gawler-town, a most abominable place, with a perpetual
Egyptian plague of flies infestirg it. I have often been well
phlebotomised by mosquitoes, tickled to death by fleas, and
driven to desperation by barrel-organs, none of which abomi-
nations can compare with the hideous nuisance of those
detestable insects ; they even accompanied us back to Adelaide
in swarms, until a hard shower of rain relieved us from
their hospitable services, and wetted us to the skin. I
was really sorry to leave this pleasant place (I don't
mean Gawler-town, but Adelaide), although we had a spe-
cimen of a hot wind that was the most fearfully oppressive
thing that can be imagined. I awoke one morning with a sense
of suffocation, and rushed to the window for a breath of fresh
air, but it was just like the blast from a hot furnace. During the
whole day the streets were deserted, and 1 scarcely moved from
the bed the whole day, but just lied and granted. The fearful
temperature continued till evening, when In an instant the wind
chopped round to the opposite quarter, and in ten minutes the
thermometer fell thirty-six degrees. This sudden change creates
a perfect whirlwind, and those who are unfortunate enough to
be caught out can do nothing but cover their eyes, and wait the
cessation of the rush of cold wind, which freezes yon to the very
marrow. Poor Mr. Qiede was caught in it, and came into the
hotel looking like a miller, so thoroughly powdered was he with
the whirls of dust. This is a slight specimen of the hot winds,
and will givo intending emigrants some idea of the trying
climate, especially when they blow, as is often the case, for days
together.
Our next place of visit was to the Portland, a small but
thriving place about half-way between Adelaide and Melbourne.
This town, and most of tne surrounding country hae beea
peopled by the best agricultural emigrants in the world, I mean
the Scotch, who worthily sustain their character abroad both for
thrift and hospitality. The Bay was formerly a great place of
resort for whales, of which the evidences can still be seen in the
numerous white rib bones which are strewn upon tho surrounding
beach, and tho vertebra- which aro used as garden stools by the
inhabitants. Several large vessels annually load with woof, and
although the place seems dull, there is a thriving business done
there, and its inhabitants have been spared the over-trading
propensities of their neighbours.
We gave five concerts here with great success, and afterwards
crossed the bay to Belfast, or Port Fairy as it is termed, a
miserable dead-alive hole on a sand bank. From ita name the
reader can form some idea of the birth place of the original
settlers, which will fully account for the decadence and ruin
you see around.
From this place we went hy coach to Warnambool through a
most charming country, passing the Lakes of Kilhvruey, a lovely
bit of mountain and lake scenery which, with a loving
reminiscence of home, tho emigrants (mostly Irish) have so
christened.
To use an American expression, Warnambool is the "jumping
off place," a perfect abode of dulness ami dummy-neas ; and in
this hole or cave of Trephonius we were imprisoned for over a
week, waiting for a steamer to relieve as, like a lot of melan-
choly Andromedas waiting for a Perseus to deliyer us from the
Digitized by Google
580
HENRI HEINE ABOUT MUSIC AND
MUSICIANS.
{TrantlaUd for DteigkCt Journal.)
Pauls, April 2i», 18A4.
Thk transition from the lion to the rabbit is somewhat abrupt.
Yet I must not pass unnoticed those, tamer piano-players who
have figured here this season. We cauuot all be great pro-
phets, and there must be also minor prophets, of whom twelve
make a dozen. As the greatest anion.? the little ones we name
here Theodor Doehler. His playing is neat, fine, pretty,
delicate in feeling, and he has a qui to peculiar manner of
stretching out his iatnd in a horizontal laval and striking the keys
only with the curved tips of the lingers. After Dodder, Hallo
deserves special mention among the minor prophet* ; ho is
a Habakkuk of as modest as true merit I cannot avoid here
also mentioning Her Schad, who, among piano-players, lakes
perhaps the rank which wo assign to Jonas among the prophets.
May no whale swallow him !
Aa a conscientious reporter, who has to give account not only
of new ope ran and concerts, but also of all other catastrophes of
the musical world, I must speak also of the many marriages
that have broken out, or threaten to break out therein.
I speak of real life-long, highly respectable marriages, not
of the wild dilettante wedlock which dispenses with the
mayor in his tricolonred scarf and with the blessing of
the church. CAacun seeks now his Chacune, The messiours
artists dance along on suitors' feet, and warble hymeneal*.
The violin enters into matrimonial alliance with the flute ;
tho born musio will not be left oat. One of the three
most famous pianists* married recently the daughter of in all
respects the greatest bassistt of the Italian Opera. The lady is
beautiful, graceful, and intelligent. A few days since we
learned that still another distinguished pianist from Warsaw
had entered the holy state of wedlock ; that he, too, had ven-
tured out u|k>u that deep sea for which no compass has ever yet
Uocn invented. Ue> on, bold sailor ; jiuab from shore. May no
storm break thy rudder ! And now the report goes, that the
greatest violinist whom Breslau has sent to Paris, is on the
|K>int of marrying here ; that this expert of the fiddle also has I
got tired of his quiet bachelorship, and means to try the fearful,
unknown other side. Wa live in a heroic period. Just now
another famous virtuoso has become engaged. Like Theseus,
he has found a charming Ariadne, who will lead him through
the labyrinth of this life ; she will be at no loss for a clow of
yarn, since she is a sempstress.
The violinists are in America, aud we have had tho most edi-
fying accounts of the triumphal processions of Ole Bull, the
Lafayette of the puff, the reclame hero of two worlds. The
manager of his successes had bim arrested in Philadelphia, to
compel bim to pay the costs of his ovations. The hero paid, and
no ono can now say that the blond Norman, the genial fiddler,
owes anybody for hia fame. Here in Paris, meanwhile, we have
heard 8ivori. Portia would say : " God made him, and therefore
let him pass for a man." Another time, perhaps, I will over-
come my disinclination to rejiort upon this fiddling emetic.
Alexander liatta, too, has given a fine concert this year; he
still weeps out his little child-tears on the great violoncello.
On this occasion I might also praise Herr Semmelman; he
needs it.
Krnst was here. Ho is more fond of playing only at friends'
houses. This artist is loved and esteemed here. Ho deserves
it. He is the true successor of Faganini; he has inherited the
magic violin, wherewith the Genoese knew how to move stones,
nay, even blockheads. Paganini, who with a like stroke of his
bow now led us to the sunniest heights, now let us look down
into awful depths, possessed, to be sure, a far more demoniacal
power; but his lights and shadows wcro at times too glaring,
the contrasts too sharp, and his most grandiose sounds of nature
often had to be considered as mistakes in art, Ernst is more
harmonious, and the soft tints predominate with him. Yet
he has a partiality for the fantastical, and even for the gro-
•Thalbcrg. t Ublscht.
tesquc, if not indeed the scurrilous ; and many of his compo-
sitions remind me always of the legend-comedies of Gozxi,
of tho roost adventurous masquerades of the " Venetian
Carnival." The piece of music which is known by this name,
and which was seized upon in the most shameless way by Sivori,
is a most charming eaprieeio of Ernst. This lover of the fan-
tastical can also, if he will, be purely poetical, and I have lately
hoard a nocturne by him, which was, as it were, dissolved in
beauty. One fancied himself transported to Italian moonlight,
with still cypress alleys, shimmering white statues, and the
dreamy plashing of fountains. Ernst has, as is well known,
taken his dismission at Hanover, and is no longer royal Hano-
verian concert- master. That was no fit place for hiui. He were
far more suited to conduct chamber music at the court of some
fairy queen, as, for example, that of Lady Morgans. Here he would
find an audience that would understand him best, and among them
many high and mighty personages, who are as appreciative of
art as they are fabulous ; for instance, King Arthur, Dietrich
of Bern, Orier the Dane, &c. And what ladies would applaud
him here I The blonde Hannoverienne* may certainly bo pretty,
but they are mere heath-sheep in comparison with a fairy Melior,
with the Lady Abonde, with Queen Geuoveva, the fair Melusina,
and other famous lady personages, abiding at the court of Queen
Morgane in Avaluu. At this court (and no other) we hope some
day to meet the admirable artist, for we, too, have the promise
of an advantageous situation there.
May 1.
The Academie-Royale-de-Musiaue, the so-called Grand-Opera,
is found in ths Rue Lepelletier, about in the middle, and exactly
opposite the restaurant of Paolo Broggi. Broggi is the name of
an Italian, who was once Rossini's cook. When tho latter
came, last year, to Paris, be visited the trattoria of his former
servant, and after he had dined there, he stood a long time
before the door, in deep reflection, gazing at the great opera
bnilding. A tear came into hia eye, and when some ono asked
him why he seemed affected with such sadness, the great master
answered, that " Paolo had served up for him hjs favourite dish
of old times, ravioli, with Parmesan cheese, but that he was not
in a condition to consume one half the portion, and even that op-
pressed him now. He, who had once possessed the stomach of
an ostrich, could scarcely bear as much as a love-sick turtle-
dove r
We do not undertake to say how far the old wag mystified
his indiscreet inquirer. Let it suffice to-day, that we advise
every friend of music to go and eat a mess of ravioli at Broggi's,
and then, lingering a moment before the door of the restaurant,
contemplate the building of the Grand-Op6ra. It is not distin-
guished by any brilliant luxury ; it has rather tho exterior of a
very respectable stable, and the roof is flat On this roof stand
eight large statues, which represent tho muses. The ninth is
wanting, and ah that ninth is just ths muse of music. We
hear the strangest explanations of the absence of this very
estimable Muse. Prosaic people say, a tempestuous wind hss
hurled it from tho roof. Minus more poetic, on the other hand,
maintain that the poor Polyhymnia threw herself down, in a fit
of desperation at tho miserable singing of Monsieur Duprex.
That is quite possible ; the broken, glassy voice of Duprez has
grown so discordant, that no mortal, certainly no Muse, ran
bear to hear it If it goes on at this rate, all the other daugh-
ters of Mnemosyne will fling themselves down from tl.e root,
and it will sooa be dangerous passing in the evening through the
Rue Lepelletier, Of the baa mane whiuh foe some time has
prevailed in the Grand-Opera, I will not ajieak. Donizetti still
remains the best, the Achilles. Yon may imagine, therefore,
vhat the smaller heroes are. As I hear, too, this Achilles has
retired to his tent ; he is out of humour, God knows why ! and
he has informed the Direction that ho will not furnish the five-
and-twenty promised operas, s'idco he feels disposed to rest
What twaddle ! If a windmill were to say the same, wc should
not laugh more. Either it has wind and turns, or it has no wind
and stands still. But Donizetti has an active backer here, Signer
Acciirsi, who always raises wind for him.
The newest artistic enjoyment which the Academy of Music
has given us is the Laxaronc of HaWvy. This work had a
Digitized by
September 11, 1858.]
THE MUSICAL WORLD.
581
ition, merely
tieur ^pontini.
Berlin Grand
mournful fate ; it fell through with drams and cyrolwils. As to
its worth, I refrain from all exprewion ; I merely confirm the
report of its terrible end.
Every time that on opera falls through, or a remarkable Jiatco
is made in the Academy of Mnsic, or at the Buffo Theatre,
you will remark there a mysterious, meagre figure, with pale
countenance and coal-black hair — a sort of male gypaey granny,
whose appearand) always indicates a musical disaster. The
Italians, as soon as they see him, hastily stretch put the fore and
middle finger, and say, That's the Jettator*. But the light-
minded Frenchmen, who never have a su
shrug their shoulders and call that figure j
It is, in fact, our former general-director of tho
Opera, the composer of La Vestale and Fernando Cones, two
splendid works, which will long keep fresh in the memory of
men, and will long be admired, while the composer himself
atones for all the admiration, and is nothing but a faded ghost
that enviously haants the world, and frets itself about the life
of the living. Ho can find nothing to console him for the fact
that he is long since dead, and that the sceptre of his power lias
passed into the hands of Meyerbeer.
There has been no lack of debutantes at the Grand-Opfira this
winter. A German made his debut as Marcel, in Let Huguenot*.
In (icrmany, perhaps, he was only a big clown, with a brumming
beer voice, and thought therefore he might appear as basso here
in Paris. The fellow screams like a wild ass. Also a lady,
whom I suspect to be a German, has produced herself upon tho
boards of the Hue Lepelletier. She is supposed to bo extra-
ordinarily virtuous, ana sings very false. They do say that not
only her song, but everything about hor — her hair, two thirds
of her teeth, &c, are all false ; that there is nothing genuine
but her breath, and that compels tho frivolous French to keep
' at a respectful distance. Our prima donna, Madlle. Stoltx, will
not be able to sustain herself much longer ; the ground is
undermined, and although, as a woman, she has all tho cunning
of her sex at her command, she will be overcome nt hurt by tho
great Giacomo Machiavelli, who would like to see ViArdot
Garcia engaged in her place, to sing the chief rile in tho Prophite.
Madame Stole foresees her fate ; she feels that even the partiality
which the director of the Opera devotes to her cannot help her
in the least if tho great master of the tone-art plays his cards ;
and she has resolved, of her own free will, to leave Paris, never
to return, and end her life in foreign lands. " Ingratia patria"
said she recently, "ne o*$a qvidem mea habebis." In fact, for
some time she has actually consisted of mere skill and boue*.
At tho Italiens, in tho Opera-Buffo, there have h«on quite as
brilliant fiascos, the past winter, as in the Grand-Opera. There,
too, there was much complaint about the lingers, with this
difference — that the Italians often would not sing, and the poor
French song-heroes could not sing. Only that precious pair of
nightingales, Si ;nor Mario aud Signora Grisi, were always
punctually at their post in. the Salle Ventadour, and trilled
forth the most blooming spring, while, outside, all was snow
and wind, forte-piano concerts, and Chamber of Deputies debates,
and polka madness. Yes, these are charming nightingales, and
the Italian Opera is the everlasting singing wood, to which I
often flee when wintry gloom beclouds me, as the frosts of life
become intolerable. There, in the sweut corner of some covered
box, one is again warmed np most agreeably, and does not
fct lent grow bloodies in the cold. Xkere tho melodious
enchantment tarns to poesy what was but now coarse
reality; pain loses itself in flowery arabesques, «tid soon
smiles the heart again. What rapture, when Mario sings,
aud in the eyes of Grist the tones of the beloved songster
mirror themselves as if it were a visiblo echo ! What delight,
when Grisi sings, and in her voice the tender look and blissful
tmtle of Mario are melodiously echoed ! It is a lovely pair,
and the Persian poet, who has called the nightingale the rose
among birds, ana the rose again, the nightingale among flowers,
would here find himself iu a quandary, for both of this pair,
Mario and Grisi, are distinguished equally for beauty and for
song.
Unwillingly, in spite of that charming pair, do we miss here
at the Buffos, Pauline Viardot, or as we prefer to call her, the
Garcia. Her place is not supplied, and no one can supply it.
This is no nightingale that merely has a genre talent, ana sohs
and trills so exquisitely of spring ; nor is she a rose, cither, for
sho is ugly, but a sort of ugliness which is noble, I might almost
say beautiful, and which frequently excited the great lion-painter,
Lacroix, to enthusiasm I In fact, the Garcia suggests less the
civilised beamy and tamed grace of our European home, than
the terrible splendour of an exotic wilderness ; and in many
moments of her passionate delivery, especially when sho opens
her great month, with its dazzling white teeth, too wide, and
smiles so grimly sweet and gracefully grinning, then ono feels
as if the most monstrous kinds of vegetation and of animals of
Hindostnn or Africa must spring iuto being ; one looks to see
gigantic palms, all overhung with thousand-flowerod lianas,
shoot up ; and one would not wonder, if suddenly a leopard, or
a giraffe, or a herd of young elephants, should run across the
scene. We hear, with great satisfaction, that this singer is agai
on her way to Paris -
Kijjgstos (Caxaoa). — Mr. and Mrs. Charles Mathews havit
been filling the City Hall with fashionable and critical audiences.
The principal pieces have been Two can play at that Game, th>
screen scene from The School for Scandal, and Cool as a Cucumber
In the two first Mrs. Charles Mathews delighted the audio ue.
by her versatility. Her Mrs. Moore was a beautiful piece e>i'
acting, and her I<ady Teazle exhibited the talent that ban
deservedly placed her at the head of her profession in the Un i t • * 1
States. Mr. Charles Mathews is unique in his line. I/fflt
comedy is the most difficult branch oi dramatic art, but Mr.
Mathews acts so naturally that it appears the easiest. The .<o»t
difficult thing iu art is to disguise art, and, certainly, this T union
celebrity conceals his most wonderfully. After tho co'.cpasion
of their engagement here, Mr. and Mrs. Charles Mat'.cwa will
"rusticate" at the seaside (or a week or two, and • icfl return
to England. Since Mr. Charles Mathews arrived ,t New York
in tho summer or last year, he has performed twt hundred and
forty-six times, and has travelled sixteen thousand miles.—
forty-six times, and has travel
British Whig, Augiut IV, IMS.
Action against tub Dirrctor or a Tjieatrr. — Au Italian
composer, named Berrottoui, on Tuesday brought an action
before the Paris Tribunal of Commerce against M. Calzado,
director of the Italian theatre, under these circumstances : — He
stated tluvt in September, 1H">7, they signed an agreement to the
effect that he (Berrettoni) should, iu a fortnight, remit to M.
Calzado an opera made up of morccauje taken from the various
I works of Jiossiui, entitled the Curioso Accidente, with n libretto,
and that Calzado should pay him NOO francs on delivery, and 500
i tho day after tho first performance. Tho opera was duly
I delivered and HOO francs paid. It wai put in rehearsal, but
J never produced; and tho plaintiff had consequently not
I received the remuneration to which he was entitled, and had
besides boon prevented from having the opera represented in
foreign and provincial theatres. He therefore claimed 10,000
francs damages, and that M. Calzado should be made to bring
out tho opera before tho 1st of December next, under pain of
fine for each day's delay. In support of his action, ho
a certificate from Ko»klni thn» the opera in qucstiou
was, with the exoeption of one cavatina, by him. M. Calzado
contended that he had incurred no liability to the plaintiff, inas-
much as no period, had been fixed for the production of the
opera, and he prayed that the agreement should bo declared null
and void Tho tribunal decided that there was no reason for
declaring the agreement void; hut that.no period being fixel
for the production of the opera, tho plaintiff was not entitled to
damages. It, nevertheless, Ordered thai the opera should be
brought out by Calzado before the 31st of December, lSAfl.
Si'A. — The festival pf the 19th of August brought together an
unusual number of celebrities, among whom MM. Moscheles,
Sivori, Tamberlik, Litolff, may be noted as principals. Herr
Litolff carried off the lion's share of the laurels. The orchestra,
under his direction, executed Irs Ctotnt du (t'uel/fs, the Qirandins,
,Vtt»'i»»'i>)i Rottespitrr>', and his first concerto for orchestra and
piano. The Society of Les Amis He uuis do Liege" 1
choruses and part-song* with great effect,
Digitized by Google
THE MUSICAL WORLD. [September 11, 1858.
582
ROSSINI.
(From the German of K if. Oettingcr.)
BY JQHK C. SCHERPF.
Thrkb months after this joyous feast, in April of the year
1816, Signor Barbaja was awakened one night out of his bear-
like sleep, to hear the dreadful news that his theatre* was
enveloped in ll&mes. The fire, which spread very rapidly,
transformed in fourteen hours one of the grandest edifices in
Naples into a heap of ashes.
King Ferdinand took the loss of this theatre more to heart
than he did formerly the loss of one half of his kingdoru.t
Barbaja recovered his equanimity much sooner.
" are," said he to the extremely good-natured monarch, " I
permit your Majesty to call me a scoundrel, if in nino months
the San Carlo is not rebuilt in a grander and more complete
style. If your Majesty should be short of funds, I am willing,
though a poor man, to advance for the present the sum of two
hundred thousand scudi to the Crown, that no time may bo lost
in forwarding the erection of the now building."
"We accept them,*' said the King, who, as a Bourbon, was
accustomed to accent graciously every sacrifice of his subjects.
fortunate the prince who has such servants !
■ Barbaja would allow himself to be beaten to death for your
Majesty."
"That is handsome and brave of yon," said the king, tapping
his servant kindly on his shoulders. " But tell me, good friend,
do you still believe that it was set fire to t"
"Sire, I swear it !"
4; And what villain do you think has playod us this trick V
" Nobody else but Tacconi."
" I hear this name to-day for the first time. Who is this
man I"
" A fugitive from Genoa, who for somo time has beon roving
about in the states of your Majesty, who appears now here and
then there, having ono name to-day and another to-morrow, and
contriving everywhere some mischief."
" And what does my police know about it I"
"Sire, I myself have denounced the rascal — "
"And my police— ray police 1"
■ Has cither been too Lazy or too stupid to seize him whilst he
was in Naples. A short timo ago ho was in Faleroio, and at
present he is in Malta."
" How can he, then, have set firo to the theatre in Naples ?"
" Your Majesty must be aware that every scoundrel has his
assistants. This Tacconi appears to me to be the head of ft
carbonari band, which is dispersed throughout Italy."
"And from whom have you heard that he is now in Malta?"
'■ He himself has written to that effect."
"To whom r
wTo Colbrand, whom he is perscuting with his declarations of
love. And therefore it is my sincere belief that he, and no
other, it the man who caused the theatre to be burned down."
"You are, it seems to me, somewhat jealous of this fellow.
But this very day I will give the strictest orders to my minUter
of the police to use his best endeavours to seize the miscreant."
" Do that, Sire, but I beg and adjure you not to forget it ; for
your Majesty has a very good heart, but also a very bad
memory."
" Barbaja ! " threatened the king.
" Your Majesty ne*d not get into a passion all at once. Yon
roust not forget, Sis*, that nobody in Naples is more truly and
faithfully devoted to his King than old Barbaja. I just now said
your Majesty had a bad memory. I will prove to you that it is
true. How ofteu, Sire, have you not given me to understand
that I should have one of your orders I Such a little cross or
star costs your Majesty a few scudi, which my services have
certainly merited long ago."
" Procure the incendiary Tacconi for us, then you shall luxve
such a thing, as true as my name is Ferdinand, and as I love you,
• The San Carlo Theatre, built by Charles I1L, in 1710, was already
once burnt down in 170:!, but bad Men rebuilt.
F * ^'"u" V"f 'Dtn'i' dr'Ten. 'he capital of his kingdom, by the
because you are a faithful, honest fellow," said the monarch,
shaking the impresario by the hand. " Now go with God, old
friend, and see that we do not miss our San Carlo too long."
• • • • •
All the mcml>ers of the theatre were discharged, Colbrand
alone remaining in Naples. RoBsini, accompanied by his
faithful pupil, Ktleboro, followed an advantageous invitation to
Rome, there to write a new opera, TorvaUo e Dorlitka, for the
Tcatro Vallo.
The spleudid success of this opera induced the Impresario of
the Argentena Theatre to spare no effort to persuade the
maestro, who had become a great favourite in Rome, to write a
new work for his house.
"Have you a good libretto V asked Rossini.
"Ten, if you like; but I am sorry to say that our over-
anxious Governor returns all libretti which are laid before him
under the pretence that they contain allusions which might
prove dangerous for the peace of the State.
" The old masters had reason to be satisfied ; for they had a
Metastasio* a da 1'onte.t and a Casti.X At the present fame we
have not a single good writer of opera-Ubretti. Have you not
any old, harmless libretto V
" 1 certainly have one ; but I apprehend you will not
like it."
" You mean "
"The Darbiere tli SevujUa."
" But Paisiello lias already composed that."
" And for this very reason I think it would not be a bad
speculation if you would take hold of the Bobject yourself.
Italy would then have an opportunity to make a comparison
between then and now ; and I, for my part, am satisfied that
just such a comparison would turn out in your favour."
" Do you believe so I" asked the maestro, who felt not a little
flattered by this expression.
" I am so certain of your success that I projiosc a wager to
you "
" A wager V
" That your Barber will dismount that of Signor Paisiello."
" In four weeks yon shall have an answer from m«," said
Rossini, and dismissed the impresario, who was very well satis-
fied with himself.
On the same day Rossini wrote to old Paisiello, who, since
1804, when he had left Paris with the Cross of the Legion of
Honour, and a pension of four thousand francs, resided in Naples,
as Director of the Conservatory. The old master, who thought
a good deal of himself and his music, and who was by no means
delighted at the increasing fauio of his young rival, still possessed
tact and prudence enough not to show his weak side to the eyes of
the world ; ho replied with a great show of politeness, that he
could only approve in every respect the selection of the subject,
and that he was firmly persuaded that Rossini's bright genius
would win new charms from the old text, on account of which
he could only congratulate in advance him and all the stages of
• 1'ietro Bonavrntura Trnpassi, called 3feto*ta*io (who was bom in
Aasisi. on January 3rd, 1099, and died m Vienna, April 12th, 1782.)
had already in bis fourteenth year written an opera-libretto, It Qiuttino.
In 1721 wa. bis first opera, Bidone Abandannata, with iau»ie by
Domenico Sarro, produced in Naples. Besides the above, bo has also
written Arlaxerxet, Atiilio, Segoto, Temufoele, L<i CUmema di Ttta,
Altttandro ntlt InAia, and many other operas, which, collected in trn
volumes, were published in Paris, 1755, and dedicated to tht M snpiise
de Pompadour.
t Lorenso da Ponte (who wa» born in Anodi, 171M, and died in New
York, 183C,) wrote for Salieri the Dannidet, and many other operas; tor
Martini, the Tret of Diana; and for Mosarr, Ron Juan and Figaro1'
Wedding.
J Qiambattista Coati (who was born in MontcGawon, 1721, and died
in Paris, 7th February, 1808.) was, after MeUaUsio'a death, create*!
Court-Poet by the Ktnperor, Joseph II, and wrote La Orottadi
Trofonio, and II Rt Tcodoro in Yenetia, for Paisiello. As a cariosity,
wc ought to mention that a third comic opera, for which wo are indebted
to the poet of the " animali parlanti," is named Catilina. Tho hero of
tin. trag-ico-comic subject is old Cicero, who, amongst other thing*,
sings an aria bull's, which contain* a very comic parody of his oelebrsted
September 11, 1858.] THE MUSICAL WORLD.
Italy, which might anticipate a new master-work. Rossini,
delighted and intoxicated with the laudations of the old master,
began his new opera with fresh courage.
Nobody in all Italy was more anxious about the success of
this new opera than the Knight Paisiello. He said tu himself,
" If hit Barber pleases, then mine will be lost ; does he not
please, as I expect, then the descending star of my fame will
flame forth with new splendour, and eclipse the new star."
But the old artist did not live long enough to see this question
decided. Giovanni Paisiello died on the 6th of June, 1810 i*
and only three months after his death was Rossini's Barber
performed fur the first time, at the Theatre Argentina. Signora
Giorgi aang the part of Rosina, Garcia that of the Count Alma-
vira, Zamboni that of Figaro, and Boticelli that of the Doctor
Bartolo. In respect to the opora itself, which must be well
known to every one of our readers, we will add only a few
lines. Tho Barber of Seville is, according to the best judges, one
of the finest leaves in the laurel-wreath of the "Orpheus of
Pesaro." whom a German poet surnames the " Helios of Italy."
The whole opera resembles a thousand-coloured Bengali-bird,
which has bathed it* glittering feathers in the smiling aurora
and the pearling morning dew; every note is a pearl of dew,
trembling on a rose-leaf. The whole score seems to be
written during an inspiration produced by champagne ; every
number, every measure, of this opera, bubbles and rises in
pearls — foams and boils like rose-coloured CSil do Perdrix.
One sips down this music like a bottle of Cliquot, and feels
himself so intoxicated with the sharp gas of precious melodies
and the pearly foam of their rhythm, that one might throw
himself heels over neck into the sea of voluptuous sounds, to
dabble about like a gold-fish in these sunny, blissful, crystal-
clear waves, which, resounding and singing, caressing and
murmuring, glide past us. If Rossini had never written any-
thing else than this Barber of Seril/e, thia one opera would be
sufficient to secure 1dm one of the first places amongst the
greatest composers of all times.
And nevertheless this charming music met only with a
partial success during the first performances. The public was
divided into two great parties— Paiaiellouiata and Rossiniani —
which, as centuries ago, like Neri and Bianchi, or Guelphs and
Ghibellins, were opposed to each other as deadly enemies.
Paisiello's enemies praised Rossini up to the seventh heaven,
whilst Rossini's adversaries did the same with the dead Pai-
siello. At that time the old and new music of Italy entered a
conflict for life and death, which was only afterwards decided
in Paris, and procured tho living tho victory over the dead.
Paisiello reposed on the bosom o? mother earth, and Rossini
stood in the zenith of his fame, tho beams of which, like the sun,
traversed the whole world.
About thia time Rossini wrote to Signora Colbrand, with
whom he had entered into a secret correspondence.
..." I wish my fair friend could now bo at Rome, in
order to witness my new triumphs. My Barber makes more
friends from day to day, and knows how to insinuate himself
Into the favour of even the most bitter enemies of the new
school, so that they learn to love him more and more, even
against their own wishes. Almaviva's serenade is heard every
night in all the streets ; Figaro's great aria, 'Largo il Factotum,'
is the great favourite of all basso singers, and Rosina's ravatina,
' Una voce poco fa,' the evening song with which every beauty
retires, to wake up in the morning with tho words : ' Lindoro
mio sera,' (Yea, Lindoro will be mine !) But more than my new
opera, my dear angelique, will interest you — a new salad, which
I have invented a short time ago, to tho great delight of all
gourmands. I hasten to lay the receipt before you : Take a
bowl, pat into it Provence oil, English mustard, French vinegar,
a little lemon-juice, pepper and salt, mix all the ingredients as
well us you can, and then flavour them with truffles, cut into
small pieces. The latter gives the salad a nimbus which charms
every gourmand into the greatest admiration. The Cardinal-
Secretary of State, whoso acquaintance I made a short time ago,
• He was bom in TW, Ms, £*b, 1741.
gave mo his Apostolic Benediction for this discovery of i
But to return to the Barber : in the second act, which, to speak
candidly, is weaker than the first, the following pieces meet with
much favour : the duetto between the Count, in the disguise of a
piano, piano.' The least pleasing is the quintette, in which the
fever-sick Basilio goes off and returns again. I myself must
acknowledge that Paisiello's is much more simple and graceful
than mine. Do not neglect, my dear angelique — the sooner the
better — to convince yourself respecting the delicacy of my now
salad. I am delighted to hear that you, my dear Colbrand, have
taken the bride of our young friend under the wings of your
protection. Master Sneeae-wort is well, and progresses so
rapidly that yon will be surprised. Taken all together, I amuse
myself here tolerably well, but am almost in despair because wo
have very few, or scarcely any good oysters. When yon, in
divine Naples, luxuriate m /re*A oysters, do sometimes think
of me.
" P.S. — I almost forgot the moat important thing : I have
commenced a new opera, and hope to bring it with me to
Naples. Until then, do not forget altogether, your
" G. Roaann."
In the beginning of January, 1819, the writer of the above
letter returned to Naples, covered with glory, and loaded with
gold.
Halifax. — A firm of pianoforte makers, carrying on their busi-
ness, not on the most extensive scale, in Horton-street, nnder
the name of Messrs. Hartley and Kitchen, on Wednesday last,
brought their troubles before a jury in the Halifax County
Court. The jury was composed of Messrs. T. H. Garlick, J.
Stott, J. Hudson, J. Fox, and T. Newsome. It seemed that at
the early part of last month, August, they agreed to dissolve
partnership. Tho pianofortes in the workshop were sold to
Messrs. Pohlman, music-dealers, of Halifax. Three pianofortes
belonging to the firm were exhibited for sale in the shop of Mr.
Lockwood, watchmaker and jeweller, Crown-street. A fourth
instrument was out on hire at the Fleeoe Inn. Hartley is a rela-
tive of Lockwood, and he pretended to have sold him the four
pianos for £60, half of that sum being paid in money and the
other in watches. Hartley having obtained these started off to
the Isle of Man, Liverpool, Huadersfield, and lived "rather
fast." Some doubts existed as to whether the transaction with
Lockwood was honest. An action was brought against Lock-
wood for the value of the pianos, and the jury believing it not to
have been a bond fide transaction, called ujton Lockwood to pay
tho sum of j£40 in respect of the instruments. — Leeds Intelli-
gencer.
Baden-Bades. — A grand concert was given here on the 29th
of August, for the benefit of the Hospitals of tho town, under
the direction of Hector Berlioz. The orchestra was selected from
the talent of Baden, Carlsrnhe and Strasbourg. Among the
noticeable pieces was the symphony with chorus of M. Berlioz,
entitled Romeo et Juliette — or, more properly, the four first part*
of tho symphony — and the overture to Euryanthe, Herr Litolff
performed, with the orchestra, the allegro, adagio and tcherw of
his fourth Sifmphonie Concertanie. Tivier executed some new
morceaux on the horn with irresistible effect; and Mad. Chorion-
Demeur added largely to the attractions by her singing. In
the favourite air from the Domino Noir, and the beautiful song
from the Nob* di Figaro, "Deh vieni, non tardar," more
especially, she was overwhelmed with plaudits.
St. Pctxhsburgh. — The following is a list of tho company of
the Italian Opera for the forthcoming season : — sopranos — Mes-
dames Bosio, Lotti della Santa, Bernard!, and Dottini ; tenors —
Sigs. Tarn be i lik, Mongini, Calzolari, and Alessandro Bettini ;
barytones — Signors Ronconi, Debasaini and Everardi; batti
profondi — Signors Mar mi and Polonini. Madame Ferraris
will be premiere danstust. Among the new operas to be pro-
duced are mentioned La Juivt, by M. Halftvy, and Simon
Boccanegra by Signor Verdi.
Digitized by Google
584
THE MUSICAL WORLD. [September 11, 1858.
ROYAL PRINCESS'S THEATRE.
UNDER THE MANAGEMENT OF MR. CHARLK8 KHAN.
MR CHARLES KEAN'S FAREWELL SEASON,
aa MANAGER of tho ROYAL PRINCESS-.* THEATRE, will commence oo
Saturday, the 2nd October next, iiiJ couctuJo on Saturday the 8Mb July.
pREAT NATIONAL STANDARD THEATRE,
VJ SHOREDITCIT. — Proprietor, Mr. Jons Docolam.
Last five nlgbta of tbe eminent tngedUns Mr. Jauiiii Au'lent :i a*i>l Miaa
KUwortby. They wUt appear during the week in COillOLANUS. MACBETH.
OTHELLO, 4:c. Opening night of Mr. Kim» Rcevna' Engagement, who will
positively appear ou Haturdny next. HeiHeml'cr 18. The whole of the Band of
the Pruoeaa'i Theatre, conducted by Mr. Imacaon. DouMc Chorus, and every
effect of aeeoery, coaturoa, Ac. Tlie Theatre entirely nwleeorated. A new
D.'frio» end Son. Tho new and aplcndi.l
mud centre chandelier, by'M
Puri.Un anlnon for upper ami
worth a vlalt, will be completed
for tui. all important
THE MUSICAL WOULD.
LONDON, SATURDAY, Siptemhieb 11th, 1858.
Miss Louisa Pyne and Mr. W. Harrison have displayed
sound judgment and good taste in denominating their new
undertaking at Drury Lane simply " English Opera." With
the com | .any brought togetlier under their joint management
it would hardly have been politic to have prefixed the title
of " National." As several of our most accomplished singers
have been excluded from, or, more projierly, have not been
included in, tho troupe, the appropriation of the latter term
wuuld not havo redounded to their credit. " English opera"
is a general designation, which challenges no scrutiny, and
consequently, ns far as regards nomenclature, tho managers
have forestalled animadversion. Merely as an English
Operatic Company, therefore, wo sire to consider tho new
speculation at Drury Lane. The prospeotus lias been issued,
the names of the principal artists aud band supplied, the
chorus indicated, aud the acts, view*, aud intentions of the
management set forth in full.
The band is unexceptionable ; the efficiency of the
chorus is guaranteed by being selected from the Royal
Italian Opera corps; while the name of Mr. Alfred
Mellon, as conductor and musical director, gives strength
and dignity to tho enterprise. Iu tho prospectus,
however, wo are startled by tho declaration that "Miss
Louisa Pyne and Mr. W. Harrison have spared no exertions
to olrtain the very highest available English talent; and they
confidently trust that the result of their endeavours will
enable them to present every opera with a completeness and
excellence in all respects worthy of a national undertaking."
Now, the very highest available talent in England must
be centered in the persons of Miss Louisa Pyne and Mr. W,
Harrison, since, besides themselves, we fail to discover a
single name of any noto in the list of the company —
although every artist is dubbed " celebrated" in the pro-
spectus— a stretch of the imaginative worthy of Dunn
himself. This, to say the least < if it, is not complimentary
to native talent, while the merest tyro iu musical matters
must perceive at a glance that tho " very highest available
talent " is far from being secured. Under the circumstances,
it would have been as well to have made no allusion to
" excellence in all respects worthy of a national undertaking."
In addition to being altogether chimerical, it spoils the
modesty of the title.
" The ambition of the present management," we further
learn, " is to establish English Opera upon a firm and
|iermanent basis," and Miss Louisa Pyne and Mr. W.
Harrison flatter themselves that the foundation is laid.
Much has been effected, certainly, towards achieving so
desirable a result, but much, we maintain, haa yet to be
done before an English lyric theatre can lie established.
What would be said, we may ask, if an operatic that re were
started on the Continent, arrogating to itself the title of
" National," and setting out with pretensions to a sure and
|ienuanent foundation, which could boast of one teuor and
one prima donna only in the company ? The answer is
inevitable ; anil yet, beyond the names of Miss Louisa Pyne
and Mr. W. Harrison, we vainly search in the Drury Lana
troupe for a first soprano or a first tenor. Miss Louisa Pyne
and Mr. W. Harrison, wc need hardly say, are both excellent
artists and great favourites of the public ; but they canuot
sing every night in every <>}>era with impunity, and should
one bo taken ill the performances must be discontinued. It
is a good thing to moke provision for a rainy day, ami,
however sound and vigorous the constitution of a singer may
be, he cannot for tliat reason claim immunity from casualty or
complaint. Although Mr. W. Harrison is as strong, salu-
brious, and as capable of endurance as an Orkney boatman, a
petty piece of orange peel in Russell-street, or an underdoue
cut of salmon, with or without cucumbers, may incontinently
lay him supine on his couch or four-poster, to say nothing of
fogs, and east winds, and infections, and colds, and catarrhs,
aud the villainous lumbago, foe to thin loins. Nor, by'r
Lady, are ladies more exempt from disaster and disease thin
the rougher sex: nay, if less exposed to out-of-door mishaps,
they are more subject to skyey influences and their thousand
ailments, whereunto the slender texture and cireuinserilied
limits of their apparel largely minister. So that even Miss
LouUa Pyne, whom the doctors Late for her invariable
robust health, and to whom Fortune has always proved such
a kind godmother, may fall down before the rheumatism or a,
sprained ancle. Miss Louisa Pyne and Mr. W. Harrison
cannot lie all in all in their company, and it behoves them
in time to look out for " doubles," as they call them, who
may fill their places at need.
The performances commence on Monday with Ths Ron
of CattUk, « the highly flattering run of which," we are
assured, "was only interrupted by the termination of the
season." Not to speak irreverently of Mr. Balfo's new opera
we dread a second inundation of this " prosj>erity." In the
palmy days of the Bunn dynasty at Drury Lane — where, for
reasons best known to manager and music-publisher, a run of
some 100 nights was wont to be achieved for the smallest
success — we were ever among the most strenuous opponents
of a system which hood winked the public and served to
militate against the best interests of art. Let Miss I/ouisa
Pyne and Mr. Harrison set their faces against such dubious
trafficking. To force an oj>era ujjou the public, however suc-
cessful at first, can only result in general distaste, and can
only servo to benefit tho publishers, those millionaires of
music, who feed fat on the brains of others, and whose
interests compel them to care little or nothing whatsoever
for art.
MartJta — proclaimed in the prospectus " the great triumph
of the last season at the Royal Italian Ojiera," which most
decidedly it was not — will be produced on Thursday, Miss
Louisa Pyne and Mr. W. Harrison, of course, sustaining the
principal parts. An opera better adapted to display our
prima donnas brilliant talent to advantage might easily have
been found. Like Madame Bosio, Miss Pyne is essentially a
braimra singer, and to neither the Italian nor the English
eaniairice — wo surmise the latter — is the plain music of Martha
suited. In our next number, however, wo shall be enabled to
decide on this point, as far as relates to Miss Louisa Pyne.
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September 11, 1858.] THE MUSICAL WORLD.
Among the novelties promised are an opera by Mr. Balfe,
composed to order, and also an original oj>era, entitled
Rip van Winkle, " written expressly for the present manage-
ment by Mr. George Bristow," an American composer of
reputation on the other aide of the Atlantic. We shall be
glad to hear both works. Of Mr. Edward Loder's opera,
Affnes and Raymond, mentioned some time since in the
Musical World, as accepted by the management, aud of
Mr. Frank Mori's new work, also alluded to, the prospectus
is silent. As the season extends to thirteen weeks only, we
may conclude that it wonld be found impracticable to get
ready more than two new production*.
The performances will conclude nightly with abtdlel diver-
tutement, for which purpose Mesdlles. Morlacchi and Fus-
quale, from Her Majesty's Theatre, and Madllo. Zilia
Miehelct, with a corps tie ballet selected from Her Majesty's
Theatre, and M. Petit of the old Opera as ballet-master, arc
engaged. In fact then! appears to be no want of enterprise
on the part of the management, and with so much that is
good a fair amount of success must bo anticipated.
We have not the slightest objection in the world to Mr.
Peter Paterson, late comedian of the theatres royal and
rural, writing his own life. Nine out of every ten of our
acquaintance would rather talk about themselves than
about any one else, and wo do not see why we should except
Mr. Peter Paterson from the general rule. Of his book, we
know nothing, for he has not sent us a copy, and we art' not
sure that we should read it, if ho did. Nine out of every
ten of our acquaintance, with all their propensity to pour
forth their own auto-biographies, would rather do anything
than listen to the auto-biographies of their similarly disposed
neighbours, and we do not profess to bo an exception to
the general rule.
However, live and let live. Let Mr. Peter Paterson live
his own life, and when he fancies (wrongly we trust) that he
is approaching its tcrmination^et him write a book, and tell
all about it to those who are willing to read. We have no
objection, we repeat. But we do object to articles of this
sort, appearing in the Morning 1'ost, d propot of the con-
fessions of Mr. Peter Peter son :—
"This ia, we believe, the rentable history of » .trailing players snd
its publication, by Gripping the profession of the tiniel in which it is
generally dressed by the Imagination, may ssto many a foolish youth
from wrecking lib prospects in life, and even life it«elf, by donning the
aoek and buskin in the fallacious hope that be will become one day a
theatrical star of the first magnitude. From the confessions before us
it is but too elcar that the life of a stroller, and almost overy great actor
lias been at one period of his life a stroller, is a life of bitter suffering,
deep mortification, occasional starrstion, to be avoided only by shifts
for which honesty can find no other apology than necessity— ending in
otter ruin and degradation. The exceptions arc not perhaps one in ten
thousand ; and of these exceptions many should be regarded like Coak
and Edmund Kcan, rather as bcaoons to aroid than lures to enter upon
a life of vagabondism, on tho very threshold of which self-respect, and
too often integrity, must be wholly discarded. The work is well written,
and contains a great deal of very amusing anecdotical information. It
is to bo hoped it may obtain a titrga circulation, as by baring the
skeleton to the gnze of the young theatrical amateur, it may deter him
from entering upon a career in whioh the least cril will bo tbo ruin of
all his worldly prospects."
The reasoning of the above brilliant effusion, if reduced
into syllogistic form, would stand thus :
Mr. Peter Paterson, liaving become an actor, did not
succeed ;
Mr. Thespis Crichton became an actor:
Therefore, Mr. Thespis Crichton did not succeed.
The form contemplated is styled by early logicians " Bar-
bara," but the form attained, may be by analogy termed
" tfirbara," a wretched word, equally horrible to lovers aud
to syllogists, bnt arising from the vicious substitution of a
particular for an universal in the major premiss. [Those
of our readers who do not understand this paragraph, had
better pass on quickly to the next.]
There is no doubt that in the theatrical profession, as in
every other, the number of blanks far exceed tho number
of prizes, and that he who hopes to be chi«f man of Ids day,
is very likely to be disappointed. But is this passage from
hope to disappointment peculiar to tho theatrical profession ?
Surely there are many men who have been called to the bar,
and who, after indulging in dreams of the woolsack, now sit
shivering in wretched attics, which they ouphuutically
term "chambers," with scarcely any prospect whatever.
There are classically educated curates who do the work of a
Florence Nightingale in addition to the performance of their
ecclesiastical duties, for some fifty pounds. There are
industrious tradesmen, who hope to retire to Blackhcath, but
drop unexpectedly into the Gazette. There are stock-joblters
who "waddle" without deserving the ignominy of the "black-
board." Besides these, there is a countless mass of persons
— (he mass in short — who have not had so much as the
luxury of£a disappointed hope,— who have never had any
aspirations at all. Take the whole multitude of tho working-
classes — the rank and file of the army — the man before the
mast in the navy — and after making allowance for a few
very rare exceptions — ask, to what will any of them come ?
Look a little higher — at the clerk-world, — at the men bound
to a ledger, recording the fluctuations of property not their
owu, and struggling to maintain a large family and a decent
appearance on the scantiest of salaries. Are wo to suppose
that among all these there aro no Peter Pateraons to be
found, who, on the evidence of there own experience, could
stand as so mauy warning spectres, and caution people to
avoid the bar — the church — the shop — the stock-exchange
—the counting-house — and the atelier I
Nevertheless, when people deplore the misconduct of some
lad, who leaves a previous vocation through a passion for the
stage, they generally imagine that he has wantonly leaped
from Elysium into Tartarus. If they would only be pleased
to consider that in many, — even bad cases — the mistaken
individual simply walks from one state of misery into another
they would be less profuse in their lamentations.
If Mr. Peter Paterson simply meant to teach tut, that
every man who comes out as Handel will not attain the
professional and social position of Mr. Charles Kean, we
should certainly admit that ho intended to diffuse sound
doctrine; and if his book sold upon tho strength of it, we
would write another proving that every old gentleman
who wears a pig-tail (like Mr. Selby in bis last new and
very excellent piece) must not on that aosnunt expect to
become Emperor of China. But when the Morning Poet,
perched on tho shoulders of the aforesaid Paterson, begins to
hint that there are no good pickings in the theatrical pro-
fession, beside tho big plum on the very top of tho tree, we
begin to look round us, aud contemplate what may be . died
the rank and file of the London companies.
And what do we see ? Why, we see n great quantity of very
mediocre talent very liberally rewarded. Mind, we are not
talking of the famous men, whom friends extol, whom
enemies decry, whom critics analyse, but of those who are
seen night after night, without creating an emotion, and
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586
THE MUSICAL WORLD. [September 11, 1858.
rarely become the subject of any comment wliatover. Sir.
Tiffin Small, who plays secondary gentleman in comedy, and
inferior lords in tragedy, would ho l>e mor«< prosperous in a
pecuniary sense, if his mighty mind were devoted to the
columns of a ledger, rather than to the study of a very alight
part I How much could be gained by Mi*t Kosctta Smirk,
who smiles so prettily, and whose talent stops at that agree-
able achievement, if "the doffed the eternal white muslin, and
devoted her energies to shirt-making ?
We pass over the semi-puritanical tone which pervades the
article, and would bo more suitable to the columns of the
Record than to those of the Morning Pott ; but sins against
c cannot leave nnnoticed.
THE BIRMINGHAM MUSICAL FESTIVAL
(From our own Correspondent.)
Fbidat, Sept. 3.
"Le Roi ett mort.'—Vive le Roi!" Such was the cry in the
time* of the old French monarchy, when the Bourbons occupied
the throne of France, and the fleurs-de-lys fluttered in the
wind ; when, despite the names of La Belle Vallie're, Madame de
Montespan, and Madame de Maintenon; of La Du Barry
and the Parc-aux-Cerfs, it was believed that kings could do no
wrong, though the most staunch royalist must allow they some-
times tried their talents in that line. " Le Feitival est mort !
Vive le Feitival 1" — yea — the Festival is dead! and many ardent
minds are already looking forward to the next. The last strains
have died away — the great conductor has vanished — the singers,
male and female, having packed up their carpet-bags and corded
their portmanteaus, have winged their flight, or are preparing
to do so, far away, and Birmingham is left to deplore their loss or
pray far their return.
The third and last miscellaneous concei t — by the way, the Ger-
mans have a proverb: "Alio gate Binge tinddrei " — took place
yesterday evening. The name of the pieces in the programme was
legion. Now I have no doubt the worthy burgesses of Birmingham
itaelf, together with the nobility, gentry, and inhabitant* generally
of the surrounding parts, were, as they should bo, hungering after
music. But it has always been held right not to give famishing
Cople too much at one time, and I think thia is a maxim which
a not always been observed on the present occasion. As I
have said— but I will say it again for all that— the name of the
pieces in the programme was legion. It would not take me
quite ao long to go through them as it did take Mr. Brunei to
Lore under the Thames, or as it will take the Sardinian engineers
to bore under the Alps. Still I must decline the task, for
varied as my style may be, and, I trust, tolerably read-
able, I am afraid my account may bo sicklied o'er
with the pale east of sameness now and then. But
I can assure the courteous reader— I call him " courteous,"
although my last remarks may have induced htm to
honour me with the epithet of ** vain idiot," or some other
designation equally complimentary — I can assure the courteous
reader thi* is no fault of mine. " Lei programme* m tut rent et
as reuemUent," which may be interpreted as meaning, in the
present case, that some of the corujiositions have already been
diaeuased, criticised, praised, or condemned in the ]>ages of this
journal. I will content myself, therefore, with merely men-
tioning the most distinguishing features of last night's enter-
tainment, which opened with Mendelssohn's symphony in A
minor, but why, I cannot say, unlets to show us how it ought
not to have been played. « Varium et variable, nm.icus" i* a
new reading of an old saw, which I take the liberty of suggest-
ing for the especial behoof of the orchestral fraternity. I could
hardly believe I was listening to the same performers who had
so distinguished themselves on the previous days of tho Festival.
The less said, however, the soonest mended, and it is to bo hoped
the future will make reparation for the past.
" Comparisons are oderous" and, therefore. I will draw none.
I will simply state that Mr.Ooata'asercnata, TheDn, i.«,com posed
to celebrate the nuptialaof the Prince*. Royal, went as smoothly
as a train on the Great Western. It was executed with a pre-
cision perfectly marvellous. The pre.it " hits" were the chorus:
" Make the car of a golden king-cup," and the serenade: " Oh I
the joy of truly loving!" the latter sung by Mr. Sims Reeves as
though he really meant it, and for which he was loudly, enthu-
siastically, and unanimously encored. The other artist* in the
serenata were Mad. Clara Novello, Miss Dolby, and Mr. Weiss.
This gentleman personated Oberon,Kingof the Fairies, forwhom,
under the circumstances, I could not help thinking a good sub-
stantial gig would have been a more appropriate vehicle than a
golden klng-cun. Among the other component portions of Part
I., were: " Hai gia vinto la causa," from L$ Sou* di Figaro,
Sig. Belletti ; "II mio tcsoro," from Z><m ./uai»,Sig.Tamberlik; and
the quintet: "8ento o Dio," from Cosl fan Tutle. Mad. Viardot,
Madlle.Victoiro Balfe, Messrs. Weiss, Belletti, andM. Smith. The
second part— but no, I must mention one more fact, which is,
" Non piit
that 1
pi it mesta" was
as only i
the
I ever heard
in to the niceties of light and shade,
complaint Compositions by such
foY conductors, however talented,
can sing it. Need I say that
inimitable Mad. Alboni 1
Now I msy resume. The second part contained two overtures,
that by Spohr to the Alchemist and that to Euryanthe. by Cart
Maria von Weber. The last was admirably performed by the
orchestra. Madame Clara Novello gave Mendelssohn'* teena,
" Infelice," with capital effect ; Madame Alboni, Rode'* varia-
tions with an ease and smoothness which caused an enthusiastic,
but evidently non-artistic gentleman next me to say, " it seemed
a* if she was cutting butter with a knife ." and MJlle. Vietoire
Balfe, "The last rose of summer," with a winning grace that
proved the " last rose " was not the last, bnt simply the last but
one, for she had to sing it again. Indeed, the andience were so
pleased that I was afraid they would not be satisfied with one
encore, but insist on having a whole bouquet of such roses.
Mr. Macfarren, also, contributed a very pleasing ballad, " The
Token," aung by Mr. Weiss with the feeling of a true artist.
The concert was excellently attended. There were 1,198
persons present, and the receipt* amounted to the tidy nun of
£f<38 10s.
The iMsrformancea this morning consisted of \
Lauda Sion, and Beethoven's Mas* in C.
executed. There might, perhaps, have been a little more ex-
pression, a trifle mo
but there was no cause for <
masters are ticklish things foV
and orchestra*, however practised ; their efforts seldom come
up to the ideal wo have imagined in our own minds, iust as,
perhaps, no actor ever reached the standard each individual
critic has act up of Hamlet or of Lear. After these cheft-oTaurre,
we bad Mr. Leslie's cantata, entitled Judith. I always expe-
rience so hearty a desire to foster the endeavour* of any
young composer of talent, — and no one will deny that
Mr. Leslie has a perfect right to be so considered, — that I prefer
making myself bettor acquainted with the score of Judith before
I venture to give a final decision as to the precise place it i»
destined to occupy among tho works of the present day. One
thing is certain : it is not what the Germans call a Meitterttmct,
though, on the other band, it is a praiseworthy production, and
contains some highly pleasing morceauj. The vocal solos were
confided to Mesdamea Viardot Garcia, Castellan, Messrs. Sims
Beeves and Monte m Smith, with whom the composer moat have
been well satisfied. The chorus and orchestra, also, worked
with a will. The audience were loud in their applause, and
warmly greeted Mr. Leslie, who was hi* own conductor, both
on his appearance in the orchestra, and at the e
cantata. The proceedings terminated with the l
There were 1,47* persons present, and the receipts amounted to
Xi.ici a». ill
The Festival concludes with a full-dress hall this evening at
the Town Hall.
The produce of the seven performance* amounts to £lOfiOO,
being about XI, COO less than the sum realised at the Festival of
1SW. I have heard some person* indulge in complaint* that
the inhabitant* of ths town did not take that interest ws might
they would take in a Festival not oaly^UvsJUii
in itself, but rendered
Digitized by Google
September 11, 1858.] THE MUSICAL WORLD. 687
virtue : Charity, which, like Mercy, " bleaseth him who gives
and him who takes." I think, however, that thia apathy on the
part of the inhabitant* may be, to a great extent, accounted for
by the scale of prices. I need not say, after the opinious 1
expressed in a former letter, I feel convinced that, now-a-days,
the great secret of success consists in moderate charges com-
bined with excellence, the one being perfectly compatible with
the other. On the whole, however, this year s Festival may be
regarded as a great triumph in the cause of two great principles
— Charity and Moaic.
THE BIRMINGHAM FESTIVAL.
(From Atru't Birmingham Gazette.)
The enormous receipts at the Festival of 1855 led the public
somewhat hastily to infer that a similar degree of financial
success would have been attained by the celebration which has
just terminated, and because this has not been tho case a few
persons have expressed some dissatisfaction. A moment's
reflection ought to convince those individuals that there is
really no ground for lamentation. Of course we, in common
with every supporter of theso great meetings, regret that the
receipts should not have been even much larger than those in
1855, but in reality we never expected that they would reach
the sum taken in that year. Threo years ago trade was in a
most prosperous condition ; but since that time tho country
has pissed through a period of almost unexampled de-
pression, tho influence of which is still very painfully felt.
But even for a prosperous time tho returns of 185* were
unusually large, having indeed been exceeded only once
since the establishment of tho ' Festivals, namely, in
1834, when tho sum received was £\3,r>27. In other'yc.iin
the receipts have fluctuated very considerably. In 1837, the
Festival after thu great year of 1 834, they fell to .£11, (KK), at
tho next Festival there was a further decrease to 11,000, in
1843 they were only £f*,(*00, iu IMC they advanced to ill 1,600.
in 1649 there was a fall to .£10,334, and in 1852 there occurred
a sudden leap to .£11,600. The receipts at the Festival just
over have been £10,800, and there is cvory probability that
before the books are closed £1 1,000 will have been received.
'Without taking into account any disturbing influences what-
ever, we are cutitled to consider this result as a decided pecu-
niary success ; but if we allow proiter weight to the depression
of trade, the
recent expenditure on the Queen's visit, and tho
e apathy manifested by many of our townsmen,
the inevitable deduction is that the Festival has proved satis-
factory beyond all calculation. Wo do not pretend to bo able to
assign any reasonable cause for the absence of so many resi-
dents in Birmingham from the Festival performances, and par-
ticularly from tho evening concerts— unless, indeed, the state of
trade furnishes a sufficient excuse. If there is no other reason
for this marked abstinence from attendance, we roust say that
the fact is highly discreditable to those who have participated in
tho neglect.
The Festival is conducted, at great cost and with immense
labour, for tho benefit of our noblest local charity, and those
who, haviug the means of attending, nevertheless abstain from
supporting the performances, and at the same time do not con-
tribute to the funds of the charity, seem to us very seriously to
neglect the duty that is plainly incumbent upon them— of assist-
ing to the best of their power the sick and maimed amongst their
poorer brethren. This is no case of speculative charity — the
Hospital cannot do without the help it receives from tho Festi-
vals, and every shilling not required for necessary expenses Is
paid over to the treasurers of the charity. On another ground
those who abstain from supporting the Festivals are almost
equally to blame. The musical distinction which these meetings
have conferred upon Birmingham has made the town famous
throughout Europe as the home of the grandest musical
celebrations ever witnessed. By national consent the highest
place in great musical celebrations has been conferred upon
Birmingham, and more than one town, in endeavouring to
deprive us of this well-earned honour, has learned to its cost its
the inherent strength of the Birmingham
Festivals. Is the good uamo of Birmingham as nothing in the
eyes of Birmingham men f To (put the matter on the lowest
ground — a ground so low that we are almost ashamed to allude
to it at all — as a matter of commercial gain it is the interest of
Birmingham people to maintain their Festivals in the highest
degree of efficiency, because the more attractive they can be
rendered, the greater will be the influx of strangers into the
town. That we are not speaking without reason in animadvert-
ing thus warmly on the apathy of some of our townsmen will be
seen from the following statement, which shows that the falling-
off in the receipts, as compared with some previous years, has
occurred iu connection with the evening concerts:—
Tuesday
Wednesday ...
Thursday ...
Friday
Ball
Scheme!
1855.
1858.
... £1,880 9 10 ...
... £2.485 C
8
1,497 8 8 ...
... 1,222 18
0
2, 80S 8 0
... 2,789 5
0
... 2,118 2 9 ...
1,360 15
5
£8,313 9 3
£7,858 5
I
XTKXIUOS.
1856.
1858.
... 4907 0 0 ...
... £641 12
0
1,077 17 0 ...
714 18
0
... 1,422 19 0 ...
688 10
0
£3,107 16 0
£2,045 0
0
273 17 0
192 18
0
£3.801 13 0
£2^87 18
0
438 3 0
317 4
0
£3,791 16 0
£2,555 3
0
tag performances are supported chiefly by the vice-
ndthe nobility and gentry of the district: the even-
Tho meruit
presidents and
ing concerts and the ball depend mainly upon the townspeople.
The former have done their part admirably, and to them the
thanks of tho friends of the Oeneral Hospital are eminently due ;
but the latter class, of whom more might have been expected
than of strangers, have failed to render thu customary measure
of support As we said before, we cannot account for this
coldness, excepting on the ground of bad trade. In former
years the Festivals have encountered powerful opposition from
a section of the clergy, but on tho present occasion, so far as we
know, this hostile influence was very slightly exerted, at least
publicly; and we are therefore the more at a loss to divine the
reason why tho evening concerts were not better attended, par-
ticularly as those concerts were far more interesting than they
were in 1855.
Whatever may have been the cauwe of the neglect, our original
position remains unassailable. If tho deficiency as compared
with the previous Festival was brought about by influences
other than those attributable to commercial depression, the
receipts prove that even without the una of the Birmingham
people a very largo return can be obtained ; and if, on the other
hand, the diminution in the receipts arises simply from the
adverse state of local trade, it needs no argument to show that
the Festival must have been wonderfully attractive to have pro-
duced so gratifying a result, notwithstanding the unfavourable
local conditions under which it has been held. Wo repeat,
therefore, that from whatever point of view it may be regarded,
tho Festival of 1858 has been a financial success. In conformity
with our custom, we present in the subjoined tabic a compara-
tive statement of tho receipts at the three last Festivals. We
may remark in passing, that a glance at this table will show
the fallacy of an opinion which has been expressed — that tho
diminution in the receipts at last week's Festival would have
been much greater but for the unusually large amount of the
donations. The inaccuracy of this statement is distinctly
shown by the fact that there is scarcely any difference between
the donations and collections for 1855 and those of 1858, the
amount received in the former year at the morning perform-
ances having been £1,475 6s. 9d., against £1,806 6s. fid. In the
Digitized by Google
588 THE MUSICAL WORLD. [Sbftember U, 1858.
— -
by means which may be open to exception, or which, at any rate,
cannot be said to flow from a pure unmixed fountain of Christian
benevolence. Strange to nay, too, these scruples have been re-
vived and disseminated under the auspices of the Dean and other
influential clergy ; nay, so vehement and assiduous is the attack,
that although the blow has not prostrated the victim entirely, it
has yet struck into the vitals, and on the next occasion it is
anticipated the " Meeting of the Throe Choirs" will quiver in its
death-throe at Hereford, under the auspices of the Dean and hi*
colleagues.
The real question is this: What is to become of the charity t
How are Mr** hundred jtoundt to be raised for the families of the
poor clergy in each diocese every year if these meeting sr«
extinguished t The opposition has not risen from the poor clergy,
but from the rich, from those who are placed in high position
and dowered with large incomes. The Dean and his friends may
be conscientious in their scruples, and they havo a right to their
opinions, but it is quite another thing to undermine the props of
an ancieut and beneficent charity, avowedly with all the weight
of authority, influence, aud example, without showing us first of
all what substitute they are prepared to offer. This conduct i»
both unjust and ungenerous. While they sleep on soft beds,
let them not tear the hard mattraas from utider tho widows and
orphans of their poor brethren, and leave them upon th*
bare floor, Bofore they shut tho Cathedral doors, let them tell
us where the £900 or .£1000 are to be raised, by what means, ami
by what machinery 1 These transactions, and tho remark*,
caustic and satirical, but richly earned, which have appeared in
the journals of tho dav, will serve to rouse the spirit of Glouces-
tershire i we are confident no exertions will be spared to nuke
the meeting of 1859 at Gloucester a brilliant contrast to that of
1B5H at Hereford.
1»58.
1855.
IBM.
£
».
a
s.
d.
£
d.
Tuesday Morning
2,304
11
■
1,8H9
9
10
2,485
0
8
„ KTening
442
12
607
0
0
(541
1:!
0
Wednesday Morning
1,044
1G
&
1,497
8
8
1,222
18
0
„ KtenioK
609
is
0
1.077
17
0
714
M
<>
Thursday Morning
2,751
1
E
2,808
8
0
2,789
6
0
„ Krcning
DM
0
0
1,122
19
0
G88
in
0
1'ridsT Morning .„ ...
1,003
10
1
2,118
9
1,300
15
6
Fivc-tluiaca Ticklljw. ...
89
5
0
115
10
0
8t
0
0
Mali
270
12
0
273
17
0
192
18
0
Schemes
305
0
0
410
S
0
317
4
0
Donation receded after')
the Festival )
t«
•J
0
7
52V
7
8
305
10
0
TOTAIS
11,090
6
10 12,745
1
2
11
10,802
17
1
GLOUCESTER IX RE HEREFORD.
(From the Gloucester Chronicle)
A stranuki. upon the point of visiting Herefordshire thought
it right before setting out upon his journey to get together all
the information he could with respect to its climate, its hind, its
productions, and the habits of its natives. Upon consulting the
Gazetteer he found the air to be salubrious, tho soil cither stiff
clay or light sand, ho|«s cultivated to a large extent, orchards in
every aspect and on every soil ; but what Btruck him most in
the catalogue of excellencies and peculiarities was the announce-
ment of tho extreme lougevity of its inhabitants. Every parish
seemed to rejoice in its centenarian, and none who escaped
.measles, small-pox, and hooping-cough, thought of dying before
eighty. This singular fact puzzled him ; how was hu to account
for it ) Was it something peculiar in the climate, in the water,
in the earth, or some wonderful organisation of the human
frame. He carried this interesting problem with him by rail-
way into the county, with a fixed determination to solve it
before he left ; but when he came in contact with Herefordshire
society he immediately saw through the mystery. " What
wonder," said he to himself, "that the-sc people should live so
long in a fat and luxuriant land when there is among them to
little tear and wear oftite body by the friction of the mind!"
Never was a fairer specimen of this Becotiw crassitude dis-
played than on the occasion of the late music meeting ; if the
more lively and elastic spirits of the county had not bestirred
themselves to save its honour and its reputation by exerting
themselves far aud nrar to avert the certainty of a* miserable
failure, to Hereford would have belonged the ignominious fame
of having put a stop to the meeting of the Three Choirs, after a
reunion auuually for nearly a century and a half. As it was,
indeed, true to their traditional inertness, the Herefordshire
people sei m to have had great difficulty in keoping awake ; a
dull leaden torpor invaded the Cathedral, the County Hall, and
the fingers which held the purse-strings ; neither grave nor gay,
neither the graud nor the solemn, neither the eloquent appeal
from the pulpit, nor tho still more eloquent eyes of those ladies,
who, " with pity's dewy glanco," beseeched aid for widows and
orphans, could touch the sensibilities, much less rouse to enthu-
siasm, the aggregate mass of Herefordshire worthies.
" But after all, it may be believed, if the Herefordshire people
kail been left to themselves things would have gone smoothly
and perhaps successfully. They were, however, not left to
themselves, but an under-current has been at work to sap the
foundations of the Triennial Meetings ; tho old reasons, or
rather prejudices, have been paraded against their continuance ;
for iustance, cither that the cathedral is a place too holy for the
most solemn iwissagcs of scripture to hi musically recited within
its walls, or that the excitement of the concert-room treads too
hastily upon the heels of the morning's sacred employment; or
that it is inexpedient to bring into the mother church of tho diocese
strange singing men and singing women ; or that the principle
is wrong to exact alms from the widows and orphans of the clergy
Tn« Hereford FestivaIt— (From tie CoMtittUional I'reu).—
The 135th anniversary of the Festival has, 1 am sorry to say,
proved a failure in a pecuniary point of view, though to the
visitors — who don't appear to be much distressed at the pecs-
niary liabilities of the stewards — the beautiful weather, thi
romantic scenery of the city and neighbourhood, and the plea-
sure of meetiug country friends from all parts, to say nothing
of the musical performances — have been sources of unmixed
delight. It is painful to hear rumours current among all
classes that the neglect of tho cathedral chapter to support th<
Festival, and the indifference evinced towards it by the country
gentlemen, may very probably lead to the dissociation of Here-
ford from tho two other cities in which the Festival is held.
Tho Bishop of Heroford, much to his credit, is understood to be
warmly la favour of tho continuance of the Festival, and hu
remained in tho episcopal residence to receive a very Isrgs
cotujMUiy, and to do,— almost alone, as far as the clergy
aro concerned — the honours of his cathedral city. A*
for the Dean, Mr. Dawes is known to be violeutly hostile to lb*
meeting of the choirs in his cathedral. He coolly absented
himselt from tho city during its continuance, and a strange
rumour asserts that ho took the key of the choir with him, *>
that visitors might be baulked of one portion, at least, of their
anticipated pleasure. Mr. Dawes is, I need not add, a liberal
and rank Erastian, one of dear Lord John's oroti^u, and *
clergyman with no more churchtuanship about him than Beaii
Close. Archdeacon Freer has also left the city in cotuetpienct of
the Festival j not from any objection to it on principle, bat
because he has, it is said, taken offence at some of the arraD^-
merits. Lord Sayo and Selo, one of the canons, is generally tbf
leading promoter of the Festival ; but he, too, is absent front
some cause unknown to me. But the most singnlar thing is tot
absence of the eminent precentor, no less a person than tns
Hov. Sir F. A. Gore Ousoley, Bart., who, one would have sup-
posed, would have been the hero of the Festival, a musical l'1*
highly acceptable in ecclesiastical as well as fashionable circle*
Where is he t every one asks. I heard that he was sulking »'•
Tcnbury, becauso he didn't want his anthem to be rarfonnedca
Tuesday I The whole arrangements have been, therefore, 1««
to Mr. George Townshcnd Smith, organist of the cathedral, whs
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September 11, 1858.]
THE MUSICAL WORLD.
589
h .i ■■ bad to overcome prejudices, to heal jealousies, and, after the
toleration of the "abominable Festival" had been "conceded" by
the diguitaries, to bear the whole trouble of the musical and
financial transactions. How differently they manage matters at
Worcester I can speak from a most pleasant experience of last
year. The Bishop patronising the festival — the Dean heading
its 8up|>orters in the most active and energetic manner — all the
canons glad to have an opportunity of showing off their cathedral
to the best purpose, and of exhibiting their profuse hospitality
to their visitors — several country and city clergy aiding in the
arrangements — daily service in the choir of trie cathedral —
pleasant parties in the Chapter Mouse at the close of the day, —
these have been more agreeable reminiscences, Mr. Editor, than
I shall take with me from Hereford, with its "rubbish-littered"
churchyard, its cathedral given up to masons, its "recusant"
and "malignant" Chapter, and, by consequence, its
diminibhed number of atteudanta at the Festival. With the
difficulties before him, Mr. Smith's success has surprised me.
Nothing but genuino enthusiasm, undaunted courage, and un-
flagging wal could have enabled him to overcome the hostility
of blockheads and the indifference of stupid creatures, aad to
perfect, single-handed, all the business transactions of the
Festival.
Hkreford.— By way of conclusion to the record of the Fes-
tival doings, we may mention that at the meeting of the stewards
on Saturday last, a statement of the accounts was read by the
conductor, Mr. Townshend Smith, from which it appears that
notwithstanding the fears entertained of the financial results of
the Meeting, the adverse balance was not a hundred pounds
more than that of the yearlSSS. At the same meeting four-
teen gentlemen consented to act as stewards for the next moot-
ing, 1861 ; and a confident anticipation was indulged that the
list of twenty-five would bo completed by the end of this week;
many gentlemen interested in the continuanco of the Festivals
having signified their willingness to co-operate to that end,
though they had not given positive authority to use their names.
But a suggestion was thrown out, which we take the liberty of
at onco endorsing very cordially, that to secure the future
stewards from greater individual responsibility than £25 each,
a guarantee fund should be provided by the city. We feel
confidcut that an arrangement so reasonable will at once meet
the concurrence of the " Town and trade of Hereford." With
regard to the collections for the Charity, we are happy to bo
able to add that the meeting has been a propitious one. In
addition to the sums announced hi our last, donations have been
received which have swelled the total amount beyond the
receipts of the last Festival. The detraction and disability
under which the promoters had been so undeservedly labouring,
put it into tho heart of a generous and benevolent lady, Miss
Wolferston of Tamworth, to send the splendid donation of £100
to thu Charity funds. The interest of the " Worcester Fund "
brought another £60 into the collecting-plate, lit addition to
this, other handsome contributions have been received by the
treasurer, and we learn on enquiry to-day (Tuesday), that the
gross amount credited to the use of the Charity is now
i,'!)H> 17s. 4d. It only remains to be added that tho stewards,
before separating, mado fitting acknowledgment, in the way of
formal "thanks," of their obligation to tho Lord Bishop of
Hereford, for his cordial co-operation, and to their chairman,
the Rev. J oka Hopton, for his attendance to his duties. A
resolfitlonirM also unanimously passed "That the thanks of
the stewards be given to Mr. Townshend Smith for his indefati-
gable exertions in making tho necessary arrangements for the
Festival, and bringing it to a successful issue." — Hertford
Journal.
Hhrbtord McstcAL Kkstivai — The collection for the charity
is one of tho largest ever known, it amount* to ,£1000 1 7*. 4J. ;
and as contributions are still coming in, hopes are entertained that
when tho account is made up, a great addition will be mado to
the sum now announced. The list of Stewards for 1861 will be
published as soon as complete, it is filling rapidly. At the
recent meeting of stewards, thanks were voted to the Bishop,
fTiairman, and Conductor. (Communicated.)
TIIE LEEDS MUSICAL FESTIVAL.
Lreos, Sept. 8th.
H.»n Diogenes, with his proverbial lantern, visited Leeds
during the last few days, I believe, from what I know of the
inhabitants, ho would have found an honest man a great deal
sooner than a comfortable lodging, supposing, of course, that,
as he came out to enjoy himself, he would not have been con-
tented with his usual tub. The town is crammed to suffocation,
for it must be remembered, not only is this the first grand
Musical Festival held here, bnt ner Majesty yesterday opened
the magnificent Town Hall in which the Festival takes place.
Of the Royal lady's reception, of the frantic enthusiasm of the
countless Lecdites and others who lined the streets, the wm-
dows,} the roofs, and every point from which a view could
bo caught of tho procession; of the triumphal arches, the illu-
minations, and the transparencies, I shall say nothing, as de-
tailed accounts of all these tokens of the loyal feelings entertained
by the people of Leeds towards their gracious Sovereign, will, ere
this appears in print, have been circulated throughout the country
from the Land's End to John o'Groat's. There isonlyone fact con-
nected with this grand demonstration of free men to a constitu-
tional queen which falls more especially within my province, and
which, therefore, I am bound to mention more particularly. I
allude to the vocal welcome given by the charity children as their
Queen passed Woodhouse Green. Nearly 27,000 of these little
creatures were located on two immense platforms, one on each
side the route pursued by the royal carriage. In order to ensure
uniformity with such immense numbers, the musical conductor
was assisted by Bigual-meu, provided with boards bearing
various inscriptions, such as : " Prepare to cheer," " Sing," etc
At Inst, after the poor little things had patiently waited for some
h ours, the royal procession approached, and the signal-boards
with tho words : " Prepare to cheer !" were hoisted above their
tiny heads. A few minutes afterwards, such a cheor, or scries of
cheers, burst out, re-echoed by the shouts of the older spectators
who thronged around, that a person must have been devoid of
every spark of feeling not to ha we been deeply moved. Hush I the
conductor waves his wand, and the same little voices unite in
the National Anthem. Whoever heard the sublime effect of the
words: " God save the Queen," thux pealed forth, must have felt
proud of being an Englishman, if he was one, or, if a foreigner,
must have wished he were. Happy the Sovereign thus spon-
taneously and affectionately greeted. Not all tho despots of tho
earth, with all their armies, spies, dungeons and scaffolds united,
could command such a tribute. At Her Majesty's command, her
carriage stopped until the conclusion of the anthem. Her Majesty
is more than a queen — she is a good and fond mother, and it will
l>e long ere she will forget the grand, impressive, thrilling sensa-
tion produced by thu littlo choristers on Woodhouse Moor. I
forgot to mention that the children were of every religion. Was
not their common greeting to their Queen calculated to convey a
deep and lasting lesson to their yeung minds) Was it not calcu-
lated to make them remember — and will it not, perhaps, do so—
in after life, that, though differing in creed, Protestant, Dissenter,
and Roman Catholic, may all be united by a bond of love ?
I have seen the New Hall. It is a most magnificent edifice.
Of course, I shall not be expected to give a detailed and archi-
tectural description of it. ior that, your readers most search
Th« Builder. I may mention, however, that it does the greatest
credit to the architect, Mr. Bred rick, and the corporation of the
town, who enabled him to realise so artistic *ud vast a design.
The Grand Hall ia 161 feet long, 72 feet wide, and 75 feet high.
At the north end ia the now and splendid-looking organ, built
expressly for the Hall by Messrs. Gray and Davison. It was
designed by Messrs. Henry Smart and W. Spark, aud erected at
the expense of the corporation of Leeds. The case is from the
designs of Mr. Brodrick, the architect of the building, and, con-
sequently, in strict keeping with tho Litter. Thcro are uo galle-
ries, if I except a small one over the end opposite the organ, a
circumstance which greatly tends to lend an appearance of space
and grandeur to the Hall. I am glad to say that, as for as the
short experience of this morning goes, its acoustic properties
Digitized by Google
590
THE MUSICAL WORLD.
[September il, 1858.
The work selected to inaugurate this fine building was worthy
of the occasion, being no lean a composition than Elijah, and the
manner in which it was executed was worthy of the work, as
well as of the conductor, Professor Bennett. Every blossom of
hope fostered by the appointment of this gentleman, has borne
the fruit of accomplishment I sever listened to a more
artistic, faithful, and comprehensive performance of this master-
piece. One great feature was the tempo, much slower than that
generally adopted, and much mora in keeping with the inten-
tions of the gifted composer. The performance of the overture
was a perfect gem, for which the gentlemen of the orchestra
deserve the strongest eulogiums. All the principal singers, too,
including Mad. Clara Novello, Mad. Weiss, Misses Palmer,
Helena Walker, Crosland, Freeman, Messrs. Sims Reeves,
Weiss, Santley, Winn, Inkersall, and Hinchcliffe, as well as the
members of the chorus, tried their best, &ud succeeded, to
prove themselves qualified for the heavy responsibility
thrown upon them. Indeed, the performance was one
perfect whole from beginning to cad. The audience, who
showed their taste by abstaining from encores, were moat enthu-
siastic, and rewarded tho artists with thunders of applause,
moat richly merited. Professor Bennett, also — who, by the
way, is a Yorkshiroman, claiming Sheffield for his birthplace—
was most warmly greeted on making his appearance in the
orchestra, Mr. W. Spark presided at the organ. There were
1,800 persons present.
Thubsdat, Sept. 0th.
The first miscellaneous concert last night was as successful as
the oratorio had been in the morning. It opened with Mozart's
symphony in C major, which was, on the whole, satisfactorily
given, though, perhaps, not quite so well as could have been
desired. This was followed by — Air, " Dove Bono," Madame
Weiss — Mozart ; Aria, Mr. Santley — Bossini ; Part songs —
IL Smart and J. L. Hat t on ; Variazioni, Madame Alboni—
Bode ; Violin solo, M. Sainton— Sainton ; Scena, " Robert, toi
que j'aime," Madame C. Novello— Meyerbeer ; Duet, " Morte o
colpa," Miss Palmer and Mr. Santley— Donizetti ; Scena, "O,
'tis a glorious sight," Mr. Sims Reeves— Weber j Pianoforte
concerto, O minor, Miss A. Goddard— Mendelssohn. All the
artists sang well and were liberally applauded, especially Mad.
Alboni in Bode', well-known ■ Variaaoni." One of the greatest
treats of this part of the programme, however, was Miss Arabella
Goddard 's rendering of Mendelssohn's concerto. Never did this
young and talented lady play with greater feeling and expres-
sion. Never did she play with greater technical skill— Tinker-
fertigktit, as our German friends have it She evidoutly wished
to prove to a Leeds audience that she deserved the praises in-
variably accorded to her by those critics who have heard her,
praises which those who have not experienced that pleasure,
might, perhaps, fancy were exaggerated. And she succeeded.
There was but one opinion when she quitted the piano, and that
opinion was that Miss Arabella Goddard is the greatest of living
pianists, both as regards deep and feeling appreciation, and
wonderful manual dexterity, the latter being always made sub-
servient by her to the former, and not employed, as is so
frequently the ease, merely to gratify the player's own vanity.
The great source of attraction, however, yesterday evenmg,
was a new « Pastoral," entitled the May Queen, composed by
Professor "
Jrai, entitled the May Queen, compos*
himself, the text, or libretto, being furn:
irioy, who has performed his task in a
by Mr. H. F. Chorloy, who has performed his task in a m
pleasing manner.
The story is sounded on a quality destined to last "not for au
age. but for all time," namely, woman's coquetry. The period
of the action is May-day in the good old times. The May-queen
has been long wooed by a fond and constant swain, but, like a
great many others of her sex—'4 Bien fou qui s'y fie," as Francis
the First said— has a natural taste for a little bit of flirtation.
This taste she indulges with a forester called Robin Ilood, who,
resolving to make the best of the occasion, endeavours to embrace
her. This, of course, excites the ire of her old lover, who
formulates his indignation In the shape of a blow administered
to his enterprising rival. As this argutnentum ad hominein is
propounded on the royal domain, the unhappy young man
rendered himself liable to have his hand chopped off. V>
affairs are in this unpleasant posture, the Queen herself arrives, and,
having learnt the true state of the case,and found that the offender
was fully justified in what he has done, remits the penalty, with
an injunction to the erring fair one to bo faithful to her old love
and turn a deaf car to Robin Hood, who, after all, is not a bold
forester, but a noble attached to the court, who has assumed his
rustic diaguiso for purposes best known to himself, but which we
are all, probably, able to guess.
Tho various Hikt were distributed as follows :— May Queen,
Mad. Novello; Queen, Miss Dolby; Lover, Mr. Sims Reeves;
Captain of the Foresters (as Robin Hood), Mr. Weiss.
Professor Bennett's music to this agreeable little plot is most
charming — simple, unaffected, and excellent The overture,
which, by the way, is net new. being known, some years hoek,
under the title of Marie da Boil, to lovers of music, is fresh and
captivating. Indeed, the whole work breathes an aroma of the
pure, fragrant forest-glade, green leaves, and blossoming
Slay. It breathes, also, the true Mendelssohnian perfume,
which there is no mistaking. Not that I would, for a single
moment, be supjwsed to hint there is the slightest attempt at
plagiarism. A man of Professor Bennett's powers is incapable
of this vice. What I mean is, that the music, while being per-
fectly original, is the production of one who has evidently studied
Mendelssohn, profoundly and reverentially, and learnt his lan-
guage, nothing more, just as the admirer of Cervantes and Lope
do Vega might acquire Spanish, and write in that idiom, without
copying a single thought from those great masters. Among the
pieces especially deserving commendation arc : the opening
chorus, " Wake with a smile, 0 month of May," the air, " 0,
meadow clad in early green," a semi-chorus, *• O melancholy
plight," the song, " With the. carol in the tree," and the ballad,
u Tis Jolly to hunt in the bright moonlight" These are suc-
ceeded by the finale, which worthily crowns the whole. The
execution of the work did not satisfy me. There were defects
which ought not to have existed, and which might have been
remedied, I am inclined to think, by greater care and more re-
hearsals. Theaudience.however.were delighted,aod overwhelmed
the composer with sincere ana rapturous applause. After the
" Pastoral" we had the " Tyrol ienne," from Betley, magnificently
sung, of course, by Mad. Alboni : Bishop's " Oryntnea," well
Siven by Mr. Wilbye Cooper, and tho overture to Dr. Spohr's
etfonda. Nearly 1,800 persons were present, and there can be
littlo doubt that if things continue to pursue the satisfactory
course they have hitherto taken, the Festival will greatly benefit
the Leeds General Infirmary, to which the money accruing from
it will be devoted. The Hall was lighted by ten magnificent art
glass chandeliers, mado expressly by Osier for it, and presented
a truly splendid appearance. I must add, in justice to the
audience, that they were as well-behaved as they were well-
drossed, and paid due attention to the following sensible notice
distributed among thorn :
" Lexus Mcbicax Ham.
" The committee earnestly request that no audible expression of ap-
plause may interrupt the performance of the oratorios or other cva-
tinuous worki ; and that no cnoorci may be railed at the evening con-
certs, in order that parlies roiidiog at a distance may be enabled to
avail themselves of the arrangements mado with the several railwiv
companies for special trains at the conclusion of each dsy's perioral-
■nee."
This morning, the performances consisted of
Mater, a selection from John Sebastian Bach's
Mu*ik, and Beethoven's Mount of Olive*.
but of this more next week.
Dramatic ItfTKUJOE-Ntit.— The Haymarket re-opened for the
winter season, or seasons, as it may be, on -Monday evening.
The interior has been renovated and part painted, and a new
drop-scene supplied by Mr. William Calloott, which gives an
excellent representation of Thespis in his car. The house no*,
indeed, wears a brilliant and elegant aspect,as becomes thehomeof
legitimate comedy. The performances commenced with Murphy's
sprightly comedy of The Way to Keep Him, Mrs. Cathe-
rine Sinclair sustaining the character of the Widow Belmour,
in which Mrs, Charles Young appeared on the closing night
Digitized by Google
September 11, 1858.]
THE MUSICAL WORLD.
591
of last season. Mr. Buckatone, of course, was the Sir Bashful
Constant The comedy was followed by a new Spanish ballet
of action, the never-tiring Madame Perea Nena achieving her
customary success in some of her exciting national pas. The
concluding pieces were A Widted Wife, and Mr. Buckstone's
farce, A Kit* in the Dark. A new and original comedy,
in three acta, by Mr. Bayle Bernard, is announced. At
the Strand Theatre Mr. Charles Selby has appeared in
a piece of his own, called The La i of the Pigtail*,
as absurd and incoherent a concoction as even he has penned,
but which appears to amuse the cachinnatory and easily satis-
fied audiences, who attend there.— Mr. Falconer's new drama,
£xtremee; or, the Men of the Day, is running by no means a
prosperous career at the Lyceum. Mrs. Alfred Mellon (late
Miss Woolgar) is engaged, and will appear on Monday. This
lady will be a great acquisition to the company.
Matlesoic and Co., musical agents, 12, Haytuarkct, have
negotiated the following engagements : — Mad. RudersdorfT, Miss
Emma Haywood, Mr. Wilbyo Cooper, Mr. Thomas, Mr. Haus-
mann, M. Kettenus, Mr. Jennings, Mr. Hooper, Ac, for ths
Festival at No wcaatlo-on-Ty ne. Mad. Rudcradorff, Miss Palmer,
Mr. George Perren, Mr. Thomas, M. Randegger, and Herr
Molitjue, for Glasgow, Doncaster, &C-, lec. Mr. Miranda, New
York. Sig. Chierici, Mr.St.Albyn, Sig. Gabon! and Mad. Chicrici,
Italian Opera at Paris. Mad. Rudersdorff, Margate. Sig.
Dinelli, for Teatro St. Carlo, Lisbon. Mad. Alboni and Mad.
Yaneri, for Royal Surrey Gardens. Mr. Charles Braharo, Mad.
Foina, Mr. Allan Irving, Mad. Vaneri, and Sig. Bucaloni, for
Liverpool. Mad. Alboni, Mad. Yaneri,and Sig. Belletti, for Man-
cheater. Mad lie. Morlacchi, Mad lie. Paaquale, and Mad Brown,
for Pvne and Harrison, Drury Lone. Sig. Picco, for Liverpool
and Manchester. Mr. Charles Braham, Mad. Corelli, Mad.
Yaneri, and Mr. Allan Irving, for Manchester. Sig. Delavanti
and family, for Drury Lane. Mad. Poma, for Liverpool. Sig.
Mercuriali, for Teatro St Carlo, Lisbon. Mr. Charles Braham,
for Glasgow.
Ths Dux op Cibusls ahd tos Kit. Fbkckxtob LnrntoaTos.
—On Tuesday morning the Bishop of Carlisle, routed by Dr. Triers
Twisa, Chancellor of the diocess of London, and the Rev. C. J. 1 iurton.
Cbaneellar of ths diooeas of Carlisle, aa aaaeaaora, held a Court in tho
Chapter-house for the purpose of hearing an appeal of the Iter. T. G.
Livingston, minor canon and precentor, arising out of a dispute which
at the time created much interest in the public mind. Mr. Edwin
James, Q.C, and Mr. Lawrie appeared for the Dean and Chapter.
Mr. Temple, Q.C, represented Mr. Livingston, the defendant. Several
questions were discussed aa to the powers of the Court and the nature
of the evidence permitted to bo offered, and which was very volumi-
noes. The nominal point at issue, and which the Bishop had to try,
lrel service. P Mr. Livingston claimed this right under a clanee
gives the precentor the command of the minor canons, clerks,
and choristers — " Quidquui HU Itgemdum ant canendnm prancripierit
prompt* partre detent." It was for the Bishop, as visitor, to decide
whether the general authority of the Dean does not override this
limited jurisdiction. The facts are theeo I — A draught of a selection of
music for the fifth Sunday in Lent was handed to Mr. Livingston by
tho organist, containing an anthem from The Mrteiah to which he en-
tertained objections. He forwarded the draught to tho Dean «ud
, with a marginal note objecting to the anthem, but not tug-
any substitute, and received it back again, with a memo-
in the Dean diasenting from tho objection. The pre-
centor next addressed to tho Dean a letter, asking him to re-
consider his judgment, hot on the following day being applied
to in the usual course to furnish tlte customary list of the
next Sunday's music, he without waiting for the Dean's answer,
wrote and exhibited lists altered in conformity with hia own opinions.
Upon this an angry correspondence took (place. 'J ho Dean prohibited
Mr. Livingston from having anything further to do with the singing
lists, and eventually suspended him from his office. The disputed
anthem waa restored to its place in the list, the Dean's name being
appended to it u an authority, and that of Precentor Livingston struck
out. Upon this Mr. Livingston wrote and circulated certain charges
st the Dean which be vainly endeavoured to induce tbs Chapter
to receive. The Dean then pronounced formal sentence upon him, a
course in which ho was supported by tbe canons residentiary of the
cathedral. Against this decision Mr. Livingston appealed to the
visitor. Mr. Temple opened the case, and stated the facts set out in
the appellant's petition, and these, so far aa they went, were not
disputed. Mr. James, on behalf of the Dean and Chapter, contended
that tho ground* of Mr. Livingston's dismissal were not aololv those
alleged in tho document purporting to dismiss him, and entered into a
long statement, and read many letters endeavouring to show that the
rev. preceutor had been willully contumacious and disrespectful to
his superiors since his appointment in 1855. At the conclusion
of tbe learned counacl'a speech tho Court adjourned until Wed-
nesday, when Mr. James announced his intention of examining the
Dean and Canons and tho organist. There is a strong feeling in
Csrlisle in reference to this subject, the capitular body having been for
some time post very unpopular with tho peoplo of the old cathedral
eity.-r
PACINI VIEWED THROUGH A YANKEE
MAGNIFIER.
(From a Letter addrtttrd to " Dteight't Journal " of Alutic.)
" It is now no news to inform you that our opera season is
over, that tho time of Italian singing birds is gone, and the voice
of that operatic turtle, Brignoli, is no more heard in tbe land.
Tho season was short, and disastrous to those pecuniarily
interested, while to that part of the public which could stand
such preternatural hot weather it was productive of great enjoy-
ment. Yet it must In- said that the public did not exhibit such
a noble, nlamander-like disregard of heat as to attend in any
great numbers ; the dead-heads however — those musical Shaa-
rachs, Meshachs, and Abednegos, who can endure the caloric of
any fiery furnace whatever — wore present in large forces and
white coats, and fanned themselves with palm-leaf fans and
fortitude. It was my intention to write you an cighteen-pager
about tbe now opera Sappho, but acting npou my great golden
rule : ' Never do to-day what you can put off till to-morrow,'
I procrastinated until my eyes were gladdened by an able de-
scription thereof in your journal, taken from tho columns of the
Sunday Ada*. This description will satisfy yonr readers better
than anything I can give.
" Sappho is a really great opera, and w,hy ita composer la not
more generally known here I cannot comprehend. His works —
those at least that I have heard— are replete with luscious
melody, and remarkably excellent instrumentation. Verdi,
Bellini, and Donizetti, sound thin and water-gruel-ly after
listening to one of Pacini's operas ; at the same time I do not
see that he bears any marked resemblance to Rossini, aa some
critics aver. His chorus writing is rich and full; and many of
the choruses in Sappho remind one of those in Semiramide, while
the favourite duet for soprano and alto in the former opera
undoubtedly resembles the ' Giorno d' orrore ' of the latter. Yet
as a general thing I cannot see that Pacini's music is any more
like llo&siui'a than Donizetti's, Verdi's, or Bellini's. The only
I reason one can think so, is because Rossini nnd Pacini are both
I much greater composers than tho three others mentionod.
" Last winter I saw Signor Pacini at Florence. The Teatro
Paliano was crowded to excen to witness the first production
of an opera now to the Florentine public — Bti*a Vchtsco. It was
gloriously performed and most enthusiastically received. After
the grand nualo of the third act, the house resounded with loud
cries for Pacini, and soon the composer appeared, led out in
triumph by fJarlotta Zucchi, the prima donna, and Cresci, tho
baritone. Ho is a rather 'elderly man, thin and gentlemanly,
and nervous. Ho bowed a few times and walked very awk-
wardly across the stage, treading on the prima donna's dress
and the tenor's toes. The whole audience rose to their feet as
he passed before them, and made the building re-echo with their
cries of ' Bravo I Braviuimo I ' There was no speechifying and
none expected ; the public secmod naturally enough to think
that Pacini, the musician, had said all he had to say in the musie
of the opera, and for that music-speech he now received their
heart-felt applause. There seems to be a difference on this
point between tho custom here and in Italy. Our American
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59-2
THE MUSICAL WORLD.
[Sbptember 11, 1858.
public, when they call out a composer, do so sot that thoy may
thank him for tno pleasure he has ffiven them, but they may
give him the honour of thanking thorn for allowing him to try
to please. Thin great and mighty public is condescending. It
applauds the good composer, and then expects him to come to
the foot-lights and bow, aud put his hand on his heart, and say
that it is the happiest moment of his life, and that he only hopes
and prays and asks that the favour extended to him may be a
propitious augury of the spread of art in this great and glo-
rious country, That is how they do in America. But in Italy,
the composer is eaJleJ out to receive a simple, child-like, grateful
ovation. The people wish to thank him, ntid do not expect that
he shall thank them.
"The success of Sappho will, I think, induce other managers
to bring oat works of Pacini, and it is very likely be will take
in publio favonr the place now occupied by Verdi — for, say what
you will, Verdi is now the greatest favourite with the opera-
going public, from New Orleans or Mexico to Boston or Valpa-
raiso. There is no reason why this change in public opinion
should not take place. Pacini is a greater composer than Verdi.
Ho has nearly as great a flow of melody, while in his chorus
writing and orchestration he is vastly superior. I hope he will live
to hear, in his Florentine home, of the success of his works here,
for he certaiuly deserves the gratification which honest appre-
ciation always bestows on the musician. Kossini at Paris, Pacini
at Florence — the author of Tell, and the author of Sappho ! they
appreciate each other and are warm personal friends. Tho
composer who has his home upon the Seine, has long been
admired here, and now it is the turn for him who dwells u|K>n
the Arno, to meet a liko appreciation.
"So, with this long senteucc, I shall wind up and make my
bow, liko tho infant Phenomenon, standing on my head amid a
blaze of fire-works. Curtain falls."
A'ev York. Trovator.
Paris.— On dit, the Prince Poniatowski has just finished an
opera intended for the Academic Imperials do Musique et de
Panne. M. Roger's benefit at the Opera was a bumper. Many
were attracted as much I by curiosity as by any other motive.
Madame Ugalde sustained the part of Leonora in the Trovatore
for the first time, and as the fair artist had undertaken to
learn tho music in eight hours, and as the character was en-
tirely antagonistic to her powers and talents, her friends and
admirers were anxious to see how she could get over the diffi-
culties. Madllc. Dcmerie-lAblaehe appeared as Azuceua, aud
obtained the favour of the French journals, who descant lavishly
on those qualities in which the lady was eminently deficieut
when she made her dibul at tho Royal Italian Opera. Of course
■ praised to the skies in Manrico, while M. Bonnehce, of
course, is magnificent as the Count di Luna. Wonderful
capital! whero everything musical, if French, is perfect,
pure, and transcendent! Miss Thompson, the young Eng-
lish vocalist who carried off the first prize at the
late examination of tho Conservatoire, has been en-
gaged for the Grand-Opera, and will make her dibut as
Mathilde in Guiliaumt Tell on the occasion of the rcntrfo of
M. Oucymard on the 1st of October— that is, if the same influence
bo not exerted against her as was made use of against Miss
Birch some years ago — which must be fresh in tho recollection
of our readers. Miss Thompson, however, appears M with a dif-
ference" on the French stage. Miss Birch was taught in
England, where, of course, they know nothing of singing. Miss
Thompson, on the other hand, is a real pupil of the Conserva-
toire, It is curious to perceive how the Pariaianpreas glorifies
M. Rovial, the master, and says little of Miss Thompson, the
scholar; as if teaching— French teaching— was every thing, and
geuius, intellect, powers, accomplishments, energy, application,
resolve, and bias, nothing. This is the invariable mode of
criticising in the most polite capital in Europe. :
LorinUVcra has signed an engagement with Mr. Lumloy for
Her Majesty's Theatre for 1869.
ADVERTISEMENTS.
GLENFIELD PATENT STARCH.
USED IN THE ROYAL LAUNDRY,
Axp rauMoracED bt HER MAJESTT3 LAUSDBJCS8, to be
TIIE PINE8T STARCH SHE EVER USED.
Sold by all Clundlora, Grace ra, 4c. tVo.
FREDERICK DENT,
Chronometer, Watch, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT.
«n».l»aku st the «««t «lock tot tht Rousts of tfatlusunt,
. . 61, ttrand, and 34 and 36, Boyal 1
Ko conntetio» «i<A S3,
GREY HAIR RESTORED TO ITS ORIGINAL
COLOUR-— Neuralgia. NerToos Headache. IUicutuatUui, and fluff Join:*
cured by T. M. HERRING'S PATENT MAONKTIC COMBS, HAIR AND I LE3H
BRUSHES. They raqnlre no preparation, nre nlwnya ready for use. anl auuot
get out of order Biuohaa, lu*. and 14a. ; Cutnba from 2a. od. to tOa. Grey hair
and tMldncaa prerunted by F. M. H a P»t*nt Prcrctivu Brush, prico la. and St.
3*. Baa.nghall.alreet, London, Illustrated pamphlets "Why Hair
ny, m.\ Rrurfy. grutla, r V J...,'. f.ir :'■ ttr elxups. Soil I j ,i.
lu J perfumers or repute
alien's IllttstratcD Catalogue
Of PoitmantoMia, Despatch Boxea, Writing and Drcaalug Coaca. Tra'ellir; B*M
t\ ■} ...i.i.- •.,„,«. :u :t 111 oil-.cr. >a iTlni'Knn •>}' I" '■ ' 1 •
At.LENB TATENT SOLID LEATHER PORTMANTEAU, with lour Com.
partmaut*.
ALLEN'S PATENT DESPATCH BOX, with ai»d without Drea.ni..- Caae
ALLEN'S PATENT TRAVELLING BAG, wiiUKpiaw openly. Tnoac articles
are tlia lx*t of Ibo kiiut yet Uifontod.
J. W. and T. ALLEN. MauuGwIHrora ol Portable Darraek-pjom Funntarf and
Mllitwy Uutflttera (aee separate Oalaloguo). 18 and IS, Strand.
MUSIC FOR BRASS BAND. — BooBcy's Now Brass
Band Journal ia published dory month, I <t eight pcrtonnera. price la ;
and for aixtccn iierfbrniers, price 7s por number. The iiuitrumcutitioo l» as
follows :— 1st and 2ud Conieta, B Qat . let and 2nd Vuko Bugles, B flat ; 1st and
iiid Althonia, E ttal ; Altborn, B flat; Eopliotiion. B flat (eight perfbrmera) ;
Hoprano Cornet, E Hat ; lat and 2nd Tnrmpet, E Am ; let not hn tlona. E Bat ;
lac aud 2nd Trombonee— Bombardon, E flat ; Drum*, ad lib. (tixuxn pcrtoruieni
The number for July contain* tho "Maiid Vatoe"antl ••Marguerite Pulka." by
I jiurcnt. Full .particulars gratia. Booacy and Bona, 34 and 28. Hollra-aUtei .
LAURENT'S NEWEST DANCE MUSIC.
Martha WiifclrLIc ..
., Valae
Luiaa MlUer Quadrille
Valw
I rice
a. a
3 0
J »
s •
s o
Musical Library, 83.
NEW MUSIC FOR HARP AND PIANO.
OBERTHUR.
M ARTH A. Fiuibdels sur del
Auld Robin Gray
0 Nanny, wilt thou -r?u>g wi' mo
Oh 1 n
"Martha- d« Flotow, price 4 0
5 I
.. > «
.. I •
THOMAS.
Miacrore, and Ah ! cbc la mnrtc, Trovatiiro 4a
II balen, and DI tale amnr, Troraioro 40
SI I* stsnchrua, and ftiull'l e chefcgt Troratore 4 1
nL'5f3iT5 ^Ij^^WV'^pl^Trovstwg 4 0
Uu al ao Inn. Hi/'M.'Ud .. ^. • .. .. 1 •
La Sldlieune. Lea Veprea Kdliennea 4 •
Booiey and Boas' Musical Library, 23, HoUsostrMt.
Published by Jnnn Bnmrv, of CoMk'tkU-hlll, in the pariah of Kallng, lu ts*
tXmnty „r Mlddleaux. »t the odlec "f Uo.«tT It Soaa. n, Qolloe-«tre*t- SaM
also by Iteco, If, Jojni^trset, Great Portland street ; ALta>, WarwIeV-
laue ; Viccciia, Uo'ywcll street ; Kuril, Pm>v»-ie, ft Co.. 4S. Cheapakt-';
G. bcuritniiAxtr, Ml, Ncwgate-m rewt ; Joim .Siirritcno. Newiratc-«r^l ;
Hmr M.Y, II. Ho.hnrn-b.ir*. A,r»ula for bcoUand, PaTEiuoa a 8os«.
Edu.l^irgh and Gliusjow; for Irvlaiv.l, H. Buaaau, Dublin; and all Miait
aellara.
Printed by f,un. arr.v.u. JowxaoK. " Naaaau Steam Proaa." 60. SL Martia'i
loae. fn the Partab of ft. Martin in thc-HtkH In th. Otmnty of Mtddleaea.-
Saturday. S«iH«mber 1 1 , WS.
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8 j) e |tlusmil WUxlh
"Tub worth of An appiabs most ivinkxt in Mrsic, siscb it biquihes no material, wo su wect-h atted, whoss effect must
SB DECOCTED. It IS WOOLLY FOliM AND rOWBB, AMU IT UAIHB8 AND ENNOBLE* WBATETBB IT BXr HEMES."— Uottke.
STJBSCRIPTI0H:-8tamped for Postage, 20s, per uumm-Payable in advance, by Cash or Post Office Order,
to B008EY 4 SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 38.
SATURDAY, SEPTEMBER 18, 1858.
I PRICE 4d.
I STAMPED 6d.
RUDOLPH NORDM ANN'S LAST PIECE —
■ AT" Mil TVTT AMOR" from Ftolow's open "Martha, ■
f and Sons' Musical Library. 2H, "
rpo PIANOFORTE TUNERS. — WANTED, a respect-
J able young man to nasi at in the tuning and general management of ft
-Apply to "
A- able youn« mun to assist in the tuning and general r
JJunlc ftinl lNju.cforte bueinws^n a ^'-"j^ WWSjg town.—
PROFESSOR WILJALBA FRIKELL— Polygrapliic
Hall. King Willi.OT-str»eN Charlng-crose — TWO HOURS OF ILLUSIONS —
For Ono Mouth only, prcvinua to Professor Prikell'e dcpiirtme on a |»rovi»cial
tour. Every evening at 8 ; Saturday aftcrnoone at S. Private boxes, one guinea ;
box italla. s« ; orchestra nulla, la ; urns J*. ; amplilthcntro, la PL ices may bo
rod at the Polygraph* Hall, and at Mr Mitchell's Ityrd Lbrary, ». Old
pRYSTAL PALACE— MDLLE PICCOLOMINFS
\J FAREWELL TO ENGLAND. — The Farewell Ooootrt of tbla popular
Artiste will lake place on Tuesday, the 2*th September (Use dar before Iter sailing
for America), when will bo given a GRAND MISCELLANEOUS CONCERT
comprising the prioclpiil futures of her " rvrjeitoire." The Concert will also bo
auppi-rkofby Big Gll'OLlNI, and other artists from tier Majesty's Theatre
Di
Ai
'.7:h Instant, Haifa-Crown ; by payment
oora cjieu at 10 o'clock ; Cocccrt to cownence at S o'clork.
y Heawn Tickets; or by Day Ticket", if purchased nn ir before the
H
» op
Admission, 1
aslant, Haifa-Crown; by payment on tho day o( performance, Firo
Mi i Hint 9. Ilsservru SU'ls, Hslfo-Crovvn extra.
Plana of Heats now ready at the Oyatal PalaU and at 5, Exeter Hall, where, u
well m at tho usual agvuts, tiekcta may M bad-
Inf'trm.Uioci of Excursion Trains from various porta of tho country may be ob-
tained at the Bocrarary'a Office.' Crystal Palace.
GLOUCESTER CATHEDRAL.— Then? is a vacancy in
this Choir fur a BASS VOICE, who wUI be appointed Probationary Lay
Clerk Hie duties will be to attend Divine Scrrloe twice daily, and prat-Using
whctienr rcmilied by tbo Precentor. The emolument* will Iw a fixed stipend of
£10 a-jrrar. awl one elilHIng and etxpeuce for every attendance at Church ; and a
aum of Alio yearly will be set aside, ai>d with tbe accumulations of interest will
he applied for hie benefit hi such way aa the Clunter shall think beet on hleretlre-
", tho consent of the lK-ao and Chapter, provided his
>ry Tbe Candl'tatc* likely to suit will be required to
r before tho Dean and Chapter on some day in October or November, which
lis signified to then. Applications for the situation, statin" Hie ace and
> of residence of the Applicant, with ToUtr.ootu* as to moral and religious
actor, power of soke, and moalcal capacity, lo be forwarded to J. A. Whit-
i or before the 20th »f October next.
I. Rarlon-alreet,
IS Sept., 18AS.
Dy order of the Dean .iud chapter,
JNO. A WHITCOMnK
Harmonium (exhibited in London In ISli)
i has laloly modo in tbla Instrument. Tb*
Mellon b> one of tbe many he has received
THE IMPROVED HARMONIUM. — Mr. W. E
EVANS, inventor of the
calls attention to the improve!
subjoined testimonial from Mr. Alfred
from eminent professors :—
Titx Vals, Xixo's Ruin, Cbilsej,
March ISth.lSfe.
Desk bib, — I hare much plcasnro lu giving you my opinion upon yotu
Hartnanluai ; It is the best instrument of tbo kind I nave ever heard.
Touts very truly.
To Mr. W. B. BraiUL ALFRED MELLON-
n,
. MUSIC STRINGS.
WH0LE8ALE WAREHOUSE - THE CHEAPEST HOUSE IX LOKDON
14, EA8T PLACE, KENNINGTON ROAD.
MONSIEUR A r.PHONSE VILLIN (de Paris) Importer
of lullan. Freseh. ami Oerrnan Strings lor all Iiiitrnm«ut». Last of prices
and samples f--r*ftrdf-l (free) on appllciition.
Tbe oelelTatcd ACRUIELES. now tinircrsAlly adopted by all Violirjlats, cannot
l*c had GENUINE but at the above address of Monsieur A. ViUhi, sole and exclusive
Wboboalo Audit for tho United Kliv„d nn.
ROMAN AND NAPLES STRtNGH (uot to be aurposscd) arc told by Morukur
VUlln ftilly It per «nt. cheaper than any other boose lu the trade lu EogUad.
38
ONE OF THE FINE8T ORGANS IS THE WORLD
TO BE SOLD,
CHURCH, CATHEDRAL OR GRAND MUSIC HALI*
Apply to tbo Publishers of the " Musical World."
LAURENT'S ME WEST DANCE MUSIC.
s.d.
Mjrtlia Quadrille price 3 O
Valao S •
Lnisa Miller umidrilla 3 0
V\d.o S »
Boosey and Sons' Musical Library, 28,
NEW ITALIAN SONGS,
ii
Lamlapicta,
a. d.
it
7 «
I U
Library, 38,
Martha, Grand Fatita^slo
'• When other Hps" Roroanco, Bohemian Girl
Chorus from Ulu Miller
Robert, lot mie J'aline, KoStrt le DiaWo
Ur.UMl FauUisi* on Prussian Airs
Obcron P«.lkn
La mis lctlsta, TraoscrlpUon
aid.
..4 9
..St
.. I •
.. 4 •
.. t o
.. J o
..so
Boosty and Bona' Htuka.1 Library, 28,
uynrre Tint PAtitoKAf.i: or
HER MOST GRACIOUS MAJESTY THE QUEE
11 It II THE PRINCE CONSORT,
in
THE BOTAL FAMILY.
MUSICAL ENTERTAINMENT,
DR. MARK AND HIS LITTLE MEN,
JUVENILE ORCHESTRA,
•h, Irish, and Scotch boys, from five to sixteen years jflwjs trtua*L»*
.•ctiou", ducts, .pj.-uut,, ijiiLwlri'k*. m:in.iics. itua ^Mksw ; 'jasjej- •
cboTusea, Ac , in a m et effective manner, and to wTipdrhs aj* "
f.-,ien»l simI uiuncid .-lucalioi, in order to Ulwtiata luaiKi|Bt>i
nihlci'. tditeatlun. ,uid witli whom lie travela nboutHqo
Utile i:.,.
opcrnt^L- e<_
sing sonp>
gratuittiiia
aystoo
cxdle ,\n
ir.
interest for and help to c?Ubli*h in'jaicui iuAtitutiorB afilsxt V^^jfilssSa1
of Muaie" for little children In every town, city, anat vsfl«*rc eTdawa
All letters ad.ircea, plvaac, Fret Tnvla 1UU. MaiKbcafir,;
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PUBLICATIONS.
PIANOFORTE.
ANDREWS. "Thou art ao near and yet no fsr," Btverio 011 TMotiarilt a
nopulnr
AQt)IIiAR(K«iAiuir.i.) " Bnnsct c'«w '' ..
"BAC11IANA." select piece* (Prelude* and Fuj-itea) from the Fiani.foito
> of Jobn rkbartian Bach, nut indMdiU iu Uio forty eight Preludes
* d.
3 0
I 0
) ArabulL
iustu" (I
• Mini,
i Luisa
"Fuga Sclic-rando,1" lu A minor ..
2. Include and Vuk-iic on the name Bach
11-Hh tlio.Vn.vc l.avo been played In public by Mi
liniaiAC (Jolb). "Bell* PlKiU'/ttlicqua.Ut from It
"Qiuuido lo sere'' and "All! fa
Miller)
llUnOMuLLERlP.) "rUaiich...''FolkuMaiUrk*
FUMAGALL1 (A.) " CLARICE," tho only comet odilton, as played by
M'r« Aral«jla G<-ddard .. . , ,,
OOMIoNrK A.) "F.llso, ' Rylance
IIAIKJITrfC J 1 Throe Iiodtr ol.ne woito
s e
2 o
1 o
2 o
* 0
I 0
a o
4 0
3 0
». J.
OREVIIXE (Tim ITon. Mr*.):
Grand March, with Introduction and Quick Slop, dedicated to
I1.K.II. the Duke uf Camuridgo it
Idix Fugitives On 3 b~.k*l :
Ikx.k 1. dclicated to tho Rt Hoo. Cwmtcaa Kin-ioull .. .. 1 *
llo.* 2, dedicated to Her Excellency IhoBt. lion. OoorateiisCowlry 4 •
Hook ». dVllctWd to the Re lion. Ij1» Caroline Murray ..4 0
LAmidrj*, Nottunio. dedicated to Uio Hon. Mr*. Kdmnnd l*hlpp* J a
La Costanxa, Notturno, dd irate- 1 to tho Rt 11.il Lady de Baa ., it
Fculllejs d'Autatnne. V alecs, dedicated to Mine Cecilia K lice ., ( I
Ixi liicu Vtuu, Value Varies, dedicated to Mm. Franca PoitcKue ..14
..14
.. J 4
.. 1 4
The Ciruline, Polka*, dedicated to Mr* Ilenctb-o
The Hampton Curt, Polkas, dedicated to the Co
Throe Wajtiea and » Galop |
Sot or Quadrillon. .lcdicatt.il to Lady William Hcrvcy
M'kOHKELL(C.) WonlrdoGhu-MArmide) .. ..
,, "'La Joycuae, "S.>u»uuir d<a Chunm
OSB0RNK (0. A.) "Puuliue," Xocturau .. ..
1 '-Tioinlwil-rtuv. ' Wall* ..
2 "Revo d une null dVte. » W-dU
». " Lea deux in-clie-itu," Walts
I. -Leadcuxarciisl^" Walls
REPERTOIRE DES BOUFFES PARISIENS,
\ ivtucnoK nr
. QUADRILLES, WALTZES, POLKAS, &c. &c,
H10M THK
THE THEATRE DES BOUFFES PARISIENS, PARIS.
a. d.
2 6
1 0
2 0
2 0
5. " Le Vluhuioux," Po'ka
«. "fnonuitbliuKho,"
7. • Vei.td,.. ir.' C
. 1
i •
* •
t 4
PIANOFORTE DUET.
I.INTKR (Knaapol. ' l)..ii F...^u do.' Intraductal: the oduliratcl Scrcua<l« " Com' * goxitU"
"Thin ia one ol the uvut vftccuvn ducta that »'c bavo ever lUtonod to.'* — IiixrjMxH' A/..
MISA81 (AsTOXto)
TWO FLUTES AND PIANOFORTE.
luiitho ^Carnival of Vcnic*.-
. 4.
i »
p. d,
3 «
V O C A. Tj.
a. d
ADKLAlDA "Tlio Cucko, "("Hail, bcaut-oua •Irangcr of the cto»o"i ..2 0
„ " Sunahluo" (-1 loro tho «Mi«hl»o eteryahcrv "— M««T
UOKITT) Jt
BAIM (M. W.) " I'm n<it in lovo, remombcT." mini? with the create'. .Vial
W Md Ic. VictaireBnlfoM wellaahy Mr. CI nrU*Kraham 2 «
., " Oh. tako me to Ihy li*aH*(t*iu f 10
"One •>{ Iho net eh irniln^ mclodioa Mr. lbu> h-.« ever cornioat l."—
l.h-rpool Uail.
BRAHAV (CiiA«Lt») •• Perwvcro. or Um Car«r o( Havctock" .. .. 8 C
UIIUCB(lUKDrr> " Wliei. I w»a youLK." tunjr by Mdile. Jetty do Tn fT* .. i 0
»• "When first you ahono inforo me," snug by Ma>Unie
Borchar.lt 2 0
CBCWELL (Gimurji). •• Monmfu'ly, sing lumiiiinilly," with riolin or flute
accoinixuilment 2 0
,. " Where fa tho sea," with t kjlonccUo or tenor actum*
«ulmnit 8 0
nnldeumlLo," sun! by Mdllo Jetty deTren* S 0
.lie Jenny" 3 0
"My Mary" 3 0
CM "Quick «rl«o. i
nS(M.) " Sweet little
l'OSTF.R IAii.nl. "Merrily, merrily ahuwis tho mom," Tho fliylark s joog,
»m>tf by Madame BuilcradortT .. .. , 3 0
~ a) "Ob. 1 woubl wcud with thee
lHlto a* a duet for barytone a.»l
am»ff by
'.KEVILLt
s 0
3 0
1*11 fel aoprano
3 0
., Ditto aa a Sola, with Oult-rac.-omnanim.-nt ..JO
English War Sr.nir. "Wl.o fcara to dior' Tho
worda by Alfivl Tonjijaou 3 0
,, National Soog. " Now t" Aims" 2 0
.. '•MaryO-Shane.niall»d.dcdieat«ltoMlMK..wUn.U «
0ROSVBN0R(-«) "At early day's dawning, "May song 3 0
GftOSVENOR (8 ) " I will go f^rth in the rtronuUi of tho Lord Cod," Tli<
Tiring Aullii'm for vuiccit *Dd organ
HA1.EVY(F.) 'Ixvrdbc ar us we implore theo," Prayar from L* Juive
., "lie w.ll bo lure "(Tl va vtnji) ..
HARGITT (C. O.) "To-nieirow " ("Oh brhibl and joycrru were the dayi of
chiHhr-j.1"! ..
MACFAKRF.NfO. A ) " r*.|ujta" (•• I !or0 when iho sun ba» aet") sung by
La Hi>;i or* r uma^allt
MEYERliELR. "TIih Ik use W love is h.Jy, " Serenailo rer 2aopranoa, 2 alto*.
i tonces, ai^l 2 basses, without oeoontpanimcnt In vooil score ..
Separate vocal parts each .. ..
,, The Loid's l'rayor ( Kiuihtli and Latin words) for sxqailMsj
alto, tenor, atil baas, organ ad. lib. in score
Rcparuto vocal pejftl each ..
„ " llere, here on the
clarionet ohhllirato
VioluncelUi or violin to the
,, " Near to thee.' r with
MONK (F. 0) "Ooslt by tho summer sea"
MoZAltT. "Tlw very angala we*|k dear"
l'KCH(DR J*»i*»). ' Weeds and io»m"
BEICHARDTfA "The. i art so near and yet so far" (ono of the
popular song i cf Uie day)
ST. I/KCUli (H. tl.) "Tho >U wlllo.v tree"
VIV18R(Ei-i.n.r.;. •• The Giet herd " (L-:chc.rlcr)
"The Exile " (L-Kx.le»
„ "The FUlicrman's fang " (Charts"!! dti riVheor)
„ "Wh.n o'er tbe meadows green" (with Horn ac
panlmeuiX sung by Madame Vlanlot ..
Vkl .ttcello part t-> ditto
YARNOLD (Lovika). —
s d.
LONDON i
DUNCAN DAVISON AND CO.,
DEPOT g£k£bal db la maison BRANDUS, DB PARIS,
244, REGENT-STREET, CORNER OF LITTLE ARGYLL-STREET.
Digitized by Google
September 18, 1858.]
THE MUSICAL WORLD.
595
THE LEEDS MUSICAL FESTIVAL.
{From Out onn Corr<tpon<U»t.)
Sept. 10.
Tub fact that, despite modern invention*!, time nnd space oro
not completely annihilated, obliged me to conclude my letter
last week, without giving anything like a detailed accouut of the
performance of Rossini* Stabat Mater, J. S. Bach's Piutiont-
Mutii; or Beethoven's Haunt of Olivet. I will now endeavour to
supply the omission.
It is almost like informing your readers that two nnd two
make four, to state that the 6!abat Muter was excellently ren-
dered by such accomplished artists as Mesdaracs Alboni, Clara
Novcllo, Weiss, Siguor Oiuglini, and Mr. Satitlcy. The orchestra
and chorus, too, were well up to the mark, and the whole per-
formance was a line specimen of execution, both vocal aud instru-
mental. The unaccompanied quartet, "Quando corpus," was
especially worthy of commendation.
In the Pauioiu-MutiL of J. S. Bach, the palm must certainly
be accorded to Mr. Sims Beeves. This gentleman was particu-
larly happv in the grand scene for the tenor solo, with chorus,
and air, "With Jesus will I watch and pray." Vocal skill, de-
votional feeling and a perfect comprehension of all tho boautics
distinguishing tho venerable composer's work were combined
with a degree of delicacy, nnaffocted purity, and an absence
of anything like effort, which left nothing to be desired.
I question very much whether this music was ever better,
or, indeed, so well given. The audience were loud in
their applause, despite all tho recommendations, nearly ap-
proaching commands, issued by the committee for the observ-
ance of silence. The two chorales : " O Lord, who dares to
smite Thee," " O Lord, Thy love's unbounded," and the chorus,
" In tears of grief we hero repine," weru wonderfully well
givon. Miss Dolby was very fine in the air, " See the Saviour's
outstretched arm." The othor artists engaged, namely, the
Missea Freeman, nelena Walker, Mean*. Wilbye Cooper and
Uinchcliffe, exerted themselves most ably to imitate the good
example set them by the great stars I have mentioned.
The next piece was an organ sonata of his own composition,
played by Mr. W. Spark. Tins not only displayed iu the best
light Mr. \V. Spark's talents both as an instrumentalist and a
composer, but fully settled all doubts as to the quality of the
new organ, which is, in every respect, a magnificent instrument,
worthy tho designers, the builders, and the corporation of Leeds.
With regard to tho performance of tho Mount of Olivet, I
hardly know what to say. I have praised ro much, that it ap-
pears something like exaggeration to affirm that Beethoven's
sublime work was even tu tu r executed than the composition
which preceded it, and that the artists surpassed their former
efforts. And yet such in the truth ; the plain unvarnished
truth. The execution of the " Hallelujah" chorus, nnd the scene
iu the mouutain, where the Saviour is pursued by the soldiers,
was something to be heard, not described. All prais. to Messrs.
Sims Beovcs, Weiss, Madame Clara Novcllo, the members of the
chorus and baud, and, though last, not least, to Professor
Bennett, for so magnificent a realisation of the composer's con-
f evening.
Tho hall was crowded to «ul}'ocation. I suppose it was iu order
that thcr* might bo enough /or so large an audience that the
programmo was so long. However, here it is: judge for
yourself:—
l'ABT I.— Overture, Zeuberfl..u—Mo*art t Song, La Cslnnnia, Nig.
Vislelti— llossini ; Aria, Vedrai Carino, Mdllo. Pieeolomiui— Mozart ;
Choral glee, Come, bouotcous Mny— Spoflbrth ; Arin, l»rlln sua paw,
Signor (.iingiim— Moisrt ; Scens, Infelice, MniUine C. Novcllo—
Mendelf soliu t Caprice in K uiajtir, pianoforte (with orchestral accom-
pauiuiciita), Mij» A. Goddanl — W. S. liiimett j Cavatina, Nrupii all'
nflatio, Madame Alboni — Rosfini; Trio, Pappataeci, Signora Oiuglini,
Ko»«i, and Vislctti — Roiaini ; Scens, Quando miro, Misa Dolhj —
Mozart; Symphony in A minor (Scotch)- Mendcliaohn.
l'ABT n'— Overture iu D major— J. S. Bneli; Song, PIio W, ilcare»t,
Mr.
Xovello
Sonjr, Mr. Weiaa — Shield; Duo, Quanto amort, Mdllc. Piccolomini
and Siguor Roaai— Donizetti ; Aria. Non piii acdrti, Siguor Vmlotti—
Mozart) Prcgluera with chorus, Dal tuo atelhv.o (Mote in Kjritto),
Mdllc. Piccolomini, Madamo Alboni, Signor UiugUni, and Siguor
Viilctti— Itowini ; Overture, Oberou — Weber.
Really, there ought to bo inscribed on the walls of all music-
halls tho old saying, " Enongh is as good aa a feast." The
audience, however, did not appear in tho least tired, but
applauded enthusiastically, and were profuse in encores.
Mademoiselle Piccolomini was encored in "Vodrai carino,"
Madame Alboni was encored in "Naqui all' nfTano ;" and Mr.
Sims Beeves was encored in "Phoabe, dearest." Thagloc: "L'omo
bounteous May," was also considered worthy the same honour.
Miss Arabella (ioddard again astonished the Lcedites ; on thisocca •
aion by her performance of Professor Bennett's caprice inE major.
I am perfectly aware to what kind of charge I am laying myself
open, but I don't care. I say, boldly and fearlessly, that,
night, Miss Arabella Ooddard played even better than
Truth is stronger than fiction, and that it the truth.
Sept. 11th.
The programme of yesterday morning's performanc
of a solection from Haydn's Scatout, and of Handel's great
master-piece, Itrad in Egypt, and furnished another proof of
tho good taste of those who had the direction of the Festival. There
is, however, no pleasing everybody, aa the old man in tho fablo
once found to his cost. Tho English always have been, are, and
will be to the end of time, a uation of grumblers, and the people of
Leeds are not a whit behind the rest of their countrymen in thia
respect. It speaks volumes, therefore, in favour of the arrange-
ments made by the committee and their talented conductor that
tho number of grumblers has, on this occasion, been very small ;
yet there have oeen a few, and amongst those few 1 own I must
be counted. From what 1 have previously written, the reader
will have jierceived I find uo fault with tho manner, generally
speaking, in which the various works have been executed. On
the contrary, I have sometimea been at a loss how to do
justice to it. But what I object to is the order observed
in the programmes of yesterday and Thursday, the !>th
instant. On tho last-named occasion, Rossini's &tabal Mater
was placed before J. 8. Bach's Pattion+Musik, ft won-
derful example of miscalculation of effect; while, yesterday,
Haydn's teutons preceded Handel's Itrad in Egypt, an ar-
rangement equally open to objection I may bo considered
hypercritical, but I am not tho only person who entertains this
opinion, aud every real musician will at once perceive that it is
well-grounded. I have already adverted to another objection-
able feature in nearly all the programmes, and that is their
great length. This is really a Berioua evil, which is on the in-
crease, nnd which, I trust, tho press will do its best to put
down.
Tho uxccutiou of both works, tho &moiu and Ftraci in Egyi*t,
was magnificent. The principal solo singers iu the former,
wi ro Mesdames Clara Novcllo, Weiss, Sunderland ; Messrs.
Sims Reeves, Wilb^S Cooper. Sautley, and Weiss, who all j»cr-
formed the task allotted to them in the most conscientious and
artistic manner. In tho latter composition, wo had tho suiio
artists, plut Miss Dolby, whose singing of the two airs, "Their land
brought forth frogs," ami " Thou shalt bring them in," caused
the audience — oh 1 how insatiable a monster is au audience —
to regret she had not «ung iu the previous work, at least such
was the gist ol tho observations made by that portion of the
audience who sat in my immediate vicinity. "The Lord is a
man of war," was highly effective in the hands, or, rather, from
the lips, of Messrs. Sant ley and Weiss, while "The enemy said
I will pursue," was equal to anything I ever heard from Mr.
Sims Reeves. I must not omit in common justice to mention
Miss Palmer, who, with Mr. Wilbyo Cooper, gave the duet,
" Thou in thy mercy," in an exceedingly commendable manner.
This young lady has made rapid progress in her profession
lately, and, with study, bids fair some day to become a popular
favourite. The chorus were deserving of especial praise, and
afforded gratifying ovidenco of the general spread of a love for
music iu Yorkshire. The execution of the grand "Hailstone"
chorus was unparalleled It was something never to be for.
Digitized by Google
596
THE MUSICAL WORLD. [September 18, 1858.
gotten, and elicited an encore that mado the very roof vibrate
again.
Between the first and second parts, Mr. Henry Smart extem-
porised on the organ with all the skill of an accomplished instru-
mentalist, and all the fancy of a truly poetic composer. His
performance was a treat of a very high order, and was duly
appreciated by the audience. The hall was crowded.
At the miscellaneous concert last night, wo had Beethoven's
symphony in C minor, Weber's ConccrtttUek for pianoforte and
orchestra, aud Mendelssohn's overture of the Ide* of Fiugal,
with the following vocal selection : —
Aria, " Miei Rampolli," Signer nos»i— Rossini ; Aria, " Courier
pertir," MsdUe. PVeolomini— DonixeUi, Aria. " La mis esnrone,"
Signer (iiuglini— Bellini i Komama, "Oh quanto rags," Madame Weiss
— Spohrj Choral glee, " Awake, .Kalian lyre"— Danby ; Song, "The
green treea whisper," MUs Dolby — Ilalfe; New song, "The beating of
my own heart," Madame C. Xorello— Macfarrcn ; Duo, " Farigi o cars,"
Madlle. Piccolomini and Signer Giuglini— Verdi ; Song, "Mad Tom,"
Mr. Weiss— 1'urccll.
This constituted Part I. In tho way of instrumental music,
Part II. comprised the overture to Ouiuamae TeU, Mr. Vincent
Wallace's fantatia on Robin Adair, and the second part of
Beethoven's septet in £ Hat, together with the following miscel-
laneous vocal trifle : —
liallad, " Many a time and oft," Mits Dolbv — Puggan ; Aria, " L'na
furtiv. lsgritna," Signor Giuglini-Donizctti ; Aria. " Jlatti. Batti,"
Mdllc. Piceolomini— Morart ; Solo and cloru«, " Come if you dare,"
Mr. Sims Reeves — Purrell ; Reritative and aria, "Arminiua," Mis*
Palmer— Handel j Puet, "Non ftigsfir," Mr. and Madame Weiss —
Donizetti ; Song, wilh Chorus, " Naxarcth," Mr. 8antloy--<touno<l ;
Song, "The Slave's Dream," Mr. Winn — Tlstton ; Duo, ' Signorina in
tantn frctta," Mdlle. Piceolomini and 8ignor Rossi— Donizetti,—
followed by— it is a fact, however incredible— Weber's Jubilee
Overture.
The orchestra greatly distinguished itself in Beethoven's syni-
phouy, Mendelssohn's overture, and Weber's Concertstiicl; Miss
Arabella Goddard taking the solo part. By this, time, tho
audience bad become acquainted with Miss Arabella Goddard,
ami, of eoureo* expected something wonderful, but in the abbve,
a* well as in Wallace's fantatia, sue took them as iiinch by sur-
prise as though they had never heard her before. The septet,
too, was grandly given by Mr. Blagrove (violin), Mr. Webb
(viola), Mr. Williams (clarinet), Mr. Wactzig (bassoon), Mr. C.
Harper (horn), Mr. Lucas (violoncello), and Mr. Severn (double
bans). The latter gentleman replaced Mr. Howell, of the Phil-
harmonic, who was prevented by indisposition from lending his
valuable aid. Tho vocal selection went on" smoothly, but there
were no encores, with the exception of that accorded to Madlle.
Piccolomini and Signor Giuglini, in the duet, " Parigi, o cara,
and that bestowed on the glee, "Awake, .'Kolian lyre, rendered
with a freshness, a vigour, and n delivery which did the very
highest credit to the singers of Yorkshire. The conceit was
not over till nearly twelvo o'clock.
Sept. 12th.
The final performance took place yesterday, when Handel's
Messiah was ^iven, the principal singers being Mesdamcs Clara
Novcllo, Weiss, Sunderland, Misses Dolby, Palmer, Helena
Walker, Messrs. Sims Beeves, Weiss, HincbcliflTo and
Winn. The execution was splendid, nnd the audience enthusi-
astic, but properly enthusiastic. They were too delighted
to spoil the continuity of the work by encores. The soprano
air, "If God l>o with us," which is nearly always omitted, was
admirably gjven by Mrs. Sunderland, whd took, also, a pro-
minent part in tho National Anthem, with which the proceedings
tormiuated. The audience then called for Professor I*ennett,
who was greeted with the warmest, and, I must add, most
vociferous marks of approbation from all parts of the hall.
Three cheers followed for th.it newly-belted knight, Sir
Petor Fairbaim, the mayor, aud the Festival was ai an end.
Tho receipts are said to amount, cn blo>:, to somewhere near
£7,500, and, after deducting all expenses, it ia expected some
.£2,000 will !>:> handed over to the L<-cd« General Infirmary.
Thus, as the reader must perceive, tho first Leeds Musical
Festival has been a great triumph. May the next, this linio
three years, prove equally successful.
THE BIRMINGHAM MUSICAL FESTIVAL,
(From Aril's Birmingham Oautte.)
Havtso concluded our notices of the Hospital, we now come
to tho other branch of our subject — the history of those great
Musical Celebrations which have from the earliest, period been
intimatelv associated with the Hospital, and have done so mneh
to make the name of Birmingham famous throughout Europe
as the cultivator and successful promoter of the musical art in
its highest development*. When we peruse the records of tho
Birmingham Festivals, wo Mem to be reading the History of
Musie for three-quarters of a century. The noblest works iu
every branch of the art have been produced at the Festivals as
soon as they were known, and sometimes even before they
became kuown in the metropolis itself; nay more, of the most
sublime of these masterpieces several have derived their being
from the Birmingham Festival. And the Festival records, in
like manner, are enriched by the name of every great artist,
vocal or instrumental, who has appeared in England during the
whole period of their duration. The history of these celebra-
tions naturally divides itself into three periods — tho perform-
ances given during the last century ; those which took place in
the period between the commencement of the present century
and the opening of the Town Hall ; and those which have been
given since that event. Of these three periods wc shall treat in
as many successive articles, confining ourselves for the present
to the Festival given dnring the last centnry.
Hitherto it has been generally supposed that the first musical
performance in aid of the Hospital took place in 1 77« ; but in
reality what was actually the first Festival was held exactly ten
vears'carlicr than that date, namely, in September, 1768. In the
Hospital minute-book Tor that year we find that at a board-meet-
ing held on the 3rd of May it was resolved that "a Musical
Entertainment should be established," and a committee was then
appointed to conduct this important undertaking. We print the
name of the committee for tho same reason that we published
those of the first Hospital Boa I'd — because a record of the per-
sous who commenced a work which has attained sneh noble
proportions, cannot lie uninteresting to the community which
now reaps the benefit of their far-seeing labours. The com-
mittee were— Mr. John Taylor, Mr. Isaac Spoonor, Mr. John
Taylor, jun., Dr. Ash, Dr. Small, Mr. Henry Carver, jun., and
Mr. Brooke Smith.
So far as we know, every document connected with this
Festival is lost, nor do the Hospital minute-books throw any
light upon it, but from the files of our own journal for the year
1708, wo are enabled to supply a copy of the programme, as
follows :—
On Wednesday, Thursday, and Friday, the 7tb, 8th, and 9th of
September, the Oratorio of " L' Allegro," Ac., "Alexander's Fe**t,"
and the " Messiah," will be performed here.
L'ALLEGRO, ED IL PKNSEROPO,
Will be at tho Theatre in King-street, on Wednesday Evening, tho
7th inst.
And ALEXANDER'S FEAST,
On Tliur»d»y Evening, the 8ib.
Between the several paria of which Mr. Pinto will play a Solo ; sad
Concertos will be introduced by tho other performer* on their several
I instruments.
Ob Thursday Morning, will be performed in St. Pluhp's Church, at
Ten o'clock. Mr. Handel's grand " Te Deum" and " J ululate," with
an Anlhcm of Dr. Boycc'a, suitable U) tho occasion, and Mr. Haudel's
celebrated "Coronal ion Anthom;"
And the MESSIAH, or Sacred Oratorio,
At l he same place, on Friday Morning the 1Kb.
On the Wednesday and Thursday Evenings, after the Oratorios, will
be a Hall, at Mrs. Sawyer's in the square.
Tho principal vocal parts will be performed by Mrs. Pinto, Nr.
N«rr», Mr. Matthews. Mr. Price, Ac. Instrumental by Messrs. Pinto,
Miliar, Adcock, Jeukins, Parke, Late*, Hobes, Clark, Chew, Ac., Ac.
The Oralorins will be conducted by Mr. Capel Hond, of Coventry.
The muiic ut tho church on Thursday morning is to bo opeued with
a trumpet ooncerto by Mr. Hond.
It is further announced that " the streets will be lighted from
the play-house to the ball-room." The performances, we learn
Digitized by Google
September 18, 1858.] THE MUSICAL WORLD.
597
were attended by " brilliant ami crowded audiences," and on tho
Thursday the Countesses of Dartmouth and Aylesford " very
obligingly stood to receive at the church door" contributions for
the benefit of tho charity. The produce of the entertainments
amounted to £s*M, of which the committee were ennblcd to |*ay
over £299 7s. 4d. to tho IIoapit.il funds — a very humble begin-
ning when compared with the magnificent returns of our later
Festivals.
From another poiut the comparison is more favourable — as
regards tho quality of the music. It is very gratifying to observe
that from the very first our Festivals have been marked by tho
selection of music of the highest class. Notwithstanding that
even at the remote period period of which we are writing, Bir-
mingham was deeidly a musical town, it still must have been a
bold experiment to have offered to the public a series of musical
performances, including the ifexniaJt and other works, then
scarcely appreciated by persons of cultivated taste; aud certainly
distasteful to many, if not to most, of the amateurs who hall
acquired a relish for the inferior and frivolous music against tho
popularity of which Handel found it so difficult to contend.
The names of the performers abovo mentioned are now nearly,
if not quite, forgotten, and it may therefore be interesting to
remark that at least some of them were artists of note in their
day. For example : the principal instrumentalist, Mr. Pinto,
was a famous violinist, aud was for several years leader of tho
band at Drury Lane Theatre. The principal vocalist, Mrs.
I'into, his wife, under her maiden name (Brent) was a celebrated
singer, and a favourite pupil of Dr. Arne, who wrote expressly
for her the part of Mandane, in Artaxerxct. Mr. Norris, the
chief male vocalist, was a Bachelor of Music, settled at Oxford,
aud well-known both there and in the metropolis. According
ton biographical notice, he was "honoured with the particular
approbation" both of George III. and Queen Charlotte. Norm's
name is connected with the Birmingham Festival by the melan-
choly circumstances of bis death. Although in a feeble state of
health, he insisted an fulfilling an engagement to appear at the
Festival of 1790, but in his exhausted condition tho effort proved
too severe, and ten days after the Festival ho died at Lord
Dudley's seat at Himley, whether he hod been taken in the
hope that change of air might lead to the restoration of his
health.
The next Festival took place in 1778, the year before the
Hospital was opened, and when it stood greatly in need of an
increase of its funds. At the same period the building of St.
Paul's Chapel was about to bo commenced, and the committee
of the chapel requested the Hospital board to unite with them
in "giving an oratorio " for tho joint benefit of the chapel and
the Hospital. The proposal was agreed to by the board, and
the performance fixed for the 2nd, 3rd, and 4th of September
in the same year. Musical entertainments seem always to have
been very popular in Birmingham and its neighbourhood. As
far back as 1741 concerts were occasionally given in the town,
and at the date of which we are now writing, they were esta-
blished amongst the regular amusements. Side by side with the
advertisements of the Festival we find announcements of other
concerts, amongst which may be mentioned " a concert of vocal
aud instrumental music, the vocal parts by Mrs. Smith, Mrs.
Carlcton, J. Taylor, and others. The instrumental by a select
band. First violin, Mr. Alcock." This concert was given for
the benefit of the waiters at Yauxhall Gardens, and the tickets
were sold at the very moderate prico of one shilling. At Ashby-
de-la-Zouch, in tho same week, there was a "music meeting," at
which the ilextiah and tho Masque of Acit and Oalutea were
performed, the oratorio tickets being 3s. C«\. each, and those
for the concert and ball 2s. Gd. A similar concert at which the
Messiah was given had recently taken place at Dudley. At that
time Birmingham actually possessed what we may venture to
call ou Opera House, besides two theatres — one in King-street,
and the other in New-street. The operatic performances were
given in a wooden playhouse erected on the Moseley-road, aud
in the homely language of our ancestors called " a Concert
Booth." Unluckily some malicious person Bet the booth ou fire,
and it was completely burnt down, its destruction involving also
that of all the scenery, together with most port of the company's
dresses and other decorations. A writer, who signs himself
"No Player," addressing "The Printers of the llxrmingluim.
Gazelle," pathetically describes the straits to which the uufor-
tuuate company were reduced.
"The situation of the actors was indeed deplorable; after baring
taken infinite pains during tho three last months— after baring done
all in their power to alleviate the distresses of some iodiriduals in this
town, by giving them benefit*, while the miserable pittance allowed to
themselves afforded them only a bare subsistence ;— juat aa they were
in expectation of the approach of their own benefits, when they might
have abarcd a few guineas, to discharge their unavoidable debla ; — at
suth a critical junctions, to have their fond hopes blasted at once, by a
calamity as shocking aa the authors of it were wicked, must deeply
affect every mind not totally lost to every humauo feeling."
The poor singers thus burnt out appealed to the generosity of
their professional brethren, and the proprietors of the New-
street Theatre gave them the use of that building, where on the
19th of August, 177H, they performed Sheridan a opera of The
Duenna, which had been played fivo times previously at tho
Concert Booth. The entertaiuutent (which also included the
farce of All the World's a Stage), appears to have been highly
successful, the writer above quoted remarking that " the two
plays were represented with uncommon applause, but whether
the violent claps which shook the house proceeded from a sense
of the performers' merit, or compassion for their distress, is
difficult to determine ; but probably each of these motives hail
its share in producing the effect." The proprietors of the King-
street Theatre, not to be behind-hand with the lessee of the
New-street house, gave a benefit in the following week, on
behalf of Mr. Godso, "tho builder and sole proprietor of tho
Mosoley Theatre," of whom it is said in the advertisement that
his loss " is to him immense, and unless he is honoured with the
kind countenance of his friends, will be irreparable." This
digression from our main subject, if it serve no other purpose,
will at least show that Birmingham was so well supplied with
musical amusements as to require that the conductors of the
Festival should of necessity take a high tone in selecting the
compositions for their mooting, and that to render the per-
formances attractive they should engage the best available
vocalists and instrumentalists. Accordingly wo find that the
following creditable programme was drawn up : —
Ou Wednesday morning next, the 3rd of September, at St, Philip's
Church, will be performed, in the course of the service (which will
begin at half-past ten precisely) the overture of " Eathcr ;" Handel's
grand " Dettingen te Deum" and "Jubilate," an Organ Concerto
by Mr. Harris; Dr. Uoyce's " Anthem ;" tho "Old Hundredth" Psalm
accompanied ; aud, after a Sermon to bo preached by tho Hev. Mr.
Young, Handel's grand "Coroualion Anthem." In the evening, at
tho theatre, in New-street, A Grand Miscellaneous Concert, consisting
of select vocal aud inatrumei.tal pieces, by the principal performer*.
On Thursday morning the 3rd, at St. Philip's, tho oratorio of "Judas
Msrcabseua," and between tho set* on Organ Concerto by Mr. Clark. In
the evening at the Theatre, the sercnata of "Aci* and Oalutea;" be-
tween the parts of which will be introduced somo favourite pieces, and
an " Ode to May," composed by Mr. Harris.
On Friday rooming tho 4th, at St. Philip'a, the sacred oratorio of
" Messiah." In the evening at tho Theatre, a Orand Miscellaneous
Concert, consisting of several capital pieces, by tho principal per-
formers.
Principal vocal performer", MUs Mahon, Miss Salmon, Moaais.
Norris, Matthews, Price, Salmon, Ac , kc.
Principal instrumental performers, Mr. Cramer (Brat violin at the
Opera House, Londou), Mossrs. Cvrvetto. Park, Ashley, Sloracci.
Jenkins, Mahon, Ac., Ac. The oilier parts of tho band, which will bo
very full, by tho most approved performer*, aud tho celebrated Women
Chorus Singers from Lancashire.
N.B.— There will bo a Bull each evening at the Hotel.
This Festival produced nearly £SO0, of which .£170 fell to tho
share ofthe Hospital. In March', 17S4, at a meeting of theHospital
Board, it was resolved " That some Musical performances lie
thought of, for the benefit of the charitv, to take place after tho
meeting ofthe Three Choirs in Autumn.'' In accordance with this
resolution, the Musical Committee, reinforced by new members,
once more entered on their labours, and were fortunato enough
to enlist the co-operation of Viscount Dudley and Ward, WW
Digitized by Google
[September 18, 1858.
consented to act :i8 steward, an office which Bcuma to liavo then
involved the selection of the music, the engagement of the
principal vocalists, and, in fact, the general direction of tho
Festival. In consequence of music meetings at Gloucester
Salisbury, and Liverpool, much difficulty was experienced in
ng a proper time for the Birmingham meeting, but ulti-
mately tho 22nd, 23rd, and 24th of September were fixed upon,
I preparations for ensuring iUaaccess were commenced. From
the minute-book of tho Festival Committee, wo learn that Lord
Dudley offered to place at the committee's disposal, for perform-
ance at the meeting, a new oratorio entitled (Julian, composed
by Mr. Attcnbury, a well-known writer of part-songa. On tho
recommendation of so Influential a patron Uie oratorio was ac-
eepte-d ; and Mr. Attenbury, in addition, handsomely devoted
to the Hospital the profits arising from the sale of the work.
The programme was more varied than usual, and tho Festival
derived additional interest from being made a Commemoration
of Haude). The first day's performance, at St- Philip's Church,
comprised the Occasional Overture, I'ureell's Te Deum and
Jubilate, Handel's anthem, " O, come let us sing," and Han-
del's " Coronation Anthem." On Wednesday evening, at tho
New-street Theatre, the Miscellaneous Concert included "the
favourite pieces performed at the Pantheon, by command of His
Majesty, in commemoration of Mr. Handel." On Thursday
roorniDg, at the church, the service consisted entirely of Han-
del's worksj tho selection being the same as that " commanded
by His Majesty, in Westminster Abbey, on Thursday, the 3rd
of June, in commemoration of Mr. Handel." Amongst the
pieces were tho Dettingen Te Deum, the Overtures to Either and
Tamerlane, the Dead March in Saul, several anthems, and the
doublo chorus from Itrael in £r/y»f— "The Lord shall reign."
On Thursday evening, at the theatre, tho usual concert was
made to givo place to Mr. Atteubury's Oratorio of GoliaJi; and
on Friday St. Philip's again resounded to the sublime bean-
ties of the cver-glorions Metrialt. The Festival concluded by a
miscellaneous concert at the theatre, "consisting of select
pieces, by the most capital Per/ornxeri." The principal voca-
lists were the Misses Abrams and Master Bartleman ; and the
chief instrumentalists were Messrs. Wilson, Ashley, Gariboidi,
and Clarke. The chorns and band are described as being very
full and complete, and the latter was supported by the large
double drums which were used in Westminster Abbey. The
attendance at this Festival was more numerous than on any
former occasion, and the newspaper of the day records tho gra-
tifying circumstance that the local nobility and gentry began
to take increased interest in tho celebrations. Amongst the
persona specially mentioned as present, and to whom the Cha-
rity was "greatly indebted," were Lord and Lady Plymouth,
Lord and Lady Ferrers, I Ady Windsor, Sir Itobert and Lady
I-awley, Sir Edward Littleton, and others. The gross produce
of the Festival was Xl,32o, aud tho profits l'7u3.
Tho successful issue of preceding Festivals, and the growing
importance of these meetings, encouraged the Committee to
greater efforts in 1787, the date of tho next celebration. At
this period also, the local ulergv began to take a warm interest
in tho Festivals, tho Rev. Charles Curtis, Hector of St. Martin's,
the Rev. T. Young of St. Paul's, and the Rev. J. Darwall,
of St. John's, Deritend, having been added to the Committee,
every meeting of which they attended, Mr. Curtis generally
occupying the chair. The Rev. Spencer Madan, although
not placed upon the committee, rendered the Festival essential
help, by making tho necessary arrangement* for the musical
performances in his church, and by preaching the usual sermon
on the opening day. The connection of tho Festival with the
nobility and gentry of the district was also strengthened by the
election of the Earl of Avlesford ao President, and the Earl of
Plymouth, Viscount Dudley and Ward, aud Sir Georgo Shuck-
burgh, Bart., as Stewards. Tho Festival commenced on Wed-
nesday, August 22nd, in St. Philip's Church, with a morning
service, in the course of which was performed a selection from
the works of Handel, Purcoll, and Boyco. On Thursday morn-
ing, for the first time in Birmingham, the oratorio of Itrael in
E'JSPt was performed, aud on Friday tho Ale*ti<xh. Each even-
ing there was a concert at the theatre, the programme containing
selections from tho works of Handel, Wilbye, Purcell, Corelli.
and Cluck, sacred and profane music being very oddly mingled
together. The celebrated Mrs. Billiugton, then at the com-
mencement of her brilliant career, made her first appearance at
this Festival, and enchanted all hearers by her extraordinary
ability and the singular gracefulness of her style. To borrow
tho words of a eontemiwrnry record, she saug "with the most
powerful sensibility, and failed not to excite usual admiration."
So great, indeed, was the impressiou she created bv her singing
in the MtmUk, that tho public demanded a second performance
of that oratorio, which was accordingly repeated on tho Satur-
day, to an overflowing audience. The gross receipts of the
Festival amounted to very nearly I'^W, and yielded to the
Hospital a profit of i.'9<U.
Wo must not omit to mention an amusing quarrel which
occurred between the committee and Mr. Yates, the manager of
the theatre. The dispute is gravely recorded at full length in the
Festival minute-book, from which we gather the following narra-
tive. Mr. Yates, who considered that sufficient remuneration
was not offered to him for the me of the theatre, announced a
performance for the Tuesday evening, although tho theatre was
indispensably required for a rehearsal. Notwithstanding remon-
strance, Mr. Yates persisted iu his determination, and the com-
mittee commenced active measures of coercion, and threatened
to take legal proceedings to close the theatre for the remainder
of the seasou. This seems to have brought the manager to hi*
senses, and he agreed to forego the Tuesday's performance ; but
some fresh cause of oflenco having arisen, he again announced
his intentiou to open on tho Tuesday. A committee meeting
was consequently held on the lGth of August, only a week before
tho Festival, and a deputation of five persons was sent to the
recalcitrant manager io persuade him " to give up the idea of
playing." After tho lapse of soino time, the deputation returned,
and reported that tho committee's terms were agreed to. All
now seemed now plaiu sailing ; but unhappily Mr. Yntcs ouco
inoro changed his mind, and before the committee broko up, a
messenger from him announced a demand for conipcns.iliou.
couplea with a threat that if not liberally dealt with na would
play after all, not only on tho Tuesday, but on tho Friday also,
flic matter was regarded as tuo important to be decided at that
sitting, and another meeting was convened for the following
morning, when a letter was sent to Mr. Yates demanding a
final answer. The reply was what the minutes call "a verbal
message," importing that Mr. Yates would do as he pleased ;
whereupon the committee, now fairly enrnged, sent word back
that they should have no occasion fur his theatre at all, and that
it was their determination to prevent his theatrical performances
immediately.
Accordingly Mr. Swann's amphitheatre, in Livery-street
(afterwards a dissenting chapel), was engaged for the Evening
Concerts; notice was given to Mr. Yalta h actors that they
would bo prosecuted, if they "should attempt to speak on the
stage hereafter under Mr. Yates's management," and. BHMI
were hired to attend at the theatre iu order to have proof*
against tlioao of the performers who should venture on playing.
En these determined steps Mr. Yates shrewdly foresaw his ruin,
and prudently digesting the affronts under which he smarted, he
sent a humble anulogy, and offered the use of the theatre for the
whole week. This act of submission took place on Sunday, the
llllli, but it was considered important enough to justify- the
summoning of a meeting on that day, when (the whole of the
clerical members being present), it was resolved to accept
Mr. Yates's offer, but as a punishment for his obstinacy it was
aiso determined that not one farthing should be paid to him for
the uso of cither theatre or orchestra. Thus ended a dispute
which at one period threatened seriously to interfere with the
success of tho Festival of 17S7.
The next Festival, which took place on the 2 itb, 2Gth, and 27lh
of August, 1 700, was signalised by the appearance of Madame
Mara, the famous rival of Mrs. Billingtou, and one of the most
remarkable amongst the many eminent vocalists whose names
adorn the annals of art in this country. This lady, who died as
lately as 1S33, acquired her great reputation in Germany and
France, aud afterwards in Italy, which she did not visit until abe
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September 18, 1868.]
THE MUSICAL WORLD.
599
had for some years been established an a vocalist of high reputa-
tion. She came to England in 1784, with her husband, a violin-
player of some note, and speedily acquired the patronage of Lord
Dudley, by whom she was much esteemed, and at whose house
at Himley she was visiting prior to her engagement at the
Birmingham Festival. Her appearance here secius, indeed, to
havo been owing to Lord Dudley, who probably defrayed the
Maraud her ^SsLnd/^Th^he'r kdy vocalist, were Miss
Mahon and the Misses Abraws. No oratorio besides the Mtuiak
was performed at this meeting, the remainder of the music, both
at the church and at the evening concerts in the theatre, being a
selection from the works of English and Italian composers, but
chiefly from ITandcl, whose masterpieces from the commence-
ment steadily retained their hold on the public mind. Amongst
the instrumental performers was Mr. Charles Knyvett, the
brother of the better-known William Knyvett, who afterwards
became the conductor of the festivals, and whose services we
shall have occasion to refer to in a future article. This Festival
produced ,£l,967> 16s, of which j£958 14s. were paid to the
treasurers of the Hospital.
The year 1793, when the next Festival should have be:n held,
commenced ominously for the success of any such performances.
Trade was bod, the nation was suffering heavily under the
pressure of severe taxation, and the public mind was directed
rather towards the stern horrors of war than attuned to the
cultivation of the harmonic art. In addition to national difli-
culties, a local misfortune — the destruction of the theatre by
(ire — had deprived the committee of any suitable place for tho
evening concerts. Under these disastrous circumstances it was
resolved that the Festival should be dolayod for one year, but
the postponement actually extended to three years, and it was
not until 1788 that tho committee were able to announce another
Festival. MadAme Mara was again the principal vocalist, sup-
ported by Mrs. Second, tho Misses Fletcher, and Messrs. Nield,
Kelly, and Bartleman, who was then just entering ou his emi-
nent professional course. Amongst the instrumentalists were
the three famous Lindleys, Robert, John, and Charles, and the
equally celebrated J. B. Cramer. The selection of music was not
marked by any special feature. The Metriah was again tho solo
oratorio, and the evening concerts arc described as being composed
of " the most favourite airs, duets, trios, catches, glues, and
choruses ; together with solos, quartettoe, overtures, and con-
certos, by tho first masters. Tho steward for the meeting (or
the director, as he was then called) was the Earl of Aylesford.
The Festival produced .£2,043 18a., the profit on which amounted
to £807. We aro sorry to record tho circumstance that the
town was infested with numerous pickpockets, who came down
specially for the music meetings, and of whoso depredations the
newspapers of the day make serious complaints. To effect their
fraudulent designs the thieves made use of an ingenious device.
Shoe-buckles were then going out of use amongst fashionable
people, in favour of shoe-strings, and Birmingham being the
great manufactory of buckles, the wearers of strings wore de-
cidedly unpopular. Taking advantage of the local feeling, the
thieves hustled the wearers of shoe-strings, denounced them as
unpatriotic despisers of fine old English customs, and in the
tumult which naturally ensued contrived to reap a good harvest.
In anticipation of the next Festival, held in 1799, great efforts
were made to enlist the support of the principal residents in the
county as well as those of the town. The Earl of Warwick
undertook the onerous post of director, and the list of patrons
was eulnrged by the addition of the names of Lords Hertford,
Dartmouth, Aylesford, Dudley, Willoughby de Broke, Craven.
Middletou, Brooke, and other persons occupying n high social
position. The result of these measures was that the attendance
of country gentlemen was materially increased, and the interests
of the Hospital greatly promoted. By strengthening the band
and chorus, as well as by engaging a largor number of principal
performers, the commit toe laid the foundation of that eminence
which the Festivals have sinco attained, and thus judiciously
paved the way for that new and greater epoch which commenced
with the advent of the present century. As regards the music,
the McMlah was still the chief attraction, the rest of the programme
consisting of selections from Handel,Corolli,Oeminiani,and other
composers. For a third time Madamo Mara worthily occupied
tho position of principal vocalist, her chief assistants being Miss
Poole, Messrs. Harrison, William Knyvett, and Bartleman.
Amongst the instrumentalists were the Lindleys, Holmes,
Oantclo, Erskinc, the Loandors, and others, with Cramor as
loader of the baud, and Harris as the organist. The exertions
of the committee resulted in a considerable increase of the
returns as compared with those of tho preceding Fostiv.-d, tho
gross sum now realised being £t,6:>0, yielding a profit of j£l, 470.
We may mention that, for tho special benefit of tho light-lingered
gentry, tho task of pre* rving order was entrusted to "Tho
Loyal Birmingham Association of Infantry," who, notwithstand-
ing very bad weather, manfully remained at their posts from
morning until after midnight, effectually preserved order, and
protected the pockets of those of His Majesty's subjects who
came to altoud tho Festival.
(To It cotilinutJ).
A real DAtronTisn or tiib Reoimekt. — We believe there is
but one case in America of a real incident which somewliat
approximates to that of Marie in the opera by Donizetti. This
is in New York, where the National Guard (ono_ thousand
strong) have a fair orphan protige, familiarly designated as
" The Daughter of the Regiment." The National Guard, under
Colonel Duryea, is tho best regulated and appointed militia
company in tho United States. In drill, etprit de corps, organi-
sation, and general appearance, it will bear close comparison
with the "regulars" even of the modern military government.
Some years ago an officer of tho New York National Guard
committed suicide. This act, according to military discipline,
is considered one of cowardice, but tho deceased was well known
to bo one who, in active service, stood amidst the bravest of the
brave. He had been through the Mexican war, and stood high
in esteem as a soldier ; but other matters, when quietly at home,
prompted him to bocome a suicide. He left an orphan child —
a bright and promising little daughter. She was alone in the
world, and, as it were, friendless. Tho regiment of her father
adopted her, and she became thus a u Child of tho Regiment."
and that regiment the gallant National Guard of New York.
A tax of two dollars per annum was levied on each member for
tho orphan's support and education. This amounted to 2,000
dollars a-year, and what was not expended was duly put away
in investment for a dowry for " The Daughter of the Regiment.
Tho young lady, now about sixteen years old, has grown up
beautiful, intelligent, and accomplished, and is well off; and
doubtless she looks upon her gallant guardians with all the love,
honour, and enthusiasm that Marie did on the brave Sulpioe
and the gallant 21st in the opera. Such companies as the New
York National Guard reflect honour on the country.— Savannah
Daily Georgian.
How ckrtaix Operas cave to be composed. — At the time
when Auber (younger than he is now) reigned almost supremo
at tho Grand-Opera, Mdlle. X was the principal danmw,
the bright, particular sun, around which moved vocalists, com-
posers, critics, fco, &&, as if living in tho light of her smiles.
Auber also was found among her devotees, but the charming
danieust, despite his attentions, treated him with the most
marked coolness. One evening, behind the scenes, he became
more urgent and pressing than ever for her favour, and she
replied, u If ever you compose an opera, in which 1 m the firtt
role, 1 shall then begin to consider whether so insignificant a
person as I am may be worthy the love of n great composer."
Surely this was "giving the sack" in the beat possible style.
At least so thought the lady, for to her it seemed an impassi-
bility that a </< 1 n* ,/.«■.' could have the first rtit in an opera. But
nothing seemed impossible to love and Auber. The next work
produced by him was L« Diet el Bayadere, and Mdlle. X
danced the Bayadere. Whether she afterwards listened to the
devoted composer's vows, we cannot aay, but this is certain,
that ho wrote another opera, La Mnttte de Port id (Matanielio)
in which she appeared as Fenella.— tfttr Fork Ditpatch.
Digitized by Google
600
THE MUSICAL WORLD.
[Sbptember IS, 1858.
»T»HEATRE ROYAL, DRURY LANE— Under the
X Maiuuenuiut or Miss lottos Pyrte »J Mr. W Harrison. —On Mondar,
heplcio»*r 20ih. awl duriw? • •>• wk. Her Majesty's ««i r.nls will perform bilfg's
opera. THK ROSE OF C4 8TILLC Principal characters by Mis. Louis i Pyne.
MlM Siu.au Prnc Mun II. rreawtt , Mr. F. Warn Mr. A St Albyu, Mr. George
Housy, Mr. Bsitlemsn, and Mr. W. II. HafrMoa. Conductor. Mr Al'ro.1 Melon
To ooodude with • gna<i Bullet Dlvrrtiatemrut by Mdllcs. Zllla Mldrelct, Pasquale,
and Morlacvhi, with a irunteroue corps do ballot- Ttic baud of fifty performers,
and the chorus of forty soioea, selected from tl.e Royal ItalUo Opera Acting-
managers, Mr. Wlliism I) rough and Mr. Edward Murray ; Siaroiruuisger. Mr. E
Stirling, Doors open at ootoo, comoieocc at half past, stalls, w. ; Dross
rircfc, St. ; First ditto. 3s. ; Upper Boxes, la 6.1 ; Fit, 2a ; Gallery, la ; Upper
ditto, <d J FriraUBoKs, «TJ U , art 4s.. aT3 Sa. txi 2s.. a?l lis. (Id . *T1 Is., luid
d^t!°,1^nsVXB1ai»M«rioU,'t'0lB':* op0D <U"y bom deTCO to fiY°' anii" th°
ROYAL PRINCESS'S THEATRE.
UNDER TllK MANAGEMENT Jff MR. CHARLES KR.VN.
MR. CHARLES KEANs" FAREWELL SEASON,
as MANAGER of the ROYAL PRINCESS'S TIIE.VTRE. will commence oti
Balurdsy, tlie 2nd October next, and conclude on Saturday the 30th July.
GREAT NATIONAL STANDARD THEATRE
SHOREDtTCU.— Proprietor, Mr. Joiix Douct
Toe event of the season, the annual
nights only, supported by firs*, t .o op
of the Band of the Princoas s Th-jutr.'
:wd during the week, rattunlay '
MANNBBINO: Henry Bcrtrarr
"Tlie Echo Duet," "My ~
bat of Mr. SIMS REEVES, for twelve
otic artists, full Chorus, aud the whole
CuBVluctor. Mr Isaacson. On MafaaU
ReoTra ; Julia Mannertoj-. Miss Finny Ttman ; Lucr. Mia« I.
Mr thartos Bernard. To mnrlude with a popular Ilurletta, On
a Qriad Oporo. The Theatre re-dccornt«.J. New Centre Clio
occasion.
oorlar
-opted, to oomnu-noe with the opera of OUT
with tlie sonsjs of " He mine, dear toaid."
Jane," and "The Death of Neto.n," Mr. Biros
Miss I.iruin • Ushriel.
next,
on UiU
TO CORRESPONDENTS.
A. O.— We will give the list next week.
An Old Reader is informed thai a gentleman connected Kith the
paper would Hie to procure tome of the number, of '40 and the
whole of '46. Correspondent is requested to state his terms.
C'lembnce is politely a ntwered with a negative to both her questions.
Jura. — Mr. Frank Mori's address is Somerset-street, J'ortman-
square, Apply for the number, which we have forgotten, at
Cramer, Beale and Go's., Regent-street. The two other questions
we cannot reply to at present.
A. W. li.—A detailed description of the organ alluded to will be
THE MUSICAL WORLD.
LONDON, SATURDAY, Seitemukr 18th, 1868.
Never, perhaps, was musical criticism in this country at
so low an ebb as at the present moment With the exception
of two or three of the leading j< mnul.« the art idea which
proceed from the metropolitan press would reflect discredit
on the smallest newspaper in the smallest provincial town in
the three kingdoms. Not only do the notices of music betray
no acquaintance whatsoever with the art, but they almost
invariably betoken an ignorance of the commonest rule* of
plain writing, to say nothing of style, manner, diction, and
logic. Since music is now making such rapid strides in
England, and its study has become almost universal, it must
not be supposed that writers cannot be found conversant
with the subject, who are ready and willing to undertake
the office of the critic. Is it not more likely that the pro-
prietors of journals, through ignorance, or blindness from
prejudice, or not being able to understand or appreciate the
power and significance of music, should err, or bo can-leas iu
the selection of those whom they would apjioint to fill the
"; of their paper d.« voted to the art I It
a man has a high voice, ho is a U™. ,
when he hits a low voice, he is a lass ; when he has no voice,
he is a barytone. In this manner the proprietor* and
managers of newspapers, anxious to oblige a friend, or
provide for a protege', seem to reconcile, or think they
reconcile, their predetermination. If a man, they argue, Or-
well read in the English language and know everything, he
may be enrolled among the writers of leaders ; if he be a
scholar and well versed in dramatic literature, he may qualify
himself for the post of theatrical critic ; if he know nothing,
ho will do very well to write about music. That such is too
frequently the case, low will I* inclined to disbelieve who
have perused the strictures on operas and musical entertain-
ments which have lately appeared in various London journal*.
While every other article has been, to say the leant of it,
respectably written, the notice of music has exhibited an
amount of ignorance absolutely incredible, a defiance of
reasoning which would put to shame Saneho Panza or
Dogberry, aud an abnegation of all the graces of style
hardly pardonable in the loosest and roughest peniiy-a-lim-r.
Wliy'newspaper proprietors should be so particular in the
choice of their dramatic scribe, and careless about thi-ir
musical critic, can only be attributed to what we have just
stated — ignorance or wilful blindness. And yet their own
interests might indicate to them the greater importsnrt- of
musical notices in a journal, the predominance, in print of
number as well as interest, of operatic entertainments over
dramatic, and the more special qualifications demanded for
the musical writer.
The above reflections have been called forth by two letters
which were transmitted to us from different quarters, calling
our attention to , two articles written about music in two
different papers. Our first letter, from a correspondent
signing himself " H. B. V.," inclosed an article on the Bir-
mingham Festival, from tho " Own Correspondent of the
Daily Telegraph, suggesting that, as we had been lately
" criticising the critics," it would furnish excellent matter
for mir auiuiadvcrsion. As the tine -art articles of the
morning contemporary in question have been almost inva-
riably distinguished for their clearness and good sense, if
not |Kirticularly characterised by critical acumen or pro-
fundity, we were somewhat astonished at the "pcrfunotori-
ness" exhibited iu the notice sent us, and can only account
for it by supposing that some "new hand" had been tried for
the occasion, who, having never written about art at all, was
eonsidentd qualified to criticise musical |ierformance* We
are sorry our space precludes us from furnishing the article
in extento, since a more exquisite specimen of " perfunctory"
our columns have not yet supplied. We will, however, give
two or three extracts, from which the reader may form no
rude idea of the glorious whole, and refer him for the eutiro
article to the DaUy Telegraph of Thursday, iu the Birming-
ham Festival week. Let it be premised that the notice is a
series of inconsequences, from which ratiocination is as
stringently excluded as stylo or grammar. " Wo have sel-
dom, however,"' writes the critic, "seen more enthusiasm
excited in a concert-room than was produced by M ... ; m. ■ ■
Alboni in the ever-pleasing cabaleUa, ' In questo semplice.'
It has been said {per quern f) that the great contralto has
seen her best days. There was no evidences of failure last
night. She was as gifted and versatile in her intonation and
expression, and as brilliant in her execution, as ever." That
versatility in intonation is a quality to be praised, we learn
for the first time, and that AHwni'a intonation should vary
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September 18, 1858.] THE MUSICAL WORLD.
G01
and in the varying excite no feeling but that of pleasure in
the audience, will astonish onr reader* no less than our-
selves. " A rather tatne trio from one of Mozart's compo-
sitions," it appears, according to our novel-gifted scribe,
" sung by Madame Castellan, Madame Alboni, and Mr.
Weiss, did not produce much effect;" and of Mad 1 If. V ictoire
ilalfe, we are informed that " the favourable impression of
the merits of the young vocalist, which the Birmingham
people has, from report, formed, was amply confirmed at the
tung tho very elaborate aria, 'II soavc e bel conteuto,'"
(Niebe). We must, at all risks, find room for as much of the
affirmations on Jew and Galatea and Eli, as we can possibly
insert : —
" The overture from the Siege of Corinth, a magnificent piece of
iutrumeutatio», which concluded the miscellaneous concert, was suc-
ceeded by Handel's cantata, Acit and Galatea, with additional accom-
paniment!, composed expressly for the Festival by Costa. Thii com-
position it worthy of a place in any programme. The cantata finishes
with a sweet pastoral chorui, telling Ualatea to dry her tears, and
I the bappine** which Acis now enjoys. The music throughout
Ig good and very pleating, and the performance of last
fail to bring it into more general notice, and secure for it
> of the appreciation it to richlg detervtt.
Higher up we are told that the air, " ' Love sounds tho
alarm,' is, in Reeves's hands, worthy of Handel's fame," ami
tliat " it is one of tho most telling pieces in tho whole of the
Festival programme."
The correspondent of the Daily Telegrapli is still more
decided in his opinions about Mr. Costa's oratorio, and, if
possible, still more" perfunctory" in his remarks :—
" Eli waa written by Costa for the Ilirmingham Festival of 1855.
It contain* many fine pointt, and although not equal to Klijuh, or to
JIandttt mutic, there are in it tome postage! which will be handed
do ten to potUrity. We allude particularly to tbc 'W*r-song' and
chorus, the ' Evening prayer,' the chorus ' No ctU ihall befall thee,'
tbe 'Mareb,* and several other piece*, which will exist as long as
music hath charms. Tbe general effect of Eli is heavy, and some of
tbe ehoruie* are yery difficult without being effective. The oratorio
to day went very smoothly. Tltere were four re-demands accorded to
what are decidedly the finest passage* in the composition. The 'War-
song1 is one of the boldest martial pieces ever penned, and mUl latt at
long as there is a great tenor to ting it. It was superbly given by Mr.
Sims Reeves, and most enthusiastically re-deoianded. The quartet is
one of the finest specimens of part-singing to which we ever listened.
The ' March' has already become a favourite with every bond of note
in England. It t is a superb piece of instrumentation. In the intro-
ductory portion of tho oratorio there is a chorus and chant, in the
cathedral style, in which Signer Iielletti made a moil effective appear-
ance. Succeeding the duet is an extraordinary double chorus; the
women— soprano* and altoe— are enjoying tbe ungodly revel, while the
priests— tenors and basics— are denouncing judgment upon them. It
waa powerfully and accurately sung. Signor Belletti did not acquire
much credit in the heavy and unprofitable air, ' If thou shoaldst
mark,1 although he sung it appropriately enough. The great soprnno
song of tho work, ' I will extol Thee,' was given with great gusto by
Madame Novello, of course. The first part concludes with a fine
elaborate chorus, the recitative* to which were well declaimed by Mr,
Weiaa aad Signor Belletti. The au*rtet aad ' March' are followed
by a grand fugue chorus, my rtiljul, yet very unprofitable, and very
well tung. The choral • March'— which is the previous TfareV re-
peated in chorus— hss a very fine effect. Perhaps, however, the gem of
tho wholo work is the air, 'This night I left.' Madame Yiardot ren-
dered it in a most charming manner. Why was it not re-demanded ?
Its effect on the audience was moil palpable. The composition, in
point of merit, fulls short towards tho conclusion, tho final choruses
being the most awkward and inharmonious we have heard— •exceedingly
difficult, very noisy, and very unprofitable,"
After wuding through the above " perfunctoriana," our
reader* may peradventure exclaim, " These are most unpro-
fitable moreeaux, and hardly worth the perusal." Neverthd-
leas, we take leave to insert them as corroborative of our
preliminary observations, and ua tending to show that there
is something rotten in the state of music, and to point out
the whereabouts of the rottenness. Had wc time and room
we might be further induced to call attention to tho notices
on the Birmingham Festival which appeared in the pages
of a morning contemporary of longer standing, loftier posi-
tion, greater pretlige and influence, and higher price than
the Daily Tclegra/>h — the Morning Herald — not a whit
less " perfunctory " than what we have quoted. At present,
however, wo shall content ourselves with the inclosure,
numlier two, which was sent us tins week, and which it will
be seen, refh-cts aa -severely on provincial criticism na the
ejxerptti given above does on our own metropolitan : —
" What could be finer than the natural gift* brought to Tuesday
night's entertainment t" write* the Shields Oaielte, apropos of the
singing at tbe opening of the Mechanic*' Institute at North Shield*.
"Tbe powerful mellow organ-like tones of Miss Mastertoa ; tho dramatic
force and liquid melody of Miss Bcdpathj tho tender sweetness and
soft grace of Mr*. Bewick ; or tbe natural beauty and bird-like cadence*
of Mr*. Finkney and Mrs. Carry ; whilst among the male voice*, there
are few English singers tiiat could have brought out more clearly tho
feeling and pathos of Mr. Uaswell's delightful hymn than Mr. rlynu,
whose noble voice seemed to ripen and mellow with the feeling that
suffused the whole performance. Mr. Deakers equally supported hi*
reputation by hi* delightful rendering of 'Beautiful Spring,' while
Mr. Barker and Mr. Hindhaugh were equally excellent. In their sra
and buffu song*, we cannot help thinking that if those ladies and gen-
tlemen will continue to sing together, in a short time thoy will be able
to give an entertainment that would fear no comparison with any
concert-room in the kingdom."
Whether the article extracted from the London journal
or that from the north country Gazette la- most "perfunctory,"
wo leave to the reader to determine. Our sole desire and aim is
to inculcate on proprietors, managers, directors and editors of
newspapers, that the talents aud accomplishment* required
for the office of musical writer are aa many and as great aa
those demanded for the dramatic. To criticise an opera or an
oratorio is not less difficult than to criticise a tragedy or a
comedy. We will not just now insist that a profounder
knowledge of the subject is necessitated in one case than in
the other. An equality of power and acquirements is all we
contend for at present.
While surveying one of the divisions of a very unplea-
sttnt place, called Malelsolge, the great Dante perceived au
old political adversary in an odd predicament A snake
flew at the nape of this unfortunate person's neck, Isired a
hole therein ; and lo ! and behold ! Dante could ne>t so moo
say " Jack Robinson" (Ne O si tosto mni ne I si serisse), as
the bitten party was reduced to ashes before his eyes. How-
ever, tho ashes, which were scattered about the ground, were
speedily gathered together again, and Vanno Fitcci, of
Fistoja (the party in question), was so completely restored,
that ho made a tolerably long speech with a view to offend
Dante, as a great member of the Wlute faction.
This strange spectacle suggested to the mi i h i of the illus-
trious Florentine t be very common-place image of tho
Phrcnix, but if we had boon favoured with the same agreeable
sight we should have token the quickly broken and quickly
mended man of Fistoja for a symbol of the Lyceum Theatre.
Nor do we allude to the conflagration of the old house that
had its facade in the Strand, and the erection in its place of
the new house that thrusts its portico into Wellington-
street. Managerial not physical dissolution would have
been the subject of our meditation, which would not have
gone Imck beyond the chronicles of the new house. We
should have thought of the many enterprises tltat li&d been
" in that fair edifice, of the speed with which they
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THE MUSICAL WORLD. [September 18, 1868.
proved abortive, of the rapidity with which activity brought
to u stand-still has been succeeded by activity renewed.
First of all iu order of time is the respectable operatic mon-
archy of the late Mr.S. Arnold, with the yourjaltad of Edward
Loder.andthe Mountain Sf/l])ho{ John Harnett. The entertain-
ments consist of opera, drama and farce ; and opera, drama and
force arc all strongly cast — everything, in fact, looks very strong
and substantial. Suddenly Mr. Packer's Sadai and Kalnsrade
fixes iUelf on the establishment like the Bukt on the neck of
Vanni Fucci ; — a dynasty crumbles away, a throne is vacant.
Then comes a aeries of events more complicated than a history
of South American revolutions. Actors form themselves into
republics, sometimes of the aristocratic, sometimes of the
democratic kind. Sometime* wisdom is in the council, and
talent on the stage ; sometimes talent is on the stage without
wisdom in the council; sometimes the stage is as unencumbered
by talent as tho council by wisdom. Sismondi's "History of
the Italian Republics" fills sixteen very respectable octavo
volumes, but ho who writes a history of tho Lyceum Republics
will beat Sismondi's hollow in point of bulk if not in point of
interest. Occasionally the phantasmagoric series of com-
monwealths is varied by the apjx aranee of a verv brief
inouarchy or dictatorship. Mr. Ralfe looks sis though he
would achieve that great desideratum— the establishment of
an English Opera-house, and Keolanthe will still be re-
membered as a monument of his efforts. Poor Gcorgo Stevens,
too, has his little Elizabethan freaks, and drops more money
than he ever picks up again, by bringing out, at his own ex-
pense, his cumbrous Marlinuiii. At last the long lino of
short or weak governments, which is growing as tedious as
the Tchenkue, or M period of petty kings," that lasted in
China from 770 to 320 B.C., — this long line, we say, is
brought to a close by the Kccleys, and in 1814 a good
sound monarchy with a proper company is once more*
established. No undertaking could be more promising. At
the moment when the Kccleys step upon the throne, a num-
ber of young wits are just beginning to put forth their
energies. Tho Lyceum is the dramatic birth-place of
Tom Taylor and Shirley Brookes, while Albert Smith anil
Charles Kenney became something like permanent dramatists
under the genial influence of the new ride. Creditable and
profitable to tho end was the management of the Keelevs.
But why did it come to an end 1 This time the destructive
snake took the form of an increased demand for something
— we forget whether it referred to the rent, or to the gas, or
to somebody's salary ;— nt all event* the Keeleys left the
spot with money in their pockets, and there was "the crumb-
ling away of another dynasty. When again united the
ashes tako an exceedingly vivacious form and picturesque
shape. Tho sparkling vision of the Vcstris-Mathews
government adorned by the genius of Beverley is before our
eyes. But sjiarkle as it may, this government does not look
very solid Pieces come out at a moment's notice, and with
scarcely a day's preparation ; reports of legal proceedings
interweave themselves with reports theatrical, and though
the vivacious manager is the delight of everybody who looks
at him, a large multitude is not to bo assembled save by the
iucessant production of fairy spectacles, which at last pall
upon the appetite.
Of Mr. Mitchell's " Opera-bufla," of the temporary occu-
pation of tho Lyceum by French or Italian companies, we
tako no notice, since, to the speculator in these cases, the
theatre was merely a house that happened to bo vacant for
the brief time they wauted them, and they no more regarded
the Lyceum as a permauont residence than a man mistakes
a room iu an inn for his proper house. The last dissolved
government was that of Mr. diaries Dillon, which also
looked showy in iU day, but which also came in for the
serjient's bite. As for Mr. George Webster's reign, its ter-
mination could scarcely bo called the fall of a dynasty, as
the functions of government, after a pause not worth men-
tioning, were undertaken by Mr. Falconer, whoso comedy,
Extnsmet, has again rendered the theatre an important esta-
blishment.
As far as we ourselves arc concerned, Dante did not more
heartily detest Filippo Argenti than we abominate the school
to which Mr. Falconer's comedy belongs. But we admit
that in the vigour of his writing he has shown himself
superior to his school, and, what is mora, we grant that the
school it*clf finds many admirers amongst existing playgoer".
Let us hope, while wo congratulate Mr. Falconer on his
wcll-incritcd success, that he lias founded something like a
Lyceum government, that will not fidl to pieces at the first
little nibble of adversity.
A GERMAN" CRITIC IN LONDON.'
Tun fifth and hist concert was for more interesting and
satisfactory than tho fourth. The orchestral pieces, the
overtures to Medea, to Ruy ISlat, and to Obrnm, and the
Sin/onia Eroioa were really very well executed, and, alwve
all, tho nanus of Miss Arabella Goddard and Joachiln gave
especial lustre to tho programme. These had botil brought
to light from tho obscure stores of an earlier epoch the
material for tho display of their genius. [Fashion no doubt
had its share iu the resuscitation ; but this is a good fashion,
if not carried too far.J Bach's sonata, No. 5, with the
splendid fugue for the violin alone, and Dossek's concerto,
No. C, iu G minor, rose from oblivion as dazzling novelties
before the eyes of the astonished public. Joachim's truly
marvellous rendering of Old Bach's contrapuntal master-
piece excited the most extraordinary demonstrations of ap-
plause, although it cannot l>o denied that the majestic tones
produced by this hero of the strings, did not make us quite
overlook the desolate position of a single violin in a large
hall. In the second part ho played tho Romanza in F, with
orchestral accompaniment by Beethoven.
Dnssek's concerto for the piano was even less known than
Bach's sonata for the violin. We all heard it for the first time,
and very few of us could either have seen it or played it. It
is a genuine concerto of its kind, with the first movement
broadly designed and brilliantly worked out. The slow move-
ment in E flat is melodious, though it displays no extraor-
dinary invention. But tho finale — a rondo in G minor, like
the first movement — is a magnificent piece, composed in that
characteristic, we may say gonial style that distinguishes
tho bravuras of Dussck. The execution of this concerto is
tho rewrse of easy ; but Miss Goddard is no longer conscious
of difficulties on her instrument. She is, moreover, an artist
in tho true sense of the word, and the extraordinary success
which she has recently achieved in England is not to be
ascribed to the jiatriotism of her countrymen. Even the
severest critics among the modem Germans have awarded
to her the palm among all the lady pianists of the present
day, not even excepting Mad. Schumann and Mad. Szamirdy-
C'lauss.
What is effected by this young lady by dint of industry
and perseverance, combined with genial intelligence and
technical genius, is really incredible.
* Prom • icrlM of letters under tho head of " The London Musical
Soaioii" in tho ^d*rr*»w<#c»* M**ik ZeituV.
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Septkmbeb 18, 1858.] THE MUSICAL WORLD.
603
Site gave the first burn* of toiriee at her own residence ;
for the second she selected Willis's Rooms, which on each
occasion were filled with an audience comprising every one
who could lay claim to any rank in the domain of music.
Most juNtly were these ioir(ei termed "classical," Neither
the wishes of titled ladies, nor tho homage of worshipers,
can lure this, in every respect, gifted lady from the title
lmth of art; she never stoops to tho mere amusement of her
hearers. Look over her programmes, and you will Im>
astonished when I t*?U you tliat all this lias becu mattered
l.y a girl in the bloom of youth. Then you will find
Hummels grand sonata in D major (Op. IOC), tho last that
he com prxxed for tho piano solo ; Beethoven's sonatas in A
major (Op. 101), ami B flat major (Op. 10G) ; Wolfl's sonata,
jVoii Plus Ultra, in F, and Pussok's sonata, Pint Ultra, in A
flat (Op. 71), both in ono eveniug ; C. M. von Weber's
sonata in E minor (Op. 70) ; S. Bach's Fuga tcherzando,
fugue in A minor, fugue in O major, for tho " Well-tempered
JfarjmeJtord;" Scarlatti's fugue in (.1 minor ; Mozart's sonata
in K flat and B flat, with violin (M. Sninton) ; Mendelssohn's
quartets in F minor and B minor ; a duct with violoncello
and tho fugue in D major from the " CkaraJOer-ttUcke" for
tho pianoforte, by tho same! compters. Add to these
several others, as, fur instance, Beethoven's concerto in
K flat major, Dussek's concerto already mentioned, Ac,
and you will form some notion of Miss Goddard's
studies. Those who havo heard her performance of Beet-
hoven's Op. 106 and Dussek's Plut Ultra can declare
tliat there is no flattery in the title " Queen of the piano-
forte." The terribly long ami almost impracticable sonata
Si. 100) she first played before the public in 1853, when
was scarcely 17 years of ago, and even then excited
admiration. In the course of the last two seasons she lias
played it three times, anil now, in her 22nd year, she so
completely rules the spirit of the masters of all schools, that
riu can evoke it for our benefit from the greatest and most
difficult of their works.
Crystal Palack. — The directors have engaged Madlte.
Piccolomini to sing at a concert given tho day previous to her
departure for America. Madlle. Piccolomini sails on Saturday,
tho 21»th instant, so that she will make her appearance at the
Crystal Palace on Friday, the iHth. A concert is announced to
take place this day on behalf of the funds of the Early Closing
Association, in which Madame Clara Novello and Miss Hansford
aro engaged to sing.
Pauis — Madame Marie Cabol has created a great sensation fit
tho U|>6ra-Coniii)ue by her performance of Carlo in Auber's Part
da DiabU, revived expressly for her. It is in contemplation
to reproduce Lettooq, certainly ono of Auber's finest works. —
At the < ; rand-Optra Madame Borghi-Mamo has appeared for
the first time as Catharina In tho Reine de Chypre with success.
— M. Calzado has issued his prospectus for the ensuing campaign
at the It aliens. Tho revivals and new operas promised are
Macbeth, by Verdi ; Anna Iiolena,l Martiri and Roberto Dexerexix,
by Donizetti; 11 Uiuramento, by Mcreadante, and Zelmira, by
Itossini. Tho last alone will bo worth all the rest. Madamo
Frezzolini has arrived in Paris from London, and Mr. Vincent
Wallace is also in the capital of the Beaux-Arts, which was
never so dull as at present, nor had less to say for itself. We
are all sonrching the journals for news, and cannot cvon light
upon a stale joke of Rossini's to amuse the reader.
G. V. Brook*.— Mr. G. V. Brooke and party arrived last
evening, by the " Tasmania." having fulfilled a successful engage-
ment at Hobnrt Town. The Prince of Wales Theatre will, wo
understand, bo opened by him on Monday week.— Sydney Herald,
July 10.
DRURY LANE THEATRE.
The Pyne and Ilarrison company has every reason to l>o
gratified with its success in its new operatic home. The
triumphant reception of the Rote of Castille at the Lyceum ou
its first production last autumn, was fully equalled by that
accorded to it last Monday at Drnry Lane. A more brilliant
audience wo have seldom seen at this |i«riod of the year in tho
old theatre. The appearance of the dress-boxes and stalls would
almost lead to the belief that everybody was not out of London,
and that some of tho " light and heavy swells" of tho season
were really in town, allured from the breezy sea-side, or the
smelling clover, where partridges may be said to hove, by the
combined attractions of Balfo's music and Miss Louisa Pyne's
and Mr. W. Harrison's singing. The "gods," too, mustered in
strong force, and the denizens of tho pit, tho " would-be critics
and won't-be gentlemen," vied with the supernals and tho
" upper ten" in numbers.
Of tho Rote of CattiUe, having already said so much upon so
many former occasions, we do not feel ourselves called upon to
say one word ; nor is there anything new to preach to our
readers about the performance, which, as regards the principals,
more particularly in tho hands of Miss Louisa Pyuo and Mr.
W. Harrison, betokened the excellence of last year ; while tho
band, under the ablo direction of Mr. Alfred Mellon, exhibited
all its former efficiency and strength. Nor must the chorus bo
forgotten, which, culled from the choir of tho Royal Italian
Opera, were fully equal to all tho demands made on their
musical skill by Balfo s music.
The opera was received throughout with thunders of applause,
and the encores were bo numerous that they almost equalled thu
volley of bouquets thrown, at the fall of the curtain, at Miss
Louisa Pyne and Mr. W. Harrison — tho Drury Lane audience
naturally concluding that, although the fashion of Hinging
bundles of flowers at a male vocalist, however high he may
sing, displays, to say the least of it, bad taste, they have Osgood
a right to shower honours in this manner on their tenor, as
Mr. Lumloy's aristocratic assemblies ou theirs. Is not Mr.
Harrison as worthy of posies at Drury Lane as Signor Giuglini
at Her Majesty's Theatre 1 For our own ports wo had rather
pelt orangeB or rotten eggs at tho best tenor in the world, than
fling flowers at him under any circumstances. And so Mr.
Harrison must havo felt on Monday night, since he did all he
could to force the multitudinous presents on Miss Louisa Pyne
— an act, of course, which brought down an extra floral shower.
After the opera, the national anthem was sung, our umquhile
friend and old favourite of tho public. Miss Rainforth, taking
the solos. The return to tho stage of this talented vocalist
should have been distinctly alluded to in the prospectus.
The performances concluded with a ballet dictrtittement, in
which, as we anticipated last week, Mdlle*. Morlaochi, Pasquale,
and Michelet exhibited their talents and graces to considerable
advantage. Natheless, we are not of the belief that Drury Lino
Theatre is tho legitimate homo of tho ballot.
The success achieved by the Rote of CattiUe has completely
set aside all idea of producing Martha at present.
Carmarthen. — We have much pleasure in recording tho
following resolution passed at a mooting of tho Kington Board
of Guardians, held for the purpose of accepting the resignation
of the Rev. John Brinley Richards, chaplain to the Union, who
has been appointed to tho curacy of Warehom, Dorsetshire.
Mr. Richards is the third son of the late Mr. H. Richards, organist
of this town, and brother of Brinley Richards, Esq, of London,
tho accomplished pianist and composer:—
" Rk.soi.vki>, — Tliat the Board receive, with unfeigned regret,
the resignation of the Rev. J. B. Richards as chaplain to tho
Union House, and the guardiaus feel it their duty to express
their entire satisfaction, not only with the way in which be dis-
charged his ministerial duties, but also with the affectionate and
zealous manner in which he imparted spiritual instruction, and
afforded religious consolation to the sick and dying inmates of
this house.— Bjw. Bomsuau, Clerk."— Carmarthen Journal.
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THE MUSICAL WORLD.
[September 18, 1658.
OPENINO OF THE NEW ORGAN AT THE FREE-
TRADE HALL, MANCHESTER.
We have already presented our readers with a correct de-
scription of the new organ erected by Messrs. Kirtland and
Jardine in the Free-trade Hall. A very numerous audience,
including many persons from considerable distances, attended
the morning performance on Tuesday.
Mr. Beat, the eminent organist of the St. George's Hall,
Liverpool, was warmly welcomed on his appearance upon the
orchestra, and commenced his performances with a pastorale,
by Bach, at the close introducing one of those pedal fiigues by
the same composer which arc the groat delight of connoisseurs
of the organ. This Mr. Best played with that matchless per-
fection for which he is celebrated, the pedal passages telling out
in a manner which proved that the builders had preserved a
proper balance of power between this portion of the organ
and the manuals. There was quite sufficient weight, and the
tono was ponderous without Insing overbearing. The overture
to the Lost Judgment, by Spohr, we never heard so well played
on the organ ; ail the points were capitally brought out, and the
tremulous effect in the soft passages was most effectively intro-
duced. Mr. Beat introduced the clarinet stop in the adagio of
Mendelssohn's sonata in C minor, and brought in the tubas noar
the close with fine effect. But it was in his own " Air with
variations " that he displayed to the general audience most
strikingly his unrivalled powers of execution. The variation in
which he plays rapid passages, m a solo on the pedals, was in-
terrupted by applause which would not bo restrained till tho
close of the piece, which was a signal for renewed demonstrations,
which resulted in so unmlstakeable an encore that Mr. Best was
compelled to return ; when, instead of repeating his own com-
position, he gave the march in the Prophet, by Meyerbeer,
in a manner which displayed tho power of the instrument
to great advantage. The organ will be a great acquisition
to tho Hall, and will prove of the greatest possible service
iu concerts generally, as it is capable of many orchestra!
effects, but more particularly in those of sacred music,
whether as the sole means of accompaniment, or ns used in
conjunction with the orchestra. Of course, Mr. Best was the
lion of the morning, but the intervals between the organ pieces
were woll filled up by Miss Armstrong and Mr. Mann. Miss
Armstrong pleased us most in Haydn's " Now the dancing sun-
beams pl»y," and in the Scotch song, "John Anderson, my Jo,"
which she rendered very beautifully. Mr. Mann also showed
that he possesses good knowledge of his art, and the cold from
which he was suffering did not prevent him from making it
evident that he has a pleasing voice. Iu the duets, the voices of
both the vocalists blended harmoniously; and altogether the
vocal_ selection was very favourably received. We believe that
on this occasion Mr. George Freeraantle came forward, for the
fii-st time, as pianoforte accoinpauiat at the Free-trade flail, and
we are happy to record that he occupied the post in that efficiont
manner which must have been anticipated by those who are
familiar with his performances at tho Blind Asylum.
The evening concert was oxtremely well attended, and the per-
formances were equally successful with those of the morning.
Mr. Best s selection comprised one of the orgau concertos by Hau-
Uel, now in course of publication by Mr. Best, in which Mr. Best's
dexterous use of tho composition pedals may bo noticed • pre-
lude and fugne, in E, by Bach ; air with variations, by Mr. Hatton,
iu which several points of the organ were displaved; and. in
answer to an encore, the air, with variations, which Mr. Best
played so finely in the morning ; and, laatlr, Handel's splendid
chorus, " Fixed on his everlasting seat," in which the rolling
baas passages played on the pedals were remarkably telling.
The vocalists were Mrs. Sunderland, Miss Newbound, and
Mr. Manu. The first piece, the beautiful trio " Ti Prego," was
charmingly sung, and without going into further particulars, we
may say that the whole selection was exceedingly satisfactory.
However, we may mention that Mrs. Sunderland was eminently
successful in Haydn's exquisite canzonet, "My mother bids me
>iud my hair," and in « Eve's Lamentation,* by King ; that
Newbound was much applauded in the favourite song by
IU UCU1IU. \JU WULUtt^, VUC -.'III
when Pontifical High Mass was
congregation. The organist on
Vst, of St George's Hall, Liver-
land, "When sorrow sloepcth, wake it not;" and that Mr.
Mann was encored in a song by Halt. (1) Mr. Walker ably
accompanied on the pianoforte.— Manchester Time*.
Watekfood. — Messrs. Hill and Son, of Loudon, have just
erected a grand organ in the Roman Catholic Cathedral, the
largest instrument yet erected iu Ireland. On Sunday, the 29th
ult., the opening took place, w"
celebrated before an immense
this occasion was Mr. W. T. Best, "
pool, who fully displayed the great resources of the instrument.
Tbe organ contains 48 registers, including an admirably con-
structed Vox Humana and a |iodal organ of 7 stops, including
a 32 feet double diapason. The reed work of this instrument sur-
passes anything that this eminent firm has yet produced. The
effect of the full organ (with four trumpet registers of 16,8,
and 4 feet) being truly magnificent. The following is a descrip-
tion in full of the new grand organ : —
3 Manuals and Pedal Organ.
Great Orgaa C C to Y, M notet, •. niaius : — 1, Double diapason,
metal, to 12 ft., Ci lower, 7 bourdons, 16 ft.; 2, Open dupaton, metal,
8 ft. i 3, Open dispaton No. 2, metal, 8 ft. j 4, Viol de gatnbe (German),
metal, 8 ft. ; 5, Stopped diapason, wood, 8ft.; 6, Quint, metal, G ft. ;
7, Principal, meUI, 4 0.; K, Wald flute, wood, 4 ft. ; 9, TwcMli, metal,
3 ft. ; 10, Fifteenth, metal, 2 ft. ; 11, Sesquialtrs, 3 ranks, metal, 1} ft.;
12, Mixture, 3 ranks, metal, L| ft.; 13, Posanne, metal, 8ft,; 14,
Trumpet, metal, 8 ft. • 16, Clarion, metal, 4 ft. ; 16, Trumpet, metal,
1G ft.
Choir Organ contain! : — 1, Cone gamba, metal, 8ft.; 2, Keraulophou,
tenor C, metal, 8 ft. ; 3, Stopped diapason bets, stopped
treble, wood, hi ft. ; 4, Stopped Ante, wood, 4 ft. ; 5, Gemsuorn j
metal, k ft. i 6, Piccolo, wood, 2 ft.} 7, Cormornc, metal, 8 ft.
Swell Organ C C to F, 64 not«>, contains I — 1, liourdon basi and
double diapason, wood and metal, 16 ft.; 2, Open diapason, wood and
metal, 8 ft. ; 3, Duleiano to tenor C, metal, 8 It. ; 4, Stopped diapason,
bass and treble, wood, 8ft.; 5, Principal, metal, 4 ft. ; 0, Soaoe flute
to tenor C, wood, * ft.; 7, Twelfth, metal, 3 ft. ; 8, ftfteoath, metal.
2ft.; 9, Seaqoialtra, 3 ranks, metal, lift.; 10, Cornopean, metal. 8 ft. .
11, Oboe, metal, 8 ft.; 12, Clarion, metal, 4ft.; IS, Tex buiuana,
tenor C, metal, ft. tono, 1G ft.
Pedal Organ, CCC to F, 30 Notes, contains : — 1, Open diapason
(wood), 16 ft.; 2, Violone (wood), 16 (t. ; 3, Principal, (metal) , 8 ft. ; 4,
Fifteenth (metal), 4ft.; 5, Seaquialtra 3 ranks (metal), 3 ft. ; 6, Trom-
bone, (wood), 1G ft. ) 7, Contra Bourdon, 33 ft. Stop* : Great organ,
16; Choir, 7i Swell, 13; Pedal, 7; Couplers, 5; Total, 48. Pipes:
Great organ, 979 ; Choir, 354 j Swell, 77 1 ; Pedal, 210 ; Total, 2317.
Couplers 1—1, Swell to great ; 2, Pedal to great ; 3, Pedal to swell ;
4, Pedal to choir ; 6, Choir to Swell ; Three Composition pedals to grmt
organ to act also on pedal stops; Three Composition pedal* to swell
organ; a tremulant for swell organ; a aeparato bellows for pedsl
organ; a deal-case of good design painted or stained with gilt front
pipes; a pneumatic action to great orgaa to act also on coupler, so at to
render the touch perfectly light ; the whole of tbe mechanism, mate-
rial, and roieiug, to be of the rcrv best description, and the work to bs
of the highest class.
The Leeds Musical Festival.— Financially, as well as
musically, our Festival is a great success. * The receipts
amount to nearly t ;, and the expenses will not exceed
£6,000. Thus there will be a very handsome surplus for the
funds of the Infirmary, and a further addition will be made from
the proceeds of a cheap concert given in the Hall, and a grand
ball in the taint magnificent room. It is greatly to the credit of
the principal performers at this Festival that they have given
very liberally towards the funds of the same excellent charity,
having contributed in tho aggregate, out of the money paid for
their services, .£130. The returns of the number of persons
present at the performances are as follows :— Wednesday morn-
ing, 1,800; Thursday morning, between 1,800 and 1,900; Thurs-
day evening, 2,000; Friday morning, 1,700; Friday evening,
J / ti K).
A Vile Joke— ( Very properly rejected by Mr. Punch).— The
operatic performances at Drurv Lane may be entitled the dessert
of tho musical season, in which the public are invited to taste
several Pinet and A Melon.
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Sbptember 18, 1858.] THE MUSICAL WORLD.
605
CATASTROPHE AT THE SURREY MUSIC HALL,
SHEFFIELD.
A calamity of the most fearful character, and attended with
serious loss of life, occurred on Monday night at the Surrey
Music Hall, Sheffield, an immense building capable of accom-
modating four thousand persons, and in which a variety of
amusements were being carried on at the same time. A
great crowd had assembled, and the entertainments were
in fnll progress, when suddenly a report, as if from a
pistol, was heard in the gallery, and the audience were
filled with atarm. Tho proprietor, Mr. Yondan, however,
instantly come on tho platform, and after awhile succeeded in
persuading the people to keep their seats, assuring them that
no danger whatsoever was to be apprehended A few minutes,
notwithstanding, had hardly elapsed, when three or four men
simultaneously rose in the gallery and cried aloud, " The place
is on tire." A fearful sccno then ensued. The audience, princi-
pally composed of young persons, frantically rushed to the
various outlets of the building, while many jumped over the
gallery front into the pit. All escaped safe from the pit, boxes,
and upper gallery. In rushing from the lower gallery, one
young man fell; others fell over him, and the staircase
was blocked up. Three young men and one young woman were
taken up dead, and two others were severely injured. Another
man was killed by jumping out of a window. In the fright
wouion were seen dropping children into the street, and jumping
after them.
The cause of the accident, up to the present moment, is in-
volved in mystery. At first it was supposed that a pistel had
been fired in the gallery, and under this impression Mr.
Youdan, when he came forward to allay the fears of
the multitude, offered a reward of £5 for the perpetrator. The
announcement that a pistol hod been fired, and was the
act of some scoundrel to create alarm, holped in somo measure
to restore quiet, and the people sat down apparently
with the intention of devoting themselves to the business of the
evening. They were not allowed to remain long undisturbed.
Uu a sudden, from that part of the gallery whence the report
issued, three men sprang forward to tho front and simultane-
ously called out, " Fire ! the place is on fire !" The effect on the
audience was as if a thunderbolt had fallen amongst them.
Screams and cries proceeded from all parts of the hall, order
was at an end, and persons were seen leaping over the front
of the gallery into tho pit and on to the stage. Mr. Youdan ran
at once to the steps leading from the gallery to the street, in
order to stop tho rush, and, if jtossible, restore confidence. lie
was not a litfle surprised to find a woman's mantle on fire. This
had evidently been thrown on the Bteps only an instant beforo,
and Mr. Youdan quickly trampled out the fire. All Mr. Youdan's
efforts, however, to restore confidence failed, and he was pressed
aside by the panic-stricken crowd. The professionals were
alarmed at the presence of a large number of frantic persons
running about the stage in search of a place to make their exit.
A window was at last found, and the people dashed through it
head foremost. Others in the top gallery mode their way by
getting over the front of the gallery, and descending by the
pillars into the lower part of the building. The confusion and
disorder, shouting and screaming, were frightful to hear, and
beyond the power of describing. Tho crush was tremendous,
and the wonder is that moro accidents did not occur, and that
more lives were not lost. Numbers wort* injured, more or less,
by the compression, and others were thrown down and trampled
under foot. Not until the place had become almost empty was
tho extent of the catastropho known.
The coroner's inquest upon the five sufferers was opened on
Tuesilay evening, before Mr. Badger, coroner. From the evi-
dence of William Henry Greaves, aged 19, it appeared that an
explosion had taken place consequent on his striking a lucifer
match to light a cigar. Another boy confirmed this statement,
and both declared that previous to the explosion a strong smell
of gas was perceptible. Hero was a new light apparently
thrown on the catastrophe, and the inquiry was adjourned until
next Thursday, the jury directing that a close investigation
should take place regarding tho escape of the gas, in order to
ascertain whether the evidence of Greaves and his compa-
nion was correct. A strict examination by competent persons
on Wednesday of the pipes in the neighbourhood of the place
where the report was heard, showed beyond a doubt that there
had been no escape of gas, and that consequently no explosion
could have taken place. It remains therefore to be seen whe-
ther the two boys were framing a story, and for what purpose
it was framed. It is scarcely credible that a conspiracy so
horrible could have been devised. That it is a conspiracy,
however, seems clear.
At the next inquiry it is to be hoped that some light may bo
thrown on the mystery, and that the perpetrators of so diabolical
a crime may not escape detection.
ON THE CONSTRUCTION OF PUBLIC PLACES OF
AMUSEMENT.
(From The Time'.)
Here is another " Surrey Music Hall" catastrophe. It is going
the round of the provinces, and this time it has been reproduced,
with the usual destruction of life, at Sheffield. The building was
not even finished, and if there had been any wish to profit by
the experience of our own "Surrey," there must havo oeen tho
opportunity ; but of all people in' the world English architects
are abont the last to profit by experience. It certainly seems so
in this instance. Tho two galleries are approached by winding
stairs, the exact construction of which does not appear. They
are divided, wo are told by the local journal, into successive
flights of half-a-dozen steps, and this is considered a provision
against the consequences of excessive pressure. The narrative
of the disaster, however, shows that two young women could
precipitate themselves, or be precipitated, fur enough down the
stairs to be killed on tho spot ; two young men could be killed
in the struggle on the stairs, and another young mas could find
his chance of ordinary egress so bad that bo preferred throwing
himself from a window, and was killed by the rati. Considering
that the place held 3,000, of whom nearly half might be in tho
galleries, and considering, too, that it look a full hour to clear
the building, tho wonder is the deaths were so few. Indeed,
wo are bound to say that we have lately had no such catastropho
as that where eighteen persons perished at the Adelphi about the
beginning of this century, and a still greater number at au
execution, not to .speak of the awful and ominous loss of life
at tho marriage of Louis XYI. Horrible as it may seem,
an utterly inadequate egress imposes limits to such a
disaster. As railway directors tell us that the safest course in
the end is to lock up the passengers in their carriages and deny
them means of giving alarm, so, perhaps, tho safest course
would be to put a door to every staircase in a theatre, to lock it
at the beginning of the i»erformance, to forbid exit under any
circumstances whatever, and then, perhaps, as a necessary
supplement to these precautions, cage in tho galleries as wo have
done the top of the monument and the Duke of York's column.
In that case it might happen that once in five hundred years a
whole audience would be burnt alive ; but in the meantime, we
should not witness the minor calamity of half-a-dozen crushed
in a staircase. It may, however, be worth considering, and
the guardians of the public weal are certainly bound to
consider, whether all is done that can be done to avert such
horrors, whether in the gross or detail. It may not be easy to secure
us altogether against the results of so mad and uncontrollable
a thing as a panic, but if we cannot say what is the very best
arrangements for egress from a crowded theatre, we can at least
be sure that certain arrangements are insufficient and bad. The
licensing magistrates, or the district surveyor where a building
Act is in operation, ought to have the power to prevent any
theatre or public hall from being opened till it had satisfied
them in this respect.
So far from being at all surprised at the frequency of these
disasters, our wonder is there are not more, and that thoy are not
more destructive. Only think of the labyrinth of the narrow
winding passages and stairs through which tho greater part of
the immense audiences of Exeter Hall have to accomplish their
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THE MUSICAL WORLD.
[Si
18, 1858.
exit. They are particularly requested not to rise before the
conclusion of the performances, but from that conclusion it takes
a quarter of an hour or twenty minutes to get into the Stroud.
The first hundred would "block up the exit, and the
remaining three thousand would not be burnt alive, for wo be-
lieve the building to be very safe from that, but thi-y would bo
very uncomfortable for half-an-hour, and would probably kill
at least a hundred of each other. The smaller theatres are
nearly as bad. The new Italian Opera in Covent Garden ap-
pears to bo an immense improvement on its predecessors, the
corridors and staircases being both spacious and fire-proof. In
that caao there was warning. It was observed, at the destruc-
tion of the old theatre, that had the fire broken out any hour
before midnight, instead of several hours after, when there re-
mained only two or three hundreds out of as many thousands,
wo should have had not only such a disaster as that at Sheffield,
but something like a real holocaust, bo rapid was the progress
of the flames. People are always told to sit still. Ot course,
it is their beat course ; at least, better than flinging themselves
on a mass of people tumbling down a staircase ; but the fact of
such a theatre as old Covent Garden being burnt down in an hour
does not encourage one to " sit still," when the fire is actually in
progress. The old Olympic was a crazy fabric, chiefly com-
posed of old ships' timbers. At seven o'clock carriages were
still putting dswn company ; at nine you could have carried in
the palm of yonr hand, so we were told, all that remained of
the inner theatre. Now, it is not everybody who can remember
the exact materials or construction of an edifice burning over
his head, or who can calculate to a nicety how long the flames
will be reaching him, or how many degrees of Fahrenheit liis
constitution can bear.
Foreign architects have often observed that in our public
buildings and larger private mansions, the staircase appears to
have beau an after-thought. In the country of Vitruviua aud l'al-
ladio, and all over the Continent, the tradition of the open central
atrium seems to have been kept up, ao as to secure a large
amount of hall and passage, and to procure breadth and etfeet
for the staircase. An ordinary Italian hotel will often have a
grander flight of stairs right to the top story than is to be found
in the mansion of an English nobleman. The amphitheatres,
however, are the very cases in point, and any one who has seen
and inspected tho Coliseum will readily believe that its 80,(HXJ
occupant* could easily get safe to the street in five minutes.
Round and under tho scaU it is all passages and stairs, and
people, once under its massive archways, would feel themselves
safe from every possible conflagration. That was the general
plan of the amphitheatre to be found in every Roman town of
any site. It is tho best model for the modern theatre, whether
in its open design or in its fire-proof material. Just now there
appears to be a very laudable passion for building large rooms
for public assemblages, such as that which the Queen oj»ened
the other day at Leeds, St. Georgo's Hall at Liverpool, and a
dozen others which have lately been described in our columns.
As others are likely to be built, and as ucouomy may suggest
galleries, or even raise the hall a whole story from the ground,
wc beg to insist on the use of ample nud easy stairs. The
warning is not a bit too soon. Wt have not yet seen the worst
catastropho we are doomed to see of this kind. It would be
invidious to single out a room, or a theatre, but when we see
one ordinary doorway, not wider than the door of a bedchamber,
tho only aperture left to several hundred occupiers of stalls
in the pit of a theatre, or the area of a public room, it has oc-
curred to us to reflect, to little purpose, "What should we do
in case of a fire 1" That singlo door is generally in a corner, at
tho foot of several steps, and attainable only by crossing several
benches, or climbing over chairs, which, under the supposed
circumstances, would be full of people in the utmost terror
and confusion. In theso cases a strong man, with presenoo of
mind, might shift for himself; but what if he had women and
children with him ? Our assurance-offices will tell as a theatre
is liable to Ukc fire, and if it docs it is not often that the great
cistern is fuU of water, or the key can be found, or the water
m if tho firo should
is of any use. Nor would it follow, oven if the fi
oventually be extinguished, that tho audience hod
burnt in the meantime. As guardians of the public, we are
justified in calling for more attention to this subject, even if it
should cost some of that space and that money which speculators
would rather spend in increasing the seats or the stage. Thno
will show whether the caution is superfluous. Suppose, for
example, that the Music Hall at Sheffield had been really on fire,
and that the fire, spreading over head, had not been found so
so easy to be extinguished. What would have been the fate of
the 3,000 people under that burning shower 1 It took on hour
to clear tho Hall, but would not half-an-hour, or even a quarter,
have settled the fate of all who had not esca|ied I
Mr. T. H. Tojilinson's Soirki Musicals — {From a North
London Corretpomdent). — This toirte took place (by kind permis-
sion) at the residence of R. Dawes, Esq., Abbey-road, St. Johu's-
wood. The concert commenced with the overture to I'ltodiana
in Alqtri, as a duct for pianoforte (four hands) and flute,
exceedingly well performed by Mr. T. H. Tomlinson, Master
Dawes, and Mr. Dawes, after which " The Queen's letter " was
sung with spirit and feeling by Mr. liobiuson. The " event " of
the evoning, however, was the performance of Griffin's first
concerto by Miss Ihiwes, whom we cannot praise too highly.
Her playing was most surprising, taking into consideration that
the young lady is but ten years of age. Tho first movement of
the concerto was played with great brilliancy ; the slow move-
ment (which contains the air "The blue bolls of Scotland ")
with an amount of expression that evidently pleased the
audience, and the pin moto with remarkable precision,
eially those passages requiring frequent crossing of the f
The piano parts of the rondo were.played with such lightness of
touch, and the fortt with so much power, that the audience were
quite delighted. At the end of the concerto the young pianist was
saluted with a storm of applause. Miss Dawes was then presented
by Mr. Tomlinson with a handsome silver medal, on one side of
which was engraved a wreath of frosted flowers (the rose, sham-
rock, and thistle) encircling the lyre of Apollo, resting on a
music-book. On the reverse wa* the inscription: "Presented
by Mr. T. H. Tomlinson to Miss Ellen Jane Dawes, as a mark
of esteem for her musical talent in playing Griffiu'x first con-
certo at the age of Ten Years." The programme contained
several other instrumental aud vocal pieces, among which were
" What shall my song be to-night 1" (sung by a lady) ;
Rrichardt's popular lied, " Thou art so near, aud yet so far;"
remember " (the two latter
Bnlfo
»w song, " I'm not in
capitally sung by Mr. Tomlinson); and Nicholson's fantasia on
" Oh Nanny wilt thou gang wi' me 1" for flute and piano, played
by Mr Dawes and Mr. Tomlinson, in which the tone and execu-
tion of Mr. Dawos were heard to great advantage. The concert
concluded with Mr. I Tat ton's popular soug, " The Adventures of
Robinson Crusoe."
Leicester. — Mr. H. Nicholson's first grand concert for the
present season took place on Tuesday evening, for which the
services of Modlle. Piecolomini, Signor Rossi, Vialetti, and
Giuglini. with Signor Arditi as conduetor, were secured. A
very fashionable audience filled the spacious music-hall, and the
concert gave entire satisfaction to all present, Madlle. Piecolomini
achieving an immense success in all her songs.
Leeds — Peoru's Festival Concert — (FiomaCorretpotideni).
— The Festival Committee moat wisely determined, though late
in the week, to let the "people" of Leeds hear on the Saturday
night sorno of the music which had delighted the more aristo-
cratic assemblies earlier in the week, and to see that noble hall
which has so charmed all who are able to appreciate the grand
and tho beautiful. Professor Bennett conducted a solo and
chorus from his May Queen; Mr. and Madame Weiss, Mrs.
Sunderland, Miss Helena Walker (the young and rising York-
shire soprano), Miss Crosland, Mr. Wilbye Cooper, Mr. Uinch-
cliffe, tho Festival chorus (Mr. Barton, conductor), and Messrs.
Henry Smart and William Spark as organists, all contributed
to interpret a programme of great variety and interest to the
delight of. some 3,fiOO people who crowded the ball in every part,
and were enthusiastic with everybody and everything during
the whole night. We hope to hear of many more such " people's
nights, for Leeds has, indeed, the material now to give soma
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607
excellent concerts in one of the finest halls in Europe, and, we
believe, with perfect success. The receipts, including Saturday
night's concert, amount to £7,865 4s., and donations hare been
received from the following : Dr. W. S. Bennett, £20 ; Miss
Arabella Goddard, £20 ; Mr. and Madame Weiss, £10 10a. ;
Mr. Sims Reeves, £10 ; Miss Dolby, £10 ; Mrs. Sunderland,
£5 Gs. j Mr. Wilbye Cooper, £5 5s. j Mr. Winn, £5 5s. ; Mrs.
Calverley, £10. It is calculated that £6,000 will cover all
expenses, so that about £2,000 will bo given to the Infirmary.
HENRI HEINE ABOUT MUSIC AND MUSICIANS.
(Translated for Dwi3hV, Journal of Math.)
Paris, Mat 1, 1844.
While the Academy of Music has so sadly languished, and
the Italians have dragged through their season quite as mourn-
fully, the third lyric theatre, tho Opera-Coraiquo, has risen to
its most joyous height. Here one success lias cone beyond
another, and the money-box has had always a good ring. Yes,
there has even been more gold than laurels reaped, which
certainly was no misfortune for the Direction. The texts of
tho now operas, that havo been given, wero all of them by
Scribe, tho man who uttered once tho great saying : " Gold is a
chimera 1" and who yet continually runs after this chimera,
lie is the man of monoy, of the ringing realism, who never
mounts into a romantic, barren cloud-world, and who clings fast
to the terrestrial reality of the marriage of reason, of industrial
citizenship, and of the tanlihne. An iininenso success crowns
■Scribe's new opera, La Sirine, to which Auber has written tho
music. Author and composer are entirely suited to each other:
they have the finest sense for what is interesting ; they know
how to entertain us agreeably : they dazzle and ecstatify us,
indeed, by tho brilliant facettes of their wit ; they possess a
certain filagree talent for putting together tho most charming
trifles, and one forgets in them that there is such a thing as
poetry. They are a sort of Art-iorettet, who laugh away all the
ghost stories of tho past from our memory, and with their
coquettish toyings, as with peacock's fans, brush the buzzing
thoughts of the future, tho invisible flics, away from na. To
this harmless amorous tribe belongs also Adam, who, with his
C<ujlio*lro, baa reaped likewise very easy laurels in the Opera-
Comique. Adam is an amiable, agreeable phenomenon, and his
is a talent yet capable of great development. Thomas, too,
deserves an honourable mention ; his operetta Mina has had
much success.
But all these triumphs have been surpassed by the popularity
of ■ The Deserter," an old opera by Mousigny, which the Op6ra-
Comique has drawn forth from the portfolio of oblivion. Here
is genuine French music, the liveliest grace, a harmless sweet-
ness, a freshness as of tho smell of wood-flowers, the truth of
nature, in short, poetry. Yes, the latter is not wanting, but it
is a loetry without the shudder of infinity, without mysterious
enchantment, without sadness, without irony, without morbidezta
— I might almost say, an elegant rustic poetry of health. The
opera of Monsigny reminded me at once of his contemporary,
Greuze, the painter. I saw hero bodily, as it were, the rural
scenes which he had just paiuted, and I seemed to hear tho
music that belonged to them. In listening to that opera, it
became quite clear to mo how the plastic and the reciting arts
of the same period always breathe ono and the same spirit,
aud their master-works reveal the most intimate affiuity.
I cannot conclude this report without romarking that the
musical (season is not yet ended, and, this year, contrary to all
custom, sounds on even into May. The most important balls
and concerts are given at this moment, and the polka even
rivals tho piano. Feet and cars are weary, yet they cannot
rest. The Spring, which this timo sets in so early, makes a
/■iseo; green leaves and sunshine go unnoticed. The physicians,
perhaps especially the madhouse doctors, will soon gain plenty
of business. In this motley tumult, in this fever of amuse-
ment, in this singing, springing whirlpool, lurk death and
insanity. Hie hammers of the pianoforte work frightfully upon
our nerves, and this great vertigo malady, the polka, gives us
the coup de grd».
LATER XOT1CE.
To the preceding communications I append, from melancholy
humour, the following leaves, which belong to the summer of
1847, and which form the last act of my musical reportership.
For me, all music has from that time ceased, and I little
dreamed, when I sketched the sufferings of Donizetti, that a
similar and far more painful visitation was approaching roe.
Tho short Art notice reads as follows : —
Since Gnstavus Adolphus, of glorious memory, no Swedish
reputation has made so much noise in the world as Jenny I .m l.
Tho accounts of her which came to us from England, border on
the incredible. The journals are all ringing with trum]>et
blasts and fnnforas of triumph; wo hear nothing but Pindaric
hymns of praise. A friend told me of an English city where all
tho bells were rung upon the entrance of the Swedish night-
ingale; the bishop who resided there celebrated this event by a
remarkable discourse. Iu his Anglican episcopal costume, ho
ascended the pulpit of the cathedral, and greeted the new comer
as a saviour in woman's clothes, as a lady redeemer, who had
come down from heaven to deliver our souls from sin and evil
by her song ; whereas the other oantotrici were so many female
devils who would trill us into the jaws of Satan. The Italians,
Grisi and Persian!, must turn as yellow as canary birds with
envy and chagrin, the while our Jenny, the Swedish nightingale,
flutters from one triumph to another. I say our Jenny, for in
reality the Swedish nightingale does not represent exclusively
the little land of Sweden, but she represents the whole Germanic
stock, that of the Cimbri as woll as that of the Teutons ; she is
also a German just as much as her dull and vegetating sisters
on the Elbe and on the Neckar ; she belongs to Germany, as
Shakspere, too, according to Franz Horn, belongs to us, ana as
Spinoza likewise, in his inmost nature, can only be a German—
and wo with prido call Jonny Lind our own I Shout, Uckermark,
for thou also hast a part in this glory ! Dance, Massraann, thy
fatherland's most joyous dances, for our Jenny speaks no Roman
gibberish, but real, Gothic, Scandinavian, most German German,
aud thou mayest greet her as a countrywoman — only thou must
wash thyself before thou oflerest her thy Gorman hand.
Yes, Jenny Lind is a Gorman; the very name Lind makas
one think of lindens, those green cousins of our German oaks.
She has no black hair like the Italian prima donnas ; iu her blue
eyes swim northern sentiment and moonlight, and in her throat
sounds purest maidenhood ! That is it. " Maidenhood is in her
voice," — so said all tho " old spinsters" in London ; all prudish
ladies and pious gentlemen with upturned eyes repeated it ; the
still surviving mauvaite queue of Richardson chimed in. and all
Great Britain celebrated iu Jenny Lind the song of maidenhood,
the maidenhood of song. We must own, this is the key to the
incomprehensible riddle of the immense enthusiasm which Jenny
Lind has found in England, mid, between us, has known well how
to profit by. She only sings, they say, in order that she may be
able soon to give up worldly singing, and, provided with tho
necessary outfit, marry a young protestant clergyman, the pastor
Swenske, who in the meantime waits for her at home in his
idyllic parsonage behind Upsala, around the corner to the left.
It has since been hinted that the young pastor Swenske is a myth,
and that the actual betrothed of the high maiden is an old
hacknied actor of the Stockholm theatre— but this is surely
slander.
The chastity of feeling of this prima donna immaculata reveals
itself most beautifully in her shyness of Paris, the modern Sodom ;
this sho expresses upon all occasions, to the highest education of
all the damn patronettt* of morality beyond the channel. Jenny
has most distinctly vowed never to offer her song-virginity for
sale to the French public on the profane boards of the Rue
Leprllelicr ; sho has sternly refused all M. Leon Pillct's proposi-
tions. " This raw virtue startles me," the old Faulet wouldsay.
Is there any foundation in the story that the nightingale of to-
day was once in Paris in her earlier years, and received musical
instruction in the sinful Conservatoire here, like other singing
birds, which since then have becomo loose green-finches I Or
docs Jenny fear that Parisian criticism, which criticises in a
singer not the morals, but tho voice, and holds the want of school
to be the greatest sin I Be that aa U may, our Jenny comes not
Digitized by Google
608
THE MUSICAL WORLD.
[September 18, 1858.
hero, and will not sing the French out of their pool of iniquity.
They are fallen irredeemably into eternal condemnation.
Hvrv in the musical world of Paris all goes on in the old way.
In the Academie Koyale de Musinue it is all the while gray,
damp-cold winter, while there ia May sunshine and the smell of
violets without. In the vestibule stands, sad and sorrowful, the
statue of the divine Rossini ; he is silent. It is to the honour of
M. Leon Pillet that he erected a statue to this true genius
during his lifetime. Nothing is funnier than to see the grimaces
with which jealousy and envy look upon it. When Signor
Spontini passes by, he always stumbles against this stone. Our
great maestro Meyerbeer is much more prudent, and when he
goes to the opera of an evening, he always carefully contrives to
steer clear of this stone of stumbling ; he even avoids the sight
of it. In the same way the Jews at Rome, even in their most
hurried business walks, go always a great way round, in order
not to pass that fatal triumphal arch of Titus, which was creeled
in commemoration of the downfall of Jerusalem. The accounts
of Donizetti's condition .ire every day more melancholy. While
his melodies are enlivening the world, while he is trilled nnd
warbled everywhere, he sits himself, a fearful imago of imbecility,
in a hospital at Paris. Only on the subject of his toilet he for
some time showed a childish consciousness, and every day they
had to dress him carefully, in full gala style, his frock adorned
with all his orders ; so he sat motionless, his hat in hand, from
earliest morn till lato in the evening. But that, too, has ceased ;
ho recognizes no one any more ; such is the fate of man!
CHARACTERS OF THE DIFFERENT KEYS.
(From Dwigil'i Journal of 3fu$ie.)
Makt ingenious attempts have been in vie to characterize the
expression of the various keys in which music is composed.
They ore not very satisfactory. To be sure, there arc some
coincidences among the witnesses. There is no mistaking the
broad noon-day natural expression of the key of C major ; the
triumphant, martini, hallelujah character of D major; the pas-
toral scrcnitr of F; the sweet, unsatisfied, vagno heart-yearn-
ings (as In the " Moonlight Sonata") of C sharp minor. But
what contradictory reports wc get of many of the keys ! What
very various expressions they arc all susceptible of, in various
ways of using them. Here a correspondent sends us a curious
conceit upon the subject, translated from the eccculric German,
Schubert. The musician recognises not a little truth in what
he says, and finds the whole by no meanH uninteresting, and
quite suggestive. Yet how many of his characterisations go
against all one's experience ! Think, for instance, of his calling
A riot major the "sepulchral key !" when in that key are written
the adagio of Beethoven's Sonata 1'athctiqw, the andante and
variations of Sonata Op. 2G, Ac, <&c.
Christian Frederic Daniel Schubnrl was tiorn in Suabia in
1739. A ehild of very little promise, he suddenly developed an
uncommon degree of musical talent. At Nuremberg, where he
was nt school, his taste for art found ample food, and somewhat
later he gave up the study of theology for that of music. He
led, however, bo dissolute a life at that time, that the habits
then formed had a ruinous effect upon his whole career. Ho
officiated as organist in various small towns successively, married,
nnd in 1708 was appointed director of music at Ludwigsburg,
where he also delivered lectures on (esthetics. Here his lite
crew •till more unbridled, in consequence of which his wife
became deranged, and ho was finally imprisoned for his immo-
ralities. Shortly after ho was dismissed from his ix>st and exiled,
on account of a satirical poem on some Influential person at court,
nnd a parody on tho liturgy. Sulmequently he edited for some
time a journal entitled Herman C/ironic/e, but in consequence of
the liberal opinions expressed therein, was again thrown in
prison, and remained in confinement ten years. Through the
intervention of literary friends he was at last liberated, and
appointed director of music and tho theatre at Stuttgart, in
1 7f*7. Here he published a volume of poems, "Ideas ou the
^Esthetics of Tone-Art " (from which we imagine the following
carious compositions to be an extract), and several other similar
works. So far as can be ascertained, he nover stood remarkably
high as a practical musician. He died in 1791.
{To be continued.)
ADVERTISEMENTS.
PIANOFORTES.— DEWRANCES COMPENSATI N(J
PIANO may mm bo Men at the depot. S3, Sohc-«.)«are By tho application
of litis principal a henrier .trine ran bo usoJ, the remit of which uh that the full
_ " . . .i r . r .. i . ■ . . k. _
FREDERICK DENT,
Curonotnctcr, Watch, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
■Sab fflakrt of trjc 6rtat Clock for the Jjouks of |j»ai1
61, strand, and 34 and M, Boyal Kiehangt,
ft
with 33, Coektpur-ttrtet.
iaiUn's JUIustrntcU Catalogue
i'l I>rx**li £ r ' '•' V Trv ■ 1 !';- IU*.i
lor traTflliw, post for tw«->»taMirii,
I-OKTMANTKaU, with iW Cmu-
Of Portmanteau*. Dmpatch Boxet, Writiutf
with nquniT mwuinp*. iUrd .MWo-hcmrticla
ALLEN'S PATES T SOLID LKATUKIi
ALLEN'S PATENT PESttWTCH DOX. with urn! wilhonl Drcttui;: Ciw
ALLEN'S PATENT TRAVELLING BAO, wllh tquuv opening. Than irtklen
ore the but ol lh« kiini yet Lutcutcd,
J. W. *nd T. ALLEN. Uauuritctunira of Porinblc Bamck-rootD 1
lltHUry Outfitter* (wc *ejx»ratr Catalcgae^, 1& and 22, Strand.
G
REY HAIR RESTORED
TO ITS ORIGINAL
_..jc, Rheumatr»m, and Htlff Jpiim
fATKNT MAGNETIC COMBS. HAIR AND PLErill
CflUlUH.-Nrurahrta. N«
by P. M. IIERRIMi'M P
IIHl'MllKd Thoy require no propnratiou, nrc alw.y. ready fur tun, and cannot
get out of order. Bruahca, 10a. ami IS*. ; Corolu from 2*. «Sd. to SOa Grey b.-dr
and baldncaa prevented by P. M. H '» Patent Provoi-.Uic Ilrueh. price 4«. ai.d :«.
iifncca, - ' na»u>gU.aU..trcct. London. lihwlrated pwaphk-te "Why Hw
" ty, and it. TUrnedy." B«Ua, or by peat for f^r .tampv 8ol<l by all
clujuUta ana p< *
liooonii'-M Grey
MR. HOWARD, Surgeon-Dentist, 52. Fleet-street, has
tntrolnced an entirely new do* nptlnm of AUTtnctAl. TF.K1 11, fiawl
without aprtueii, wtroa, or flnlnrea. TL.cy at< perfetly reaamHo the natural
teeth aa not to be di.tiiitrul.hed from t Ue oriental, by the ch*c«t obetnrex. They will
ucver change colmir or decay, an I will be found aurcTicr 10 any fewth ever before
need. This method doea not require the extraction of roota, or any painful «^wre-
t i:. will .upport and nrcacrro teeth that arc louao, and ia fruaranvrod bj rwtun
artii-ulatkiri ami miiatlc-kti"i>. lleeayol tectli atr-i \<A and remlend auuud sad
uaefiil in niaalieaUr.il. !>2, Ploct-atracL At home Irvm 10 Uil 4
GLENFIELD PATENT STARCH,
LSKD IN THK KOYAL Lal'NDRV",
Axn rauHovarat nr IIF.R M .■ LAUNDRESS, to bo
TDK FINEST STARCH rill K BVSB U8EP.
Sold by ali Chandlers, Oroccri, ate. ftc
NEW MUSIC FOR HARP AND PIANO.
0BERTHUR.
MARTHA, Pantalaic Mir ilea moUvoa de l'op<ra " VaiUi*'' dc Kh-tow.
Auld Robin Gray
O Naiuiy, wilt thou Kaju wl' inc
Oblr,
• d
4 •
3 •
3 »
5 «
THOMAS.
Mi^rerr, nn.l Ah ! clic la morto. Tmratore t •
II balcu. .iud 1)1 talc iirnor Truvalme .. .. • IS
Hi la atanJicua. iui.I friniM « chmcjA Troratorc 4 •
D' amor «ull* abl rowe, and Dl quclU pirn. TroVatore 4 4
,Unj!' ? btu- •• , • •
La Slcilieune, Lea Veprca Uidllcnuw 4 •
. 28. Hcllca-.trctt.
Publl
rl bi
V.
County i f Mid IIcm
alao by Rcrd, 16,
buie; Vilkekk, II
O. B^nruavAax,
of Caitl
Join
bar.
f Ro
•.tract,
eel;
Kui
:reel
111, in
IVrtlsi
H._ Pno
iuw
be pariah of Ealirjr. i
^ja. S8, Hollea-.trert.
ri-xtreet : ALU*, Wi
hk, * Co.. 4S, Ch«
- SiiariiKiio, Newgate-
Il.aav Mat, 11. Holborn-bara. Agenta for ScotUrjd, PaTUiao-t ft
Kdinburah and Gl.iag..w; for Iroiand, H. Bcwm, Dublin ; and all
aellcTa.
Frlntadby WiutaM 8rr<i_«n Joitvwx.
Uae, in the Pariah of Ht. Martin
Ixrturday, Beptewbcr IS, ISM.
u il .
so
rwiea-
|wid. ;
ml ;
Seura.
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€h 1 0lmiml
'Tin wobtii or Abt appeab* most ejtinknt is Mi- sic, tinea it beqi'ibes >o material, ko si we< . • matter, whose effect
BE DEDUCTED. IT 19 WHOLLY FOBS! AKD FOWBB, AXD IT BAIiti AND ESNOBI.BS WBATEVEB IT EXFBEESU." — GOttht.
8UBSCEIPTI0N:- Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order,
to B00SEY & 80H8, 28, Holies Street, Cavendish 8qnare.
VOL. 36.— No. 39.
SATURDAY, SEPTEMBER 25, 1858.
. FSICB 4d.
1 ST AX FED id.
ONE OF THE FINEST ORGANS IN THE WORLD
TO BE SOLD,
•VITA BUt rOB A
CHURCH, CATHEDRAL, OR GRAND MUSIC HALK
Apply to tho rubluhera of tbo " M mica! World."
the
choir
WANTED, an ALTO SINGER, for
MngtinliTi C"]!<if<-. OafVtrti Tbo duties are clioml MTVlM iwbi a day
during Unmrreiijr Term, aul jrorUons of the T*vcnUoua. CUadida'ca must acud
te»liuioiiUI* n% to chanietcr aud competency to tho Rev. Tbe l!ur*ir,
8en!«mber Tue salary will not b*t I cm ti.aii £W Tlio auc
mil be required to eater ujon hla dullce i*n the 17Ui of Oclobar.
NEW COPYRIGHT PIANOFORTE MUSIC.
WESSEL AND CO.,
18, HANOVER SQUARE.
PROFESSOR WILJALHA FRIKELL— Polygrapbic
11*11. King WlllUm-etreet, Cha.ru >g-crua* — TWO HOURS OF ILLUSIONS —
For Om Mouth ouly. previous to Pr<teaa»r PnkeH'i departure oa a provincial
tour. Evury evoking at 8 ; SaturtLiy afternoon* a/. 3. Private boxe*. ouc guinea ;
box atolls, fia ; orchestra alalia. :ta ; area, I* ; amphiUi«Atrv, la Place* may be
secured at tho Polygrapbic liall. and ai Mr. Mitchell'* Royal Library. 83, Old
CRYSTAL PALACE— THE GRAND VOCAL AND
INSTRUMENTAL CONCERT of the Seiujon, for the Benefit of Mr. MANNS, I
Musical Director at tbo Crystal Palace, Saturday Nxxt, October ind.— The fol-
lowing Artiste*, anion j«t other*. * 111 appear : II lea LouIm Vluulug, Madame P< inu,
Mi*a SubWcU. Ilia. Marrlah Honsiir. Mid M ». I«.ir» Baxter; Mr. OtAirgs Pcrrv„.
Mr. Cluirloa Butham. Mr Mimical Smith. Mr. Smiley. Mr. W1iui.
d»Fi«i!«uler.— 8oi oI«»i«n«««TAi»T»: Mr Mo-lone. Remenyl. ami M r
The Or,>iieii* (l ev Union, and an rffloleul Choral from tlu Royal "
uixtur tbe direct «i of Mr Smyihaou.— Conductor, Mr. Auavnoa U
D ura upen at 10. Concert at i.40. AdmiMxiu One Shilling. W by Seaaou Ticket :
Bceer.ed 3a»t* Ualf »4>owu extra, which atioukl bo at once applied far at the
Cryital Palaoo or at t, Ureter Hall, where plana of eeata may be
pRY8TAL PALACE — MDLLE PICCOLOMINl'S
\J FAREWELL TO ENGLAND. — Tuexiay next, the 2*th September, tbo
before her lulling for America
RAND MISCELLANEOUS CONCERT. compriMng au uuukuI utin!
tbo principal feature* of her repertoire, the flowing aolba being included, "Ah
fori'e til * (TraviaUX " Vedral cArino » |Don Ulevaiuil), " Coovten partlr " (FI«;1U
del Reggimeuto); the duet* with Blxnor Oinrfloi, "II iuoii dell' «u-p» ampll kc "
(I Harttrili aud "80 fialo 111 corpo avcte" (MatrlmouloX lu tbo Final* to Lucia,
and *>o in tbo Driudlat tn La TrartaU.
Tli* Concert will *UU nw aui>pertwl by S(ca<w Omillai. who will alug the
farrrite tuauau "Splrto lleuUl " (La FarorlUX and " Tu m' ami" (U'lvan other
Hp*) Iroiii Balfe'e opera (EnKirj), bcaidee Tariau* concerted piece* with tUgi.ntl
AldUhlert. Roaal, and Caatc It.
Ojiiiluctort— Sliinor Arinl oik! Mr. Manna. Donri open at Ten. Coiwert at
Three. Admliaiou by aenaun ticket* or by day lickuLa. if purch wed 011 or before
Monday Ualf o-Crown ; by payment ou thia day Five Sh»lliu„* ; RcaeiTcd
S ^UuioVat^atU^OryaUl Pal.ee. and at tho Ooitral Oflke, J, Exefor Hall.
»h. re, a* wc:i a* at the tuual a^enlA. liekeniuay be had Remittance! I y cbique
rr powt-offioe order to be paynhvc to Mr. William Henry Dawaoei.
Nunc* —Correct liook*. with eufcre programme, to be had only in the Palace
om various parti «l the country, may be
ary a cJBee. CryaUl Palace.
WHOLESALE ^U?IC TH^ ^IeS HoSis I» LOVDOV
14, EAST PLACE KENNINGTON KOA D.
MONSIEUR ALPHONSE VI LL IN (de Paris) Importer
1 <f Italian, Froiich, and German String* Ice ail liiilruuicuta. LUtof price*
aivl oamp'ce fr> arte 1 (free) on applloaticA.
Tbe ceJ. hraUd ACR1BBLES. now unlvei ajlry adopted by all Vl.llnl.la, cam M
be bad GENUINE tutat the al« ve addrewcf Moimitur A. Vdllu. »olc and excluaive
Wh.»l. mIo Aifiit for tlu- Unita<l Kiiunbim.
ROMAN AND NAPLKS SI RINGS (not to bo aurpaeeed) aie mid hy M, r..l«nr
Villin fully IS per cent, cheaper than any otlier boueo In lb* tiwl* lu "'
39
on the day • t tho
" 1 ft
a d.
STEPHEN HULLEB— It Nuurellc* Etu.lc«, Op. 2i (Ecolc caaenLielle dea
Pianterx, Book* 11. \». 14, 14) each » 0
Ditto Op. 89, "1 111 WalduDdrnuT,''TtiiidSctofPTcenenAdcad'unBoliUire.
II nuinberi «ach Ja. Od to 3 «
KULLAK — Op- 101, Roounoeiu G t •
Ditto Op 103, '•rtomovxge A la Princcuo Royalo Froderic GuilLutiM de
Proaao":
1. "L'Etcdledu Po4meM 30
,2- " Versia»mcaauicht " (Tliuringlan Meloiy) 3D
3 " How rweet tbi* lone vale " (Seottlah 8011 (r) 8 0
KETTiREB-Op. 6T, Kl^-e 1 la lucmoitede Frederic Chopui .. ..3d
Ditto Op. "Ro*e d'Hivcr," It maiiro aaii* parole* SO
KAUSS (Theod )— "Un moment do bouhcur." necreation 10
LAMOTTE— Ebtht aeto <d liu»ailUe*, Pol ka- Maxotlu. Bedowa*. tkhottuchc.
Vaneriana Ulel 0
A WD CO., 1»,
jailen's Illtisiraicli datnloaut
rt Boxe*. Wilting and IJre**liif C»*c«, Travclileg Ba«»
Ot Portmanteau*. Di*p»lch
wltb aonare open 11
ALLEN'S PAT1
pnrtmanta.
ALLEN'S PATENT DISPATCH BOX, wit
ALLEN'S PATENT TRAVELLING BAO, wphu
are the U*l ol tho kind ye: inventod
J[. W. and T. ALLEN. MaiiuCicturer* of Portable Barrack-room Furniture aud
opening.
uutflttcia (see beparatc CuUlogne). 18 awl J'J. Strand.
CXDkl TBE 1 ATKOSAOt Or
MOST GRACIOUS MAJESTY THE QUEEN,
H.BH, THE PRINCE CONSORT,
ASM
ROTAL FAMILY.
l«Ki m.*t reeptctflilly to nnnonne* that h* 1*
1 hie highly appioved. iot«rt*i.,K. plca**r.f. .
MUSICAL ENTERTAINMENT,
KXTITUn
DR. MARK AND HIS LITTLE MEN,
ln»tru
. and .
I bo
JUVENILE ORCHESTRA.
Little Engli-b. Irto'i. and Scotch b-iy», from five '.
operatic detection*. »ojoa, duet*, quart V*, fpiAtlri
*inc *"*ng«, elionwc*. Mc , in a m *i cffictl. i-.i..iirn t
gra uth ua gtriivral aud ninaical odiication in i« ■ n r t , ,
ayatem of mtuicnl uducu'ion, mid with whom li* txa'
excite an interest for and help to establish muscat
•eivatotrei >'f Muaic " for little children in tvery t.i«.
great empire
AU letter* oddrtw, pleavae. Free Tr.ile Hid:
Ixtern year* cf age, wVo plar
*, martl.ee, aekl 4 khAjl.mil
cT Ji t 111 e. J nn'i»i,gi^»ji A
1 uJeJ: */bejVipbx<nAv*7'rVM
' •■t*^.|p*f'.t Wi a eoahftkTA- t a
... m-Mt !li ml i-dlM *• tijtA
okj. viltTi.ad tili^f*f tnil
Digitiz
610
THE MUSICAL WORLD.
[September 25, 1858.
MESSRS. DUNCAN DAVISON AND CO.'S
PUBLICATIONS.
PIANO
a. j
ANDREWS. "Tl.cn art to near and yet *o far," Btvtrie M Roleliardla
popular Med , .. ..SO
AOL"lL.AlWUi«*»rei.Y. " Suuatt ulow " 3 0
"BACHIANA." Wert pUcoa (Prolu lee and Fu«uc») Inim tho Piimofceta
worku of John Sfcbaatiaa Bo^i. not included in tl.u furty-it^ht Prelude*
tti.d Fujiwai :
No. 1. "Fu-a Schirtwdo," In A minor !0
2. l'r lu 1 ■ ami Fi'ipio on the name Bach SO
Both tlx a nvc l.ave b cu played ui public by Ml>« Arabella Goddard.
BIIISSAC (Jt)L«3) "ISelln PlKlln" tlifqunrtct fnnn Klvoktt'.) .. .. i 0
"Quan.io Uj raire'' and "All! lu eiuato {floni LiU-mi
Miller) SO
BUROMUL1.KR (V ) '• MUncho " roika Mar.nrka SO
lUMsGALLI (A ) "CLARICE." tliu oi.ly correct edition, as played by
M m Arabella G ddard 4 0
OOHIuN<K. A.) "EI.ml," Romance SO
H*.ROITT(C J ) Tnrce UeLrot.i.c worto SO
LINDLKYiR) Caprice 6v.l.*-.,e, lotto hieing- a popular Bohemian melody. . 4 0
MONIOT (EtioxMEl. "A Suniauer'ri Day," Rouuinco .. SO
FORTE.
GIUSV1L1.E (The lion. Mm ):
Grand March, v> itu Introduction and QoJcx Step, dedicated to
H.K II. the Dnk« ..f Camluidae
Iilo ■■ Fujltlvtn (lu S b.».k« :
Ilork I. dcllcntrd to tlic Rl. noai CoiinUiM Kltii.ooll
It. ->k v. dedicated to Her Exccllencr Die Rt- Hon C<uu'euCo»l. y
lto-k .K- II. .ted to the Rt. Hon, Ui.ly Caroline Murray
L'Atnlciti*. Nottu-uo, dedied to ih- lion. Mrs. Ednuud Phlm.i
Ia\ CommM, Motturno. d d.eatcd t«i the Rt Hon IMy de Roe ..
Feuillee ..'Antotnne. Va'.aea, dedicated to Mt#s Gorilla Kilioe
1« Bi'll Ytuu, Yalse Vuriee. d dicabrd bt Mia F-'erieea IVi; Uscus . .
Tlie CriJiiie, Po.kaa, d&lieate»i to Mm.
Tlw Hampton Curt, l'.okaa, dedicated to
Three Waltae*. and a G dup
Bet of Qiiadri lea ricdione>l to Lady William Il.rrey
M-KuRKELl.(C) Souvenir de Gluek (Armide)
«. d.
., "la JoyniM.-8.urcu.rdto CUmit.« El i icea
OSBORNE (Q. A) ••l-aulue. '.Waruo .. .. ..
S 0
1 "taMflMf," Walta
S ••Rcred uuenuitdV't*," WeJU
3 "Lee deux pochoiita." Walta
4. •'Usdcu*»niut5ka,"Wal!i
I.INTKR (BicinMl ' Don T
REPERTOIRE DES BOTJFFES PARISIENS,
A lOLLKCTlOK or
QUADRILLES, WALTZES, POLKAS, fa fa,
mux THE
i Kiuraajixn AT
THE THEATRE DES BOUFFES PARISIENS, PARIS.
a. d.
S 8
..SO
..SO
.. S 0
i. "U Vlolooeqx." Poka
«. •• Unc nuil blaucbo." (.luvlriile . .
T. ■■ Van. dn a ir." (JiuxlrilUl .. ..
8. "I* VtoU.o«ux,"«JuadrtUc ..
• d.
S 0
S 0
* o
S V
P I A N O F () R T E DUET.
Viaquida." inlro luein^r the celebrated Rcrcnade " Cunt' a gantil " . .
I iua ia one ol the moat eOoctive dueta that wa hara erer Uataued to." — Zti
Mi-pC»J Matt.
A d.
MI.VASI (A.ntox.0)
TWO FLUTES AND PIANOFORTE.
'TnlOk" duo ou the '•1Cam:N-al of Venice," dedicated to 1
a. d.
V O C A. L.
AIIKI.AIUA.
o>"("IIail. buauteoua »tr»ngcr of the erova"! ..
•Sttual.tue" ("I li.ro the numnine everywhere"— M<kT
nowrrr)
BALFK(M. W.) "l uiuctin lore, roniembcT." aunit wltli the giealeat ec'at
by Md le. Vktolre Balfe w well fui by Mr. CUarles Bnham
.. '• Ob. take in.- e» iliy ln«rt afaliiT'
"One of the moet eharuiUi*; uic^lica Mr. Bilfc li.u ever compoaod."—
/.livrj.W Af.l.
URAI1AM (Ciumu) •• reruvcre, or t!ie Carcerof Uaril^k"
BRUCE (Euintt) •' Wlien I »»•< y.nit.k-," tung by Ndlle Jetty do Ticfli ..
h •'w'ben first you aiione Ik fore me," annf br Madame
Bnreharlt " ..
CRt'WELL (Gottuxb). •• Mmirnf-i'Iy. »ln« mmimrully." with nolia or Ituta
ecconi|»!iirocnt
.. " WLcrc i» the % V with vMouraUoor tenor aoccm-
.,„„,. , i«uln»i-nt
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THE MUSICAL WORLD.
611
MUSICAL CRITICISM.
To Iht Editor of the Musical World.
Sib, — Tlie article on musical criticism which appeared in
jour last week's impression is a scries of misrepresentations.
" Never" — you say — " was musical criticism in this country
at so low an ebb as at tho present moment."
The exact contrary is tho truth; for, until within the
last twelve or fifteen years there was no such tiling at all as
musical criticism. We had in its place a sort of steno-
graphic reporting, from which the amount of information
to be obtained was confined to a record of " encores."
" With tho exception of two or thrco of the leading
journals" — you continue — " tho articles which proceed from
the metropolitan press would reflect discredit on tho smallest
newspaper in the smallest provincial town in the three
kingdoms."
Equally untrue I presume by " leading journals" you
mean the morning journals, which you have done well to
except, seeing that, in the majority of instances, their musical
notices ore contributed either by professed musicians, or by
men who havo made music the study of their lives, and
whose opinions, for that reason alone, are entitled to respect.
But these gentlemen are fully able to defend thcm-elves, if
necessary, even against Tlie Musical Wurltl.
Having absolved the "lending journals," gem rally, it
would have beeu as well to strengthen that net of clemency
by a certain observance of moderation in your censure of the
rest Accusations levelled indiscriminately, and unsupported
by argument, degenerate at last into mere " billingsgate."
The first paragraph of your leader may bo compared to the
ravings of nn inebriate fish-fag, who, blind and staggering
under the iufluence of alcohol, is unable to distinguish friend
from foe, but whose vituperation falls happily just as in-
nocuous as it is aimless and obstreperous.
What organs of public opinion, may I ask, do you include
under the head of " various London journals?" Which of I
them in particular is amenable to the charge of " incre-
dible ignorance," "abnegation of all the graces of style,"
* defiance of reasoning" (is that a grace of style?), and other
offences 44 hardly pardonable in the loosest and roughest
penny a-lineri" Am I to assume from the preamble — in
which you magnanimously spare "two or three of the lead-
ing journals" — that your diatribe is intended for the entire :
press of Great Britain) Am I to understand that putting
aside The Timet and The Morning 1'oM—or The Times, The
Morning Pott and The Daily Keir* (" two— or three")—
every serial — daily, weekly, monthly, and quarterly — is open
to such wholesale condemnation as the following : —
" Not only do the notice* of music betray no acquaintance whatsoever
Willi the art, but tlirr almost invariably betoken an iguuruuee uf I lie
oommoueat tulee of plain writiug, to h; nothing o! stylo, maaacr,
diction, and logic."
Taking you au pied tie la Itilrc, I presume there is no
alternative ; in which case I beg leave to suggest that your
arrogance is only equalled by your want of perception. Tho
Quarterliee" frequently contain articles on music with
ons enough of 41 style, manner, diction, and logic," to
warrant their republication in the columns of The Mimical
World But to say nothing of these giants, I would call
attention to The Sptcta'er, Th«. Examiner, The Saturday
Xeviete, The Athtiuium, inc. (it is needless to multiply in-
stances), from whose musical notices even yourself, Mr.
Editor, might learn some of tho-:e " graces of style," the
absence of which pains you so much in others.
Even supposing this were not tho cose, there is nothing
more unbecoming iu a professed journalist, no matter what
I his special department, than the practice of attacking jour-
I nalistn in print. It is befouling one's own nest. Hod you
I performed your self imposed task in such a manner as to
satisfy impartial readers of the soundness of your views, and
your ability to promulgate them, you would still figure in
no worthier light than that of an amateur scavenger. But
you have lamentably failed in your attempt to shine at the
•Xpenta of your brotherdabourcrs in tho field of periodic.il
nrtditcrature. After a flourish of trumpets summoning the
wbok of them to battle, you are compelled to fall foul of
Tlie Shield* Gazette' Out of the mountain convulsed by
your logic has issued, not a mouse, but a fly— an apt image
of the greatness of your wisdom.
41 Those who dwell in glass-houses should not throw
stones." The old saw is well illustrated by yourself — Mr.
Editor. You are merry about tho 44 graces of style f pray
admire one or two examples of your own
44 Wo must, at all ri,ks find room for si much of the ofEruutioni
on AcU and Oalatea, and Eli, aa wo can powibly iusert."
Here is a pretty pleonasm — here a grace of style ! You
must, 44 at all risks," find room for as mucli a* you can
insert 1 If you had found room for more you would have
been n cleverer editor than I believe you— for in my judg-
ment you were never born to play ujion the sistra, but rather,
as a bully-gladiator, (" quem de ruind Arena dimisiC) to
fraternise with the Amphithcatrnlia Pcgmata.
Another 14 grace :"
"At present, however, wo shall content oaraelvei with the iiiclosurc,
number two, which waj scot ui thu week, and which it will be seen,
reflects at severely on provincial criticiam, ai the ercti-pta given
above iiof on our own metropolitan."
This is as much as to say that the article from The Shield*
Gazette reflects severely on The Shields Gazette — which, I
should think, was scarcely intended by the writer.
You are fond of the word " jMjrfunetory," and are in the
habit of applying it to whatever may not happen exactly to
hit your own taste. Allow me then to suggest that, under
the circumstances, the concluding paragraph of your leading
article is the very beau id<al of "perfunctory," and this
notwithstanding the egotistical swagger that accompanies
it. As you arc evidently proud of your qualities as a
44 scribe" you will probably repcruso it with satisfaction : —
" Our sule <'e»ire and aim is lo ii.culeate on proprietor*, manager*,
director*, and editor* of new»|.aper«, that the talent* and accomplith-
meat* required lor the office of musical writer are as many and aa great
a* those demanded for the dramatic. To crlticUc an opera or an
oratorio i» not lea* difficult than lo criticise a tragedy or a comedy. Wo
ni l not jmtt aoir insist that a profoiindcr knowledge of the subject is
necessitated in one case than in the other. An equihty of power and
acqtiiri merits is ail we contend for at prtinl."
No doubt — Mr. Editor — 44 proprietors, managers, directors,
and editors of newspapers" will feel infinitely obliged for this
portrayal of the qualifications of a perfect musical critic ; but
before you contend for their recognition in your own person
— at least with Huy hope of success — you should study to
become more familiar with the amenities of the literary
calling, 44 to say nothing of style, «»a/»ji*r, diction, and, logic."
And with this suggestion, houestly meant for your benefit, I
beg to subscribe myself,
A COKTHICTM to 44 The Shields
Shields, Sept. 2 Uf, 1 858. Gazette."
great "
indicati
Digitized by Google
612
THE MUSICAL WORLD.
[September 25, 1858
A GROWL NOT QUITE GROUNDLESS.
(From the Literary Oatette.)
Drurt Lasb Theatre. — Misa Louisa Pyne and Mr. W. Har-
rison have commenced their second essay in this large house,
which was re-opened on Monday evening with The Bote of
CattilU. The cast of the principal characters was the same as
at the Lyceum last winter ; there was a crowded attendance,
and the whole performance was honoured by unbounded applause
and enenres too numerous to specify. About the opera itself —
one of Mr. Balfe's weakest — and its exceedingly silly libretto,
there is nothing new to nay. At the same time, wo may confess
to some astonishment that an English audience can be found to
sit through three long acts of dreary commonplace with such
undisturbed equanimity, laughing at jokes of the most vapid
and senseless description — ex. gra., Mr. G. Honey's continual
reiteration of the interrogatory, " Why didn't you say so at
once?" pronounced, too, in a dialect of his own inventiou, which
ia by no ineana funny— and recalling the singers at the end of
each act as though the latter had been a company of Marios,
Boaioa, Albums, and Sims Reeveses, engaged at their best in the
execution of a lyrical and dramatic masterpiece. It is impos-
sible to imagine any thing more inane than the plot of The Bote
of CattiUe. unless it be the verso and prose dialoguo into which
it is distributed. Nor is it surprising that Mr. fialfe should
have fallen short of bis usual standard with such materials to
work upon.
Now that the managers of the " Pyne and Harrison English
Opera " have made profession of faith in a printed circular, it is
time to offer a word or two of counsel, lest in the end these
honest speculators, who set forth claims to consideration in
many reapecta preposterous, should deceive both themselves and
the public. The following paragraph is an example of wholly
unfounded assumption : —
" The question tf the popularity of English opera may now le looked
upon as settled. The flattering result! of last fcuson, and the continued
and undiminished suecess which has followed the Pyne and Harrison
English Opera Company ever since, throughout their long provincial
tour, sufficiently prote thit the British public are prepared to patronise
ike opera of their natine land, when placed before them in s fitting
The word* we have italicised insinuate :— first, that English
■era was never popular until Misa Pyne and Mr. Harrison
re crossed the Atlantic, nftcr a long period of artistic vagabond-
age, to open shop in Wellington-street, 8lrand ; and secondly,
that until the glad event thus specified our British public were
not inclined to patronise any enterprise with English opera for
its preferred object It is scarcely necessary to insist that both
{impositions are manifestly untrue. English opera was popular
ong before either Miss Pyne or Mr. Harrison were born, and
has never failed to attract when presented in a respectable man-
ner. The paragraph above quoted ignores, with unblushing
effrontery — or, if the framcrs prefer it, with an ingenuousness
that verges on stupidity — the entire musical history of this
country, from Pureed, through Ante and Bishop, down to
Barnelt, Loder, Macfarren, and Balfe. nave Miss Pyne and
Mr. Harrison never heard of any of these composers f Have
they forgotten that Mr. Balfe — upon whose Rote of CattiUe (the
only work from an English pen for which the public is indebted
to them) must of course be based the singular claim they set DD —
had already written more than a doscu operas, beginning with
The Sieve of Itoehtlle in 1835T Wo wish success to the new
undertaking, but if the spirit of puffery be allowed td preside
at the counsels of the direction, we shall not be justified in pro-
phesying it And yet what but the spirit of puffery could .have
suggested such vain-boasting as is involved in the extract we
have cited, and in the subjoined magniloquent and pretentious
paragraph :
"The ambition of the present management has long been the esta-
blishment of English Opera upon a firm and permanent bath. They
trust they may not be deemed prttumptvowi or premature in believing
that— thanks to the liberal patronage already bestowed upon their
endeavour' — the foundation hat teen laid. Encouraged by this belief,
tbey look forward to such n continuance of publio favour as »ill enable
them ta rtar the goodly edifice until it reach proportions worthy of the
The plain interests of truth compel us to retort, that Miss
Pyne and Mr. Harrison were both " presumptuous and pre-
mature," when committing such inflated twaddle to paper.
"The foundation has" not "been laid." Far from it. The "firm
and pennant ut basis" upon which to establish a national opera
must be constructed of other materials than those with which
the Lyceum management went to work last year. A French
comic opera, a chef-d'oeuvre in its way,* defaced by interpolations
of the moat heterogeneous character; a grand romantic lyric
tragedy ,t little short of massacred ; the faded feathers of Don
Csrmr d« Bazui, and the tambourine of Maritana dusted and
brought to light ; and to conclude, a new ope raj aet to an English
" version," or rather parody, of one of the very worst specimens
of Parisian manufacture, constitute the history of that first
campaign which has emboldened Misa Pyne and Mr. Harrison
to address the public in such a strain of self-glorification aud
bombast.
After this sounding preamble we come to business. The
pledges for the season are set forth with considerable typo-
graphical effect ; and the following declaration evinces a strong
determination not to mince matters : —
" For the coining season, at Drurt Lane, Miss Louisa Pyne and
Mr. W. Harrison have spared no exertions to obtain the very hifheit
available Englith talent , aod Uiey confidently trust that the result of
their endeavours will enable them to present every opera with a com-
pletenett and excellence in alt retpectt worthy of a national under,
taking."
"The very highest available English Talent"— to take the
managers at their word — is thus represented :
"The Operatic Company will comprise the following celebrated
artiste i :— Hiss Louisa Pine, Madllr. Paulino Vaneri, Miss >uur
Pyne, Alias M. Preaeott, and Misa Rainforth. Mr. F. (Hover. Mr. J.
O. Patey (his first appearance on the English stage), Mr. Barlieman,
Mr. Kirby. Mr. T. Orattsn Kelly (his first appearance in England).
Mr. OeorgeHoney.Mr.A.St.Albyn, Mr. J. Terrott (his first appearauee),
and Mr. W. Harrison."
Now of all the so-called " celebrated (— "
attained eminence — Miss Louisa Pyne, The rest setting aside
that old public favourite, Miss Rainforth, are either beginner*,
mediocrities, or " unknowns." " The celebrated " Mr. J. rerroU
(whoso "first appearance," announced with auch naiveti, would
seem to leave bis celebrity an open question), " the celebrated "
Mr. Kirby, idem Messrs. J, G. Patey, and T. G rattan Kelly, the
former of whom makes "hia first appearance on the Lngttih
ttage" the latter "hia firat appearance in England" (a dis-
tinction without a difference), are one and all strangers to us,
even by name. Mdtlc. Pauline Vaneri appeared during the
memorable parforroances of Italian Opera given under the
direction of Mr. E. T. Smith at Drury Lane Theatre, in the
summer ; but ahe only played once (in Lueretia Borgia), and can
hardly, on the strength of that single easay, be entitled to the
epithet " celebrated. Nor would it be easy to find vouchers
for the celebrity of the other "artiste*" (why not artist* li,
unless Mr. W. Harrison's position as manager (which hia rank
as tenor singer does not) invests him with the privilege of being
enrolled in the lists ot fame as "the eclobrated Mr. Harrison."
But as we are neither desirous of flattering Mr. Harrison, nor
of inquiring too curiously into his artistic status —
" Kil nimium studeo, <V»ar,i ubi telle placere
Nee scire utium sis slbus aa ster homo—"
we may pass to other matters. Amongst the pledges for the
season is a new opera, written expressly for the Drury Lane
management " by the most popular of living English com posers,
Mr. M. W. Balfe"," whose Bote of Cattitteb&d auch "a highly
flattering tun " (a " flattering run is good) at the Lyceum, and
to whom the prospectus thus further alludes : —
" Another triumph achieved since then by Mr. Haifa for the came of
natite music, it may not be out of place to Mention at a matter <J
* Auber'e iHamans de la
t Meyerbeer's Huguenots.
T The Bote of Cattille.
i Harrison.
Digitized by Google
Septbmber 26, 1858.]
THE MUSICAL WORLD.
613
co*vratu><ttiun — the successful production of bis celebrated Bohemian
Girl at Her Majesty's Theatre."
If not altogether " out of place.*' the above at any rate sorts
inconveniently with the "firm and permanent base" upon which
Miss Pyne and Mr. Harrison lay claim to have established
" English Opera ;" and therefore had perhaps better have been
left to serve for a paragraph in Mr. Lumley's next issue. The
much-talked-of opera, Rip Van Winiie, by an American com-
poser— Mr. George Bristow — in also to be produced ; and in
order that the " goodly edifice" reared by the joint-managers
may have every chance of " reaching proportions worthy of the
land which it adorns,1' an English version of the masterpiece of
Herr Flotow* — which, we are coolly misinformed, was " the
great triumph of the last season at the Royal Italian Opera"—
is in preparation. The distribution of the dramati* pertotue in
Martha further shows what weight should be attached to the
of Miss Pyne and Mr. Harrison that they "have
1 no exertions to obtain the very highest available English
talent." For Tagliafico (Lord Tristan), we have Mr. George
Honey; for Graziani (Plumket), Mr. J. G. Patey; for Zelger
(Sheriff), Mr. T. Gruttan Kcllv ; for Nantier Didiec (Nancy),
Miss Susan Pyne j for Bosio (Martha). Miss Louisa Pyne ; and
for Mario (Lionel), Mr. W. Harrison.
The most unobtrusive paragraph relates to what, next to Miss
Loaisa Pyne herself and Mr. Balfo's new opera, are the very
strongest points of the prospectus; we mean the baud, the
chorus, and Mr. Alfred Mellon. The band consists of 50 per-
formers, whose names are guarantees of efficiency ; the chorus
of 40 picked voices from the Royal Italian Opera. The engage-
ment of Mr. Mellon is thus modestly proclaimed : —
" The management hare much pleasure in announcing that Mr. Alfred
Mellon, whose acknowledged ability, and great aire as conductor, con-
tributed so greatly to the excellence of the rumble last season, will
maintain his position as Conductor aud Musical Director for the
present season. "
The director of the music, we suppose, does not come within
the category of celebrities— for which he is by no means to be
pitied. sassBs™---
A WORK OF SUPEREROGATION.
(From iWA.)
Mr. IIauribox, the vocalist, writes a sensible and satisfactory
letter to the papers*, stating that no accident can ever occur at
Drury l.-iu. Theatre, in case of a panic, as Miss Pyne and be
have ordered so many passages and doors to be opened that the
house can be emptied in ten minutes. While crowded houses
art* drawn by Mr. Halle's capital music, these precautions are
desirable. Bat wo think it was needless for the management
further to provide for emptying tho theatre l>v getting up
Martha. J
A STRANGE JUMBLE.
To the Editor of the Daily flaw,
Sib,— On Saturday evening lest I went to the Surrey Mutic Hull, to
hear that sublime oratorio, The Mei'iah, At the entrance I found it
was postponed. Nevertheless, I went into the Hall, as I was told the
usual cuncert was going on, and you may conceire the disgust I felt at
witnessing a bespangled strcot mountebank balancing a something on
his chin, and afterwards throwing up lighted torches, as thev do balls,
to the music of some half-dozen instruments. I felt grieved that this
was substituted for The Mestiah, and I reflected that on the very spot
where stood this mountebank, in a few hours would the Rev. Mr.
8purgeon preach the Gospel. Dancing followed, which waa kept up till
12 o'clock, the dawn of the sabbath ; and the dust of the feet of these
casino dancer* was scarcely laid, and the smell of tobacco had hardly
left the building, when the pulpit was pieced where just before stood
the mountebank. This cannot bo right. I am. Arc, H. P.
Sept. 290.
[The shareholders in the Surrey Gardens, like the inhabitants
of the vicinity of that place of public amusement, have cause to
regret the secession of M. Jullien. The incident described by
H. P. is only one of many others equally deplorable, which
when M. Jullien held sway were simply impossible.— Ed. M. W.\
THE BIRMINGHAM MUSICAL FESTIVAL.
(Continued from page 609)
Tub Festival of 1602 commenced a new epoch in tho history
of these celebrations. Before that time the operations of the
committee, though energetic and in the main well-directed, had
not possessed that completeness, nor been attended by that
success, which can only bo given and secured by the labours of
ouo qualified person, bent on realising in the performance of one
great task the ambition of a wholo life. That person was found
in our lamented townsman Mr. Joseph Moore. This gentleman
had rendered much assistance in plauuing aud conducting the
Festival of 1799, but it waa not nntil 1502 that he was placed
virtually at the head of the committee as their counsellor and
director. From this time until the period of his death he devoted
himself with unvarying assiduity to the Birmingham Musical
Festivals, and from the moment he undertook their control, these
meetings acquired rapidly and steadily increasing importance,
both as regards their influence upon the development of Musical
Art, and the assistance they afforded to the funds of the Hospital.
The President for 1802 was the Earl of Dartmouth, the father
of tho noble Earl who has accepted tho presidency of the
approaching Festival, and whose family have always been ranked
amongst tin: warmest and firmest supporters of both the Hospital
aud the Festival. At the meeting in 18>02 (which commenced on
the 2nd of September), the practice of devoting two mornings to
miscellaneous concerts of sacred music was disused, and while
as usual the Meuiah waa retained aa the chief source of attrac-
tion, Haydn's oratorio of the Creation was performed on the
Thursday for the first time in Birmingham, and, as might have
been expected, it excited enthiiikwii second to that mani-
fested for Handel's masterpiece. The remainder of the sacred
music was selected exclusively from the works of Handel, and
his compositions likewise furnished the chief portion of the even-
ing concerts, at one of which was performed a selection from
Acit and Galatea. The principal singers were Madame Dussek,
Miss Tennant, Miss Mountain; Messrs. Braham, Kuyvett, Elliott,
and Denm V Mr. F. Cramer was the leader of the band, which
was composed of the best trained performers in the kingdom,
reinforced by the gentlemen of tho Birmingham Private Concerts.
The chorus was greatly enlarged, and was judiciously strength-
ened by selections from the metropolis, from the Lancashire
Choral Societies, and from the Worcester and Lichfield Choirs.
The whole orchestra consisted of more than one hundred per-
formers. The gross receipts amounted to £3,629, of which the
Hospital received .£2,3*0. Tho pocuuiary result shows at a
glance the benefit derived from Mr. Moore's management, the
sum received being more than £1,200 in excess of that takeu on
any previous occasion. One or two entries in the minutes for
this year throw a curious light on the manners of our forefathers.
Much care was expended by the committee in providing good
eating and drinking for tha persons attending tho Fejtivals, but
it was also an object to procure these necessary refreshments at
a reasonable charge. Accordingly the committee agreed that
ordinaries should bo prepared at the two principal taverns — the
Stork and tho Shakspeare — but that the charge should not
exceed 5s. per head, " including malt-liquor ;" aud it was further
decided that not more than :<•/. per hen I should be paid for tea
at the ball. So determinedly indeed were the committee bent upon
layiug in a good stock of provender, that a month before the
Festival they directed their secretary "to write to Lord Dudley's
steward, to ask whether his Lordship means to send any venison
against the oratorios." It \i to bo hoped that the secretary
framed his letter in terms a little more polished than those of
the resolution. From the circumstance that a similar application
was made at the next Festival wo infer that this was actually
the case, and that the venison was duly sent and eaten. At a
future tieriod, as the attendance at tho Festival became larger,
the demands of the committee were extended, and the Earl of
Aylesfordand Mr. HeneageLcggo(of Aston Hall) were laid under
contribution for a supply of the "savoury meat. Following out
the plan adopted in 1602, the band and chorus were still further
increased at the Festival of 1605, vocalists of great renown were
engaged, and the lists of composers from whose works selections
Digitized by Google
614
THE MUSICAL WORLD.
were made wu extended so as to includo Mozart, aa well as
Handel and Haydn. No oratorio besides the Messiah was per-
formed, the place of a secoud sacred drama being supplied by a
selection from theCrtation, and the choicest morccaux of Handel's
lean known oratorios. Novelty was imparted to the performance
of the Messiah by the introduction of Mozart'* accompaniments.
At this Festival tho people of Birmingham had for the second
time the gratification of hearing that great English singer Mrs.
Billingtoo, who was the principal vocalist She was supported
by Miss Fanny Melville and Mrs. Vaughan (the Miss Tennant
whose name has been mentioned in connection with preceding
Festivals). Tho chief male singers weie Messrs. Harrison,
Vanghan, W. Knyvett, and Bartleman. Efforts had been made
to eugage Bartleman for the preceding Festival, but he had
taken offence at some fancied insult ou a former visit, and in
reply to the committee's application he complained that he had
" been ill-used," and insinuated the propriety of an apology.
The committee answered by demanding first an explanation,
and then an apology from the complainant himself, but Bartle-
inan does not appear to have given either, and the negotiation
for his services dropped through. He was, however, too eminent
a vocalist and too great a favourite in Birmingham to allow of
his being passed over a second time, and so the "apology" —
offensive to both parties — was quietly dropped, the committee
probably contenting themselves with the reflection that it is in
the nature of popular singers to give themselves unnecessary
. airs. In 1805, for the first time in tho announcements of the
Festivals, the name of the conductor was published — the gentle-
man who held that responsible post being Mr. Oreatorcx. The
Festival commenced on the 2nd of October, under the presidency
or stewardship of the Earl of Aylesford, and the patronage of all
the principal nobility and gentry of tho district. The proceeds
were unusually large, and fully* justified the liberal spirit dis-
played by Mr. Moore— the gross proceeds being £4,222, aud
yielding to the Hospital a profit of £2,202 17*. llrf. Of the
gross sum not less then £1,056 was received at the performance
of the Messiah, a circumstance which in itself sufficiently exem-
plifies the firm grasp that sublime work had taken on tho affec-
tions of the musical public.
Gathering strength from the success of its predecessors, the
Festival of 1806 excelled them all, both in its attractions and in
its unprecedented pecuniary results. Like the meeting of 1805,
it was not held until the beginning of October, instead of at the
end of August, when it took place under the presidency of Lord
Guernsey, the present Earl of Aylesford. For a third time
Mrs. Billiugton worthily headed the lists of vocalists, her prin-
cipal supporters being Messrs. Hawkins, Master Simeon Buggins
(a local musical prodigy), Mrs. Vaughan, and Messrs. Braham,
Vaughan, Goss, Elliott, and Sig. Naldi. The conductorship was
assigned to the celebrated Dr. Crotch, one of the most remark-
able musicians of tho age, of whone extraordinary ability a suf-
ficient proof is afforded by his having at the early age of twenty-
one taken the degree of Doctor of Music at the University of
Oxford, an honour unprecedented for so young a man. The
Messiah and the Creation were the oratorios performed ; the
latter being compressed into two parts, in order to allow of the
performance of an organ concerto by Dr. Crotch, and a selec-
tion from Jephthah, admirably adapted to display the special
powers of Mrs. Billington and Braham. Tho band and choi us
were increased to two hundred performers, the largest body ever
previously assembled out of London. The Birmingham Oratorio
Choral Society, which had been organised that yoar by tho inde-
fatigable exertions of Mr. Moore, added greatly to the strength
and efficiency of the chorus. The total receipts at this Festival
were £5,411, and the profits £3,257.
The Festival of 1811 commenced on the 2nd of October, and
was presided over by the Earl of Bradford, who kindly placed
his services at the committee's disposal, in consequence of the
Marquis of Hertford, the president of the Hospital, being unable
to attend. Great difficulty was experienced in fixing a time
for the meeting. The first week of October was selected, but
Mr. Macready could not give up the theatre for that period,
because it was the fair week, and consequently the moat profit-
able portion of his season. Mr. Macready waa too good a friend
I of the Hospital to be treated as Mr. Yates had been on A former
occasion, and tho Festival days were changed to the last days in
September. But then a new difficulty occurred. Lord Bradford
could nut come, because he had engaged to go to Oswestry races.
Tlie only course left was to get the time for holding the fair
altered, and this having been done all parties were satisfied —
Mr. Macready could play on the fair days. Lord Bradford could
go to Oswestry, and the Festival could be held in October as
origiually arrauged. Hitherto the committee had been satisfied
with getting a simple rector, or at most a dean, to preach the
opening sermon; but they now aspired to a higher church
dignitary, and were fortunate enough to obtain the services of
the Bishop of Worcester. Still more fortunate, no doubt, thej
counted themselves iu being enabled to engage Madame Catalan i,
who with Madame Bianchi, Miss Melville, and Miss ,T i:, Fletcher,
headed tho female vocalists ; whilst the male singers included
the names of Braham, William Knyvett, Vaughan, Harris,
Bellamy, and Signor Tramczziani. Amongst tho instrumentalists,
Cramer, Robert Lindley, Ashley, and Moralt held their accus-
tomed places, while Dr. Crotch was succeeded as organist and
conductor by Mr. Wesley. The band and chorus numbered two
hundred and five performers. The Messiah waa given on the
second morning, and realised upwards of £1,600 ; the music for
the other morning performances was selected from the oratorios
of the Redemption, the Creation, Judo* Maccvbeeut, and I* rati in
Egypt. It is remarked as a feature of special interest, that
" Sig. Tramezziani will sing the celebrated song that he sang at
the cathedral in Lisbon, before the Court, on the day of general
thanksgiving for the expulsion of the French from Portugal."
The Festival waa again successful beyond all precedent, the
gross proceeds being £6,680, and the profits £3,629. Madame
CaUlani gave a donation of £52 10*., Madame Bianchi of £21,
and Mr. Braham of £26 5*. There can be no doubt that in a
great degree this success was owing to the engagement of Cata-
lani, who was then iu the full blaze of her triumpant career, and
to hear whom the provincial amateurs displayed as much eager-
ness as had been manifested by their brethren in London.
It naturally resulted from Madame Catalani's former success
that she was again engaged at the Festival of 1814, where Miss
Stephens (tho present Dowager Countess of Essex) made her
first appearance. The difficulties attending the engagement of
this lady caused tho committee much anxiety, and it waa not
until the Marquis of Hertford exerted his personal influence
that Mr. Harris, the Covent-garden manager, consented to allow
Miss Stephens to appear at Birmingham. Miss Smethurst, Miss
Travis, Miss Stott, Mrs. Vaughan, and Miaa Russell, were the
principal female singers. The male vocalists were Bartleman,
Vaughan, Knyvett, Elliott, Dennian, and S. Buggins, the con-
ductor of the local Choral Society. The band was fuller than on
any former occasion, and the Festival was again placed under
the conductorship of Mr. Greatnrcx. The Earl of Plymouth was
tho presideut, and it is observed by the journals of the day, that
the attendunce of the nobility was much greater than at any
former Festival. The music performod was the Messiah, part of
the Creadon, and a selection from the works of Mozart, Beet-
hoven, Pergolesi, and other composers. The proceeds (including
donations from several of the vocalists) amounted to £7,144, and
tho profits to £3,131.
In 1817 the Festival was deprived of Mat!. Catalani's service* by
her absence from England ; but Miss Stephens was again engaged,
and was assisted by Mad.Camporesc (who had acquired consider-
able reputation from her recent successful deoAt at the Opera
House in tho Hay-market), Mrs, Salmon, Miss Jane Fletcher,
Mrs. Vaughan ; and Messrs. Bartleman, Bellamy, Hubbs, W.
Knyvett, Vaughan, and Braham. Mr.Greatorex again officiated
as conductor and organist, and Mr. Weicbsel succeeded Mr.
Cramer as leader of the band. The duties of president were
undertaken by the Earl of Warwick. The performances included
the Messiah (which produced nearly £2,000), part of Haydn's
Seasons, part of Mozart's fiequiem, and selections from Beeth-
oven's Mount of Olives, &c At one of tho evening concerts waa
performed a scene of Mozart's opera of Don Giovanni, and on
the same evening " concertos" were played by Drouet on the
flute, Weichsel on the violin, and Lindley on the violoncello.
Digitized by Google
September 25, 1858.] THE MUSICAL WORLD. 615
The successful experiment of 1821 emboldened the commit t< c
to resolve that in 1623 they would u make the performances finer
and more perfect than any that have taken place in the kingdom."
With this view engagements were entered into with Madame
Catalani, Mis* Stephens, Mrs. Salmon, Miss Travis, and other
less known lady vocalists; and with Messrs. Brahara, Vnughan,
Knyvett, Bellamy, Signor Plaeci, &c. The instrumentalists
included every availablu musician of note. The performances
consisted of full choral service on the 7th of October, in which
all the principal singers took part ; a new sacred drama, entitled
Gideon, selected from Winter's celebrated Timotto, part of The
Staton-t, part of Mozart's Requiem, aud selections from a Mass
by Join i Hi, and from the oratorios of JuJah and Ttracl in E/ypt.
The Mtuiali was of course performed as usual, and as this
oratorio has never been omitted at a Birmingham Festival, it
should be understood, oven where not mentioned by us, to have
always formed the most prominent feature of each triennial
mooting. On the Tuesday, Wednesday, and Friday evenings
miscellaneous concerts took place ; Thursday being as usual
reserved for a ball. Tho president for this year was Earl Talbot,
but owing to an unhappy circumstance the Festival was deprived
of the benefit of his presence, and many other persons of rank
and influence were compelled to absent themselves. The event
to which wo allude was the death of the Earl's daughter, the
wife of the Earl of Dartmouth. This lady died at her father's
seat at Ingestrc on the Saturday before the Festival. Notwith-
standing this drawback, and the occurrence of unfavourable
weather, the performances realised the unexampled amount of
£11,115, and produced to the Ilogpital the sum of ,£3,806.
(Tolecouii.ued.)
The Festival commenced on the 1st of October. The receipt* j
amounted to £8,740, of which the profits were £4,296. Such a
result must have been eminently gratifying to the committee,
inasmuch as the malicious act of a disappointed candidate for
employment had nearly inflicted serious injury on tho meeting.
About the middle of September, when visitors were making
their arrangements to come to Birmingham, a report appeared
in the Lod<!oii papers that fever was making dreadful ravages
at Birmingham. The report exercised much influence on the
public mind ; but happily the committee were enabled to con-
tradict it on high medical authority, and the ill efl'ect was happily
averted. It is worthy of note, that in 1H17 tho patronage of the
Royal family was first extended to the Birmingham Music
Meeting, the Duke of Sussex having allowed the committee to
use his name. His Royal Highnoss, had, indeed, formed an
intention to be present, but private circumstances hindered him
from carrying his intention into effect.
With the year 1820 the Festivals took a much higher position
than they had ever previously attained. On the motion of
Mr. Joseph Moore, it was resolved by the committee " that the
next music meeting should h-. conducted on the grandest possible
scale, in order to afford the highest musical treat which the
present state of the art in this kingdom will admit." In con-
formity with this resolution, Mr. Moore submitted a plan for
extending the Festival from three days to four, and for holding
one ball instead of three as usual. An essential portion of
Mr. Moore's plan was also to engage the very highest vocal and
instrumental talent, equal to the performance of the choicest
masterpieces of the greatest composers. The scheme drawn up
by Mr. Moore was adopted by the committee, who proceeded to
enlist, so far as was possible, tho support of all the influential
persons whoso resilience in the neighbourhood or interest in the
musical art rendered them accessible. The Earl of Dartmouth
consented to act as presidont, and the Bishop of Oxford to preach
the sermon, but as the Festival was fixed for the 3rd of October
and following days, neither the Earl nor the Bishop were able to
be present, both of them being detained in attendance at the
trial of Queen Caroline, whose defence was opened by Mr.
Brougham on the very day the Festival commenced. Never-
theless the interests of tho Charity did not suffer, the Earl of
Dartmouth manifesting his interest in it by sending a liberal
donation, and by obtaining permission for several members of
the King's private band to be present as performers. On Tues-
day, October 3, the Festival began with full choral service at
St. Philip's, the whole choir of ouo hundred and thirty voices
assisting in the service. On Wednesday morning part of Haydn's
8ea*on* was performed, with words newly-arranged by the Rev,
Mr. Webb, a clergyman formerly resident in Birmingham. On
Thursday the time-honoured Meesiah was given, and on Friday
a selectiou of sacred music, including the lUquiem of Mozart,
which it is stated in the announcements " has never yet been
perfectly executed in this country, owing to tho waut of some
wind instruments, of which, by the gracious permission of
his Majesty, the managers have been allowed to avail them-
selves from the Royal Household Band." On Tuesday,
Wednesday, and Friday eveniugs there were miscellaneous
concerts at the theatre, and on Thursday evening a dress
ball took place in the same building, when nearly fifteen
hundred persons were present. Not only was tho scalo of the
Festival thus greatly extended, but the performers engaged were
more numerous than usual. Miss Stephens, Madame Vcstris.
Signora Corri, Mrs. Salmon, Miss D. Travis, Miss Fletcher ; and
Messrs. Vaughnn, Knyvett, Bellamy, Beale, King, Evans, and
Goolding, together with Signors Begrezand Ambrogetti, formed
a phalanx ot vocalists who could not then be excelled.
Led by Cramer, Spagnoletti, and Mori, the instrumentalists
formed an equally powerful body, including nearly every notablo
performer in the kingdom. The whole were placed under the
conductorship of Mr. Greatorex, whose previous services appear
to have secured to him the confidence of the committee. The
pecuniary result amply justified the adoption of Mr. Moore's
bold and liberal policy. The total proceeds were £0,483, a higher
sum by £1,000 than had been previously received, and the
profits were £5,000, on amount which has only twice since been
exceeded.
MOZART'S SON.
To the Editor of the iluticcd World.
Mti.AX, 14M Sept., 1858.
Sir,— Either I, or your printer, made a sad mistake in the
letter respecting "Mozart's Son," in your journal of the 4th
inst., which has only just come under my notice.
I meant to state that it wae not true that he wa* in a state of
poverty; instead of which, it stated that "it is not true that he
is not suffering from poverty." The other part of my letter thus
forms a complete contradiction to the first assertion, and must
make your readers think "your Milan Correspondent" a very
stupid person.
I mtght have committed such an error in my letter, from
haste, nut I can scarcely think I did, as, within an hour of
writing it, I learnt from the very best source (viz. : the bankers
who paid Carlo Mozart tho money) that he has already received
from l'aris upwards of eight thousand francs on account of the
" droits rC anteurt" recently established in his favour as the son
of the great composer. You arc liberty to mention this circum-
stance, for the correctness of which I can safely vouch ; and
pray also be kind enough to relieve me from the stigma I at
present lie under — of contradicting my own statements in the
space of half a dozen lines.
Your Milan Cohrespokdbst.
Yakkek Doodle. — The National Intelligencer says that the
following letter hue been received by a gentleman of Washington
from the Secretary of Legation at Madrid :
" MADtirn, June 3.
*• Sir Beab Sin,— The tuno * Yankee TWile,' from the first of my
•Lowing it here, has bceu acknowledged by persons acquainted with
music to bear n strong resemblance to the popular sirs of Di-csy, and
yesterday, a professor from the North recognised it as being much like
the ancient word dance played on solemn occasions by the people of
San Srbsslian. He sajs the tunc varies in those provinces, and pro-
pose*, in a eouplo of months, to give me the changes sa they are to be
found in their different towns, that the matter may bo judged of and
fairly understood. Oar nstimal air certninly lias its origin in the
music of the free Pyrenees; the first strains are identically those of tho
heroie Donta Stpa'rla, as it was played to me, of brate old Biscay.
" Very truly, your*,
616
THE MUSICAL WORLD.
[September 25, 1858.
MUSICAL JUBILEE AT COBLENTZ
(From the Kiedtrrhtitutehe M«»k-Zeilvng.)
A second musical festival will take place at Coblentz, on the
8th and 10th of October, to celebrate the fiftieth auniversary of
the Musical InstitaU\ founded in 1808 and supported by the
state. It was formerly under the direction of Herr Anschiitz,
but is now under that of Herr Leuz. Handel's Sttnuon is the
work selected for the first day. The chorus will contain 230
perioua from Coblentz alone, and this number will be increased
to 250, by amateurs in the surrounding places, especially Neuwied.
The orchestra will consist of 130 instrumentalists. .Sanwon will
be preceded by Beethoven's symphony in C minor. The follow-
ing is the programme of the second concert, on Suuday, the 10th
October : — Part I. — 1. Symphony No 4, in D minor, by Robert
Schumann; 2. Tenor air (uot yet definitively selected); 3. Scene
from the third act of Cluck's Orphcut (Madlle. Schreck, from
Bonn) ; 4. Getangtcene for the violin, by L. Spohr (Herr Otto
von KUnigslow, from Cologne); 5. Second finale from Don Juan,
with the concluding movements. Part II. — fi. Four songs, by
the KtflncrMiuinergeaang-Verein ; 7. The overture to Eurganthe,
by C. M. von Weber; 8. Tenor air (still undecided) ; 9. Bass air
from the Creation; and 10, Mendelssohn's finale to Loreley.
The solo singers already engaged are Madlle. Shrcck, named
above, for the alto parts; Madlle. Augusta Brenken, for the
soprano parte ; Herr Ernst Koch, of Cologne, for the tenor part
in Samton; and Herr Carl Hill, from Frankfort-on-the-Maine,
Madlle. Derrtz, of Cologne, was also requested to lend
ccs, but was unable to do so in consequence of previous
ents. The assistance, likewise, of a former member of
' the first tenors in Germany, is
Leeds Festival. — The following donations have (according
to The Musical Gazette) been presented to the Leeds General
Infirmary by artists engaged at the recent Leeds Festival : —
Dr. \V S. Bennett, £20 ; Miss Arabella Goddard, £il ; Mr. and
Mrs. Weiss, jfc'10 10s.; Mr. Sims Reeves, £10 ; Mis* Dolby, £10;
Mrs. Sunderland, £5 3s.; Mr. Wilbye Cooper, £5 5s.; Mr.
Winn, £5 5s. ; Mrs. Calverley, illO.
THEATRE ROYAL, DRURY LANE— Uuder
Management of Mi*. Ixmt.a Pyne uid Mr. W. lIurriMon. — On Moudav,
September 27lh. and •luring 'he wo*-k,*Hvr Maieety'a acrriiw. will perform B dfo*.
open, THE ROOK OF CaSTILLE Principal character, by WiM I Mitt* Pyne,
»l iin.-u.au Pju . Mia. M. Frcarott ; Mr. F. O oTcr, Mr A Ht AlbyD, Mr. OcorKa
Honey, Mr. Bartlcman, and Mr. W. II. Harmon Conductor, Mr. Alfroi Me: gu
To ooikIuiI* with a irraii I BullH Dlvt rtlMwincot by Mdllca. 2tlia Mlchokt. Pnaqualv,
and MorUcchi, with a numeral, corps do ballet. The ban! o( fifty pcrlutuien,
tuvl the chonia of forty roloea, selected Irora tt.e Royal IuklUn Opcm. ActitiR-
n.snngvn, Mr. Wtl.Um Rroufrh and Mr. Edward Murray; Slagcmanagor. Mr. E
glirliug. Door* opeu at Mien, com" once at helf-paat. Stall*. 64.; Disss
Circlo, Sa. ; Ftrat ditto, 3a. ; Upper Boxei. 1.. M_ ; Fit, 2*. : G.'.lery, la. ; tipper
• to. Od ■ Prirat. Box-a. t... *:l 3. . ia. *\ II.. rfd , *\ 1.., and
r two peraon.) 10. M. Ik>x-offloe open daiiy from eleven to f.vo, under the
FAREWELL SEASON OF MR. CHARLES KEAN
aa KAxaoKU or ths
ROYAL PRINCESS'S THEATRE.
HIS THEATRE will open on Saturday next, 2nd
October, with tlie farce of DYINO FOR LOVE. To be follow«l by fhe
MERCHANT OF VKNICr
withdrawn for the production of Saaks|i«r«'. Ill
which will be rcriveU on Monday, ISth October.
ilch nlay will bn iwrrormed |.r» rbrtnlirU. and then
of B££s|«r«-e Iil.torical Tragedy of KING JOBS.
GREAT NATIONAL STANDARD THEATRE,
SIIOREDITCH.— Proprietor, Mr. Joss Dnrci.A>«.
Immense excitement at tho Ewt-end in ccmaoqucucc of tbe appcar.ulcj at thin
majrnlncent iheatrc of the grratcat Engllah tenor. Mr. Sim. lUcvea Crowded
hou-ca. Delighted au<llej.ccv IVdn.Mon of tho bcMHlfiil ■•pcra ol THE
BOHKMlAN 0IRU with all pa original cRocta. On Monday. Tuesday, mid Wod-
mi nca with th>- erand uiicni o: THE BOHEMIAN GIRL: Thu Ideua,
ve. ; D-jvtLlnmr, Mr. II. Corrio ; Count, llr. Wallwonb; Ailine.
T.rwnn : CJue.11, Mist Irvine On Thursday, a grand . per*, in wliich
war. On Friday, the ekao of the III! stiutdlhl cngago-
u a nteoaaalun • { nmural iioroiilca. In whlrli Mr Hum
M
M
Mr. Ruevu. will
meat will be celeV'ratcd
is
Iteew will Ikj supported by the greatest arti» » of the day. ioc Hie BENEFIT of
Tl.e.plel«lldUandof thcPrineea,'.. Conductw, Mr I»aac»m
Mr.
TO THE PUBLISHERS OF THE MUSICAL WORLD.
Gentlemen,
Allow inc to inform the readers of the Miuical World that
I am not answerable for the leading article in your last im-
pression (on the subject of musical criticism in England),
and that I totally dissent from tho views it maintains. A
reply lias been addressed to me personally, of which, in defe-
rence to the writer, who considers himself unjustly aggrieved,
I forward you a copy for publication. At the same time, it
is hardly necessary for me to add, that I just as much dis-
approve of the tone adopted by " A Contributor to the
Shields Gazette" as of that assumed by the author of the
aggressive essay which provoked his reprisal. However
good an argument may be, such a- manner of enforcing it is
highly objoctionablu.
I am, Gentlemen, your obedient aorvant,
J. W. Davison.
Sept. 20, IMS.
THE MUSICAL WORLD.
LONDON. SATURDAY. Ssptsubkh 25m, 1868.
In another column will be found an article, borrowed from
a contemporary (?'/*« Literati/ Gazette}, which embodies,
perhaps in language somewhat too forcible, the opinions
entertained by a great many amateurs respecting tho ''Pyne
and Harrison " speculation at Drury Lane Theatre.
The readers of The Miuical World need not be reminded
that we are favourable to this, as we have been to all under-
takings of the kind. The thing is to make English Opera a
fixture in the Metropolis. When that is effected there will
be time enough for criticism.
We are not prepared to dispute a single assertion of our
contemporary. Nearly the whole, if not quite the whole
if what he says is more or less true. But the article is
certainly mistimed. Granted, that the RoteofCattille is not
a BoJiemian Girl, nor even a Cattle of Aymon; granted, Mr.
Harrison is not a Sims Reeves, and that the Drury Lane com-
pany, Miss Pyne excepted, presents anything rather than a
brilliant catalogue of names ; granted, these and a dozen
propositions of the same kind, the real question at issue remains
untouched. Are we to have an English opera establisneii
in London, or are we not? We sincerely hope (and willingly
believe) the former; and for this reason, if for no other, feel
disposed to use such influence as we possess in encouraging;
every attempt that may lend to something better. We do
not require to be told by The Literan/ Gazette what hare
been the sins, whether of commission or omission, with
which the Pyne aud Harrison management may bo justly
charged; but we are convinced that to comment upon them
with severity at this moment is rather to injure than to
benefit the cause which every lover of music should have at
heart.
Further, The Literary Gazette, which is beginning to
acquire both circulation and importance under its new
management, will do wisely not to inaugurate a fresh era of
prosperity by emulating Tlie Athencntm aud The Saturday
Review. ' Two barking watch-dogs in the musical press arc
enough for all intents and purposes.
To conclude, Miss Louisa Pyne and Mr. W. Han-iaon
Digitized by Google
Sbftember 25, 1858.] THE MUSICAL WORLD.
617
have had th«> example of Mr. Alfred Bunu before them, by
which, if they disdain to profit, it will be at their owu cost
in the end. Such a "shoppy" system cm not be revived.
The public has had a surfeit of it.
"When I perceive a man," writes Sir W. Bridge*,* "in-
capable of deriving pleasure from more than one style of
composition, and dogmatising on its exclusive merit, I pity
his weakness and despise hi* presumption. When he narrows
his curiosity either to what is old or what is new, when he
confines his praise either to the desul or to tho living, though
in both cases he is ridiculous, perhaps his folly is more
evinced in the last." It would be curious to inquire into
the origin and growth of prejudice; how it first rose in the
mind ; how, like a fast-growing plant, it vegetated and
flourished and spread its brunches and towered on high and
shot downwards and l>eeamc ineradicable. The metaphysician
might busy himself with speculations as to whether it was the
natural offspring of some peculiar mental qualification, or
the adventitious consequence of independent circumstance —
whether, in short, it was born with the mind, or sprung
from accident. Some minds arc capable of entertaining
only one idea at a time. In such prejudice finds a fertile
soil for its growth. Others arr by nature stubborn and
inflexible, and what they have once received persist in to
the exclusion of every secondary consideration. These are
more dangerous than the former, inasmuch as there is less
to hope from contumacy than incompetence. Example is a
groat encourager of prejudice, since few arc capable of think-
ing for themselves, ami education too frequently confirms our
weakest prepossessions. The true critic is he who can see
every colour on tho prismatic 'spectrum without being fasci-
nated and blinded by any individual ray. Inclination or
disposition may lead him to select one hue before another as
the object of his admiration, but he will not allow preference
to merge into fanaticism.
The lover of music may congratulate himself that prejudice,
that darkest foo to true appreciation, is dying a natural death
in this country, and that the day is not far off when talent of
every kind will meet with due acknowledgment. Time
was — and that not very long since— when young England had
very peculiar notions respecting tho fine arts,and more particu-
larly music; when Beethoven's later works were considered tho
efflorescences of adisordcredbrain.and whi-u it was looked upon
as an act of exceeding condescension to bestow praise on
Guillaume TeU. Some members of the musical profession in
London patted Rossini on the head and affirmed, that his last
opera was capital, making, of course, all necessary allowance
for want of lcaruiug, profundity, and sublimity. Before
GuiUaume TeU was written the author of tho Barbiere was
treated most scurvily; his very name offended the nostrils of
tho learned pundits, and when ho was in London, his presence
was avoided by them as a plague. " If certain musicians of
that day,'' exclaims a writer "f authority, " walking along
Regent-street, huppened to hear tliat Rossini was in Cramer's
shop, they would have crossed to the other side." It is not
many years ago, since we ourselves heard tho term " dis-
graceful" applied to the introduction of Rossini's overture
to The Siege of Corinlli at the Old rhilharmonic. No doubt
this feeling against Rossini originated in prejudice. His
extraordinary reputation, the reception of his works at the
Opera, almost to the exclusion of every other composer, the
idol worship of the aristocracy, the adulation of the public,
and the infatuation of his admirers, naturally rendered him
• Centura LiUraria, vol viii., p. ZU.
disagreeable to a class of men, sensitive to a fault, whoso
works were known to be neglected, and whoso persons were
considered to be overlooked. That the prejudice in this
instance was tinctured with jealousy is more than probable.
The appreciation of tho French public differs widely from
that of tho English. French audience desire to be entertained
merely. Lot their eare be tickled and their hearts touched —
voila tout. They go to theatres and concert* simply foe
amusement, and expect neither knowledge nor teaching
in places of recreation. Hence oratorios, symphonies, and
other large orchestral and elaborate works, generally bore
them, 'while such operas as Don Giovanni, Le Nost» di
Figaro, and Fidelio, as demanding greater attention
than " listening by the cars," aro caviare to their under-
Htaudings. We doubt even if Guillaume Tell, although
performed so frequently at the Grand-Opera, pleases them
entirely. It is too comprehensive and grave for those
lovers of the brilliant and the dazzling. Fashion, however,
in this instance, sways the public feeling, and an acquired
love for the composer, who, by devoting the greatest effort
of his genius to their national theatre, and by living among
them so many years, almost naturalised, or denaturalised,
himself, has exercised no little influence in recommending
the work of the master. For the mere Parisian public, La
Juixx, or La Favorite, possesses, we are inclined to believe,
as many attractions as Guillaume Tell, and the HuguenoU or
the I'rophiU more. There is, however, no affectation in tho
likings or dislikings of our lively and impressionable neigh-
bours: what they prefer they acknowledge, and what is dis-
pleasing they do not hesitate to repudiate The publio of
Paris includes to a large extent the professional body. The
people and the musicians breathe together, consort together,
and think together. The expression of a public opinion is
utmost invariably that of the artistic confraternity.
Now all this is very different in England. Musicians- aud
the public, in many instances, as far as regards opinion, aro
separated as wide as the |K>les. Crowds rush to the theatres
to hear Verdi's operas ; English musicians will not tolerate
liigoleito, the Traviata, or the Tromtore. Rossini's Stabat
Mater enchants the multitude and is coldly received
by the dilettanti If the public were allowed their
choice, Verdi would reign supreme at tho Italian
houses ; if the followers of the art had power to order
matters, he would be banished altogether from the country.
From this antagonism of sentiment, howover, good arises.
Frequent discussion and consideration compels the amateur
to doubt the supremacy of his idol, and induces the connois-
seur to be more generous in his strictures. Better far
this clashing of impressions and judgments whkh lends
to such important results, than that conciliating and hand-
in-hand indifference, which may tend to unanimity aud good
fellowship, but is hardly constituted to further the interests
of music. Better far prejudice with a fair prospect in view,
than apathy and toleration from which no advantage is likely
to follow.
THE PHILHARMONIC DIRECTORS FOR 1858-9.
(CotcMed/rom page 554.)
6. F. Anderson, Esq.
F. B. Jewson, Esq.
Williams, Esq.,
(Principal Clarinet to Her Majertr).
Joseph Calkin, Esq.
J. Clinton, Esq.
H. J. Griesbach. Esq.
M. C. Wilson, Esq.
Digitized by Google
618
THE MUSICAL WORLD. [September 25, 1858.
REVIEWS,
"Twesitt-kicr Studies job Till Piaxofoetk." By Charles
McKorkr]!. AddiwD, llollicr, aiid Lues?.
In his capacity of an able ami useful labourer in the cause of
sound musical instruction, Mr. McKorkell lias, more than once,
■won and merited hearty commendation in these columns. The
"Twenty-four Studies" before us, nevertheless, are, we think,
superior to any of his previous contributions to the instrument
of nil choice. No young pianoforte player can study them with-
out profit. Not only are they excellent, judged from a mechani-
cal point of view ; as musical compositions thuy are equally
engaging. Each study, besides addressing itself to some sjiecial
mechanical object, has a marked character of its own ; while all
are written with an elegance and correctness that betoken the
musician, and cannot fail to elicit the sympathy of
ateura who prefer good music to bail.
T Flilrxrs.'' Bcmarcc fans TarnVs, for ll.c Pianoforte.
By W. II. HolmcB. It. Mills.
Although "tan* parol*.*," this graceful and highly- finished
little piece speaks with an eloquence which requires no wor.ls to
make it understood. Its only fault is its brevity, for there is
enough in the principal theme (the moderate — page 2) to admit
Of considerable development. Mr. Holmes has written nothing
more charming and at the same time unpretending. The more
auch bagatellea the better. They not only entertain but refine
the taste of the player.
"WHO CAW m BE?" 8onfj. Written by Thomas Moore. Composed
bj Walter Mavnard. Cromer, Bcale and Cbappell.
Mr. Walter Maynard has been more than usually successful in
this song. The sentiment of Moore's well-known stanzas is
happily caught, and the music, without aiming at any high flight,
happily steers clear of the ordinary (rack. The transition into
A flat, on the words, " Her shape iu dreams," besides being good
it«e(f, gives a certain importance to the song without being
obtrusive. The return to the original key, too, is well managed,
and introduced so as to aid the expression of the poetry.
Madixb. Piocolomini and a troop of opera artistes have taken
berths for New York on hoard the Vanderbilt steamer, North
8tar, which leaves Southampton for America on the 30th inst.
Mad. Axna Bishop, after making nn artistic tour which
extended well nigh round the globe, has returned to London.
8he waa last in England in 1816.
Meterbkkr has passed some days at Baden-Baden.
Th« Hague.— At the National Fetes, lately celebrated a
cantata by M.Gevaert, words by M.Victor PriUcux, was executed
before the Boyal family at the theatre.— Ac (Stride Mimical.
Leeds. — Tho meetings of the British Association, which are now
being held in theTowu Hall, have attracted large audiences. On
Thursday evening a Conversazione took place, when tho following
••lection of pieces were played on the organ by Mr. Sparks :— °
1. Grand I Oftertoire— KeffbfN Weir. 2. Largliettn from the Srnt-
,bony in D — Beethoven. ;t. Haroia Fanebn —UwlpsiBtaar. 4
'aitorsl— Kullsk; i ugn— Spolir. 6. Wedding March— Mendelsohn.
R«PI;T W «* Leeds Festival— As we statc.I on Saturday
the festival has been eminently successful. No record has beest
kept of the precise number attending each performance, but we
understand the average has been about nineteen hundred. Ac-
commodation was pi-ovided for two thousaud, and the hall ma
quite full on Thursday and Friday evenings, and on Saturday
morning, the attendance at each or tho other performances being
nearly eighteen hundred. Tho total receipts have been about
£7,500, and the expenditure is estimated at £G,W0, leaving a
balance of .£1,500. In addition to this amount, however, several
J \lt P£ncipftl artist* contributed sums amounting to £100 ;
People's Festival, on Saturday evening, realised about
M. Hector Bbrmoz has arrived in Paria.
The New Adeli'hi will be ready for opening the first week
in December. Although not to appearances progressing very
rapidly, every material connected with the interior is preparing
in its various department, so that when once the roof is lodged
the work will proceed most magically.
The London Poi.ynrnxiAX Cnotu. — This society, established
for the practice and performance of part-music by male voices,
a;-d which created considerable sensation in musical circles List
season, reconnueuced its weeklv rehearsals on Thursday, 16th
instant, in tho Throne Room, 'Crosby Hall, Bishopig.t*. A
proposed enlargement of the society having been mail* known,
several gentlemen presented themselves as caudidati-s for mem-
bership. To complete the required number the ranks will
remain open for a short period. The director, Mr. William
Ilea, inaugurated the season with an address to the members,
which was received with great applause.
Todmordes. — The members of the Musical Union Society
pave their first concert, for elto season, in tho Odd Fellows' Hall,
Todmorden, on Monday evening week, to a numerous audience.
This society has been striving for some time to introduce into
our neighbourhood tho highest order of musical art. The firat
and second parts of Haydn's Creation, and a miscellaneous selec,
tion were performed. The principal vocalists were Miss Law-
M essrs. .T. I/>rd, R. Lord, A. Wild, and J*. Chadwick. Principal
instrumental performers: — flute, Mr. Stauworth; oboe, Mr.
Jonsou; violoncello, Mr. Wadsworth. The band wai efficient.
Mr. Baran was the leader. On the whole, the performance, aa
regards native talent, waa one of the most successful that haa
taken place at Todmorden.— Halifax Guardian.
Rochester. — On Thursday evening week, Mr. James Towna-
end, late M.P. for Greenwich, having taken to the stage, made
his first appearance at tho theatre here, and met with a most
enthusiastic reception from a very large audience. The cha-
racter he chose for the occasion was that of Richard the Third.
Upon his Mint entra&oa he was greeted with loud and prolonged
cheers and applause; the latter being frequently repeated
throughout tho play, at the conclusion of which he was hon-
oured with a call before the curtain, where he met with the
same enthusiastic cheering and applause as at first ; in fact, we
do not recollect such a demonstration of feeling in favour of an
actor in this theatre. Taken as a whole, his performance was
nduiirable. At times we thought he dropped his voice too
mnch, rendering himself scarcely audible, but no doubt he will
overcome this when he gains more confidence. He was much
better in the second and third acts, and was letter perfect
throughout, having evidently well studied his part. His make-
up waa splendid, an amateur observing he had not seen ODe
equal to it since ho saw Edmund Kcau perform Richard. At
the conclusion of the play it was announced that Mr. Townsend
would appear ou Tuesday evening iu tho character of Othello,
which was tho signal for more cheering aud applause. — Rochester
Gl'er.nsev — The promised concert of Mr. Frederick Chatter-
ton, the harpist, took place at the Assembly Rooms, on Tuesday
evening, in preseuee ol an audience which comprised moet of the
connoisseurs of the island. It is needless to particularise Mr.
Chattel-ton's performances, although were we to make a selec-
tion we should take his execution of the "Souvenirs de Bellini,"
which created the greatest sensation. Mr. Chattertou waa
assisted on this occasion by Miss Eliza Hughes, from, we believe,
the Royal Academy of Music, who achieved a decided a ureses
Miss Hughes is girted with a voice of much richness, volume,
and freshness. It has evidently been well and carefully culti-
vated in a good school, and consequently her singing possesses a
high degree of merii.— Guernsey Journal.
Mo.n mouth.— Two concerts of sacred aud secular music —
styled by the projectors "Grand Anglo-Italian"— were given on
the morning aud evening of Tuesday the 14th instant, at the
Borough Court. The singers were Madame Chierici, Mrs. K.
Pagat Mr. Henry Morgan, Signor Chierici, and Mr. R. Paget,
ami Mr. S. Naylor presided at the pianoforte. The concert took
place under tho patronage of Colonel Vaughan and the officers of
the Roval **•
Digitized by Google
September 25, 1858.] THE MUSICAL WORLD.
619
NATIONAL STANDARD THEATRE.
(From Tie Morning Star.)
The brief annual engagement of Mr. Sims Reeves, the justly
celebrated tenor— our English Mario (with not a little, by the
way, of the vocal refinement of Rubini, united to the passionate
vigour of Tamberlik), and the legitimate successor ot the elder
Braham — may be regarded aa the Eaat London Musical Festival,
and — the enormous and universal excitement it creates taken
into account— with jnat as much claim to notice as any of those
great provincial music meetings to which our contemporaries
periodically devote so many columns. Mr. John Douglass, the
enterprising manager of the National Standard Theatre, if we
are not misinformed, pays Mr. Sims Reeves an almost unpre-
cedented sum for twelve performances, but that he has invariably
found the speculation as profitable and lucrative as it is spirited
is evident from the result. The fact that Mr. Sims Reeves
is the most popular singer of the day, without excepting any
one of the great foreign vocalists, is unquestionable. His name
is everywhere a tower of strength. No provincial festival can
dispense with his aid, for, as is well known, he excels just as
remarkably in sacred as in secular music. At the Crystal
Palace, where the musical undertakings are at times so gigantic
as to approach the fabulous, Mr. Sims Reeves is always the
surest attraction. At Exeter Hall, the master-works of Handel,
Haydn, Beethoven, Mendelssohn, Rossini, and, last not least,
Mozart, find in him their most versatile, ready, and effective
interpreter. In shoit. the services of this gentleman are just as
well appreciated by the renowned conductor, Costa, as by the
indefatigable organists who find his co-operation wholly indis-
pensable in sustaining the position and fortunes of those yearly
assemblages of the cathedral choirs, which are at once a solace
to charity and an advantage to art This universality of ac-
quirement— this intimate knowledge of every style of music,
from the sublime oratorio to the simple entertaining lyric inter-
lude—is a peculiarity which places his talent apart from that
of contemporary artists. Mr. Sims Reeves — ana every English-
man who loves the divine art should be proud that such distinction
can be claimed by a compatriot — can say to the foreigner what
no foreigner can say to him: * I can play Edgardo, Fra Diavolo,
and Floreatan (Fidelio) as well as any of you ; but not one of
yon can sing 'Comfort ye my people,' 'The enemy said I will
pursue' (Itmd in Egypt), and 'Love souuds the alarm' (Acit
and Qalatta), letting alone 'The Death of Nelson ' and all the
incomparable ballads and sea-songs of the immortal Tom Dibdin,
as well as I." He would not Bay so, it is true, being too genuine
an artist to boast of his achievements; but ho might say so,
and with none to contradict him. Another conspicuous element
in the genius of our English tenor is its adaptability to delight
and entrance the multitude. To the man of nerve and sinew
who, thanks to the spread of musical taste all over this great
empire, prefers laying out his modest spare cash at an opera or
a concert, rather than waste it (and his own energies) at the
tavern, the talent of Mr. Reeves is just as welcome and just as
intelligible as to the wealthy aristocrat and high-born dame,
who, though in their hearts affecting the alien, are, nevertheless,
forced to admit the superiority of our countryman. The populur
voice is above such prejudices — prejudices that, even in the time
of The Spectator, were justly ridiculed by Addison and Steele.
The popular voice is unanimous in praise of our gonial and
admirable native singer. The moment he appears he is recog-
nised with a shout of delight. On Saturday night, for example,
when the National Standard Theatre was absolutely crammed
to suffocation, and the opera of (/uy Afannering was given, the
memorable exclamation of Edmund Kuan, after one of his finest
and most striking histrionic achievements, "S;r, the pit rose at
me!" was forcibly recalled. When the popular favourite ap-
peared, in the well-known costume of Heury Bertram, the pit
literally rose at him — ay, and the gallery too, while the more
dignified occupants of the boxes applauded with an earnestness
and vigour that baffled description. Such a reception could only
have been accorded to one who is unexceptionably the man of
his age.
The opera was performed generally in that careful and efficient
manner to which Mr. John Douglass has long accustomed his
patrons. Miss Fanny Terran was really a charming Julia
Mannering, Mr. James Johnstone, a quaint aud humorous
Dominic Sampson, Mis* Lavine a more than respectable Lucy
Bertram, ami Mrs. B, Honner a picturesque and imposing Meg
Merrilies. Of course, however, all attention was concentrated
in the hero of the night— the joy caused by whose long-expected
visit was ouly dashed by one shade of regret, owing to the un-
avoidable absence of his euro tpota — of Mrs. 8ims Reeves, that
excellent artist, whose voice has been so appropriately styled
•' sympatic*," and whose musical abilities place her among the
most finished lyric performers of the day. But as tho indomi-
table Orisi often sings and acts her very beat when Mario (which
occasionally happens) is "out of sorts," to Mr. Sims Reeves was
evidently resolved to " didommcujtr tho audience for the ab-
sence of his accomplished partner. He never Bang better-
never with greater sweetness, power, and impassioned expres-
sion. His unequalled voice was in splendid condition, and
everything he did was applauded with acclamations. Tho
graceful ballad, " Be mine, dear maid," the engaging and melo-
dious "Pretty Jane" (both given with exquisite feeling and
touching simplicity) and the arduous and dramatic " Death of
Nelson — Mr. Reeves's delivery of which revives the traditions
of Inclcdon and Braham. were all rapturously encored, and two
of them repeated, in such a manner as to elicit renewed demon-
strations of unbounded satisfaction. In short, the performance
of Mr. Sims Reeves was a series of triumphs from beginning to
end. The audience, jammed together closely as they were,
literally " packed," seemed never tired of applauding, while the
object of their enthusiasm was never tired of exerting himself,
so as to merit the flattering ovations accorded him.
That tho new engagement of Mr. Sims Reeves will bring
with it a new lease of prosperity to the zealous and untiring
director of the National Standard Theatre, is thus placed
beyond the reach of doubt.
BLOOMSBURY COUNTY COURT.
Imtupewt Fbacd rro» x Piakovobtk Manu facttbitb, axb
Aitrorn Kobgxby.— Bbowm p. HaMXADCSS.— Mr. Brown, s respect-
able old gentlcmsn, who has for » great many years carried on the
businvti of a pisnoforte manufacturer, at No. 74, Great Portland*
street, brought this action on Saturday la«t, against a lodging-house
keeper, to recover £6 Kit., the value of s pianoforte case, wrongfully
detaiuod by the defendant. — In the month of December, last year, •
Misi Hartley, who was lodging with tho defendant, called St the
plaintiff's place of btuinest in Great Portland'itrect, and arranged with
hiai for the hire of s piano, at to much per month. The plaintiff made
inquiries, and thought he should be safe in lending the piano, snd on
the 23rd of December, 1857, ho sent it to the defeudsnf a houtc, when
a memorandum was signed, of which ibo fallowing i* s copy :— -" I
hereby engage not to detain for rent, or on any pretence whstcver, the
Sianofortc now tent by Philip BiOwn, of ?4, Great Portland-street, to
[r. Hartley, of 11, Upper Cumn in • »trc»t, Peutonville, raiding in my
house i and I undertake to deliver the tame, whenever he may demand
it, to Philip Brown or hi* order. Hacks* IIasisaiicsi." — Tint memo-
randum was not t.gned in tho presence of tho plaintiff' t man, tut was
taken from hun into s room, where he supposed the defendant to be,
and brought back tigned. Matters went on thus till the month or
June, during which tune the plaintiff could not get one farthing for the
hire of hi» piano. He, therefore, applied for itt return, and ths de-
fendant thereupon act up a lien upon it for rent due from the Uartltyt ;
and one day, about that time, he, without the knowledge of the defendant,
took out the whole of the iu-ide of the piano, and lei it d >*n out of the
window to one of liia men. The eate, valued at £0 10*., atill remained.
The plaint iff then mado a second aud formal demand for the oate, which
tho plaint iff declined lo give up, on the double ground that the signature
to tho memorandum referred to wst a forgery, aud that ho had a claim
for twelve weeks' rout, at 18*. per week.— After hearing the evidence
embodied in the preceding statement, hit honour tsid be was of opinion
that the ease, but for one circumstance, would have been one of great
hardship upon the plaintiff , and it might serves* a warning to the trade
generally to take care, and hare such memorandums signed in the actual
proseooe of themselves or their men. After tome farther remark, the
judge said it wst thown that at the time the demand waa mods by the
plaintiff in July the defendant churned to keep the article for rent then
due. If the defendant hod carried that expressed intention into offset
at once it would have barred the plaintiff's claim. Ths fact was, how-
Digitized by Google
G20
THE MUSICAL WORLD.
[September 25, 1868.
r, Hint the distraint did not teko place till three week* i; >; and it
' 1 not he tolerated, and it was not t lie law, tbat landlords should
be at liberty to retain property, on the ground that they may, at some
indefinite time, distrain such property for rent due to thrm. Hi*
verdict would, therefore, be for the plaintiff, for the full amount, with
CIIAKACTERS OF THE DIFFERENT KEYS.
(From Dtriynt'$ Journal of Mutie.)
Cosjcc'siiiVd flrom pafff (jOS.
"C major— i* entirely pure. Its character is that of innocence,
simplicity. ua'ieM, child-language. .1 Minor — pions womanliness add
tenderness of character. F major— serenity and repose. D minor —
melancholy womanliness, breeding spleen and rapours. B flat major —
cheerful lore, clear conscience, hope, longings for a better world. O
minor — dissatisfaction, annoyance, worrying over a frustrated plan,
fretful chafing of the bit ; in a won), rancor and discontent. £! flat
major — the key of love, of devotion, of intimate communion with God;
•xprwissg, hy its triple signature, the Holy Trinity. C minor— dee'.a-
ratiun of love, and at the same time, the lament of an unhappy lore.
All the learning, languishing, sighing of the love-intoxicated soul lies
in this key. A flat majoi — the sepulchral key. Death, the grave,
corruption, judgment, eternity, lio in its compass. F minor — profound
melancholy, funeral lamentations, the moans of deepest anguish and
yearnings Rtf the grave. D flat major — a squinting key, degenerating
both in joy and sorrow. It can laugh, but not aniile; it cannot how),
but can at least mimic weeping. It is therefore only possible to repre-
sent very unusual characters and sensations by this key. B flat minor
—a singular fellow, clad mostly in the garment of night. He u rather
sulky and rarely puts on a pleasant face. Mockery towards Go 1 and
the world, dissatisfaction with one's self and everything else, prepara-
tion for suicide resound from this key.
" G flat minoi — triumph in difficulties, free breathing on surmounted
heights, the vibrations of a soul which has bravely struggled and
finally conquered, lie in every application (applikatur?) of this key.
K flat minor — sensations of vague terror, of the deepest oppression of
the soul, of brooding despair, of the blackest mclaucholy, the darkest
state of the mind. Every dread, every apprehension of the shudder-
ing heart breathe* from the chord of I flat minor. If ghosts could
speak, they would speak in this key Jt major— strongly coloured,
expressive of wild passions, composed of the most glaring colours.
Anger, rage, jealousy, fury, despair, and every freexmg sensation of the
heart lie within its realm. G tkarp minor — inoroseness, a heart heavy
to suffocation, lamentation, sighing itself out in the double sharp;
violei.t struggles, in a word, all that coats sorrow and trouble is the
colouring of this key. K major — shouts of joy, laughing pleasure,
and yet not quite the fullest enjoyment, lie in this key. C tkarp minor
—the pain* of joy, intimate communion with Ood, our best friend, or
the companion ofo
in her bosom. From
grace, to the fundamen
four life; sighs of the
love he in the compass of this key.
" A maj'jr— this key contains declarations of innocent love, content-
ment witn one's situation ; the hope of meeting again on parting
with a loved one; youthful cheerfulness and trust in God. F tkarp
minor gloamv key; it tugs at passion like an ill-natured dog at a
garment : grumbling and muttering are its language. It seems almost
as if it felt uncomfortable in its situation. Hence it is over longing
for the repose of A major, or for the triumphant happiness of D
major. 1) major — the key of triumph, of hallelujahs, of war-cries, of
shouts of victory. Ueuce, all inviting symphonies, marches, festival
songs, and jubilant choriuei, are set in 'this key. B minor i«, as it
were, the key of quiet waiting for destiny and resignation to Divine
Providence ; therefore its lament is so gentle, without ever breaking
out into offensive grumbling or whining. The application of this key
is pretty difficult, in all instruments | hence we And but few pieoes
which ore exclusively written in it. li major— everything in the style
of rural idyls or eclogues, every quiet and satisfied passion, all tender
thanks for sincere friendship and faithful love; in a word, erery gentle
and peaceful emotion of the heart can be admirably expressed in this
key. It is to be regretted that, on account of it* apparent facility, it
is much neglected at the present day. Modem writer* do not eon-
aider thai. In reality, there are no difficult and easy keys; but that
these apparent difficulties and facilities depend alone on the composer.
K minor— this key speaks of naiet, feminine, iunocent declarations of
love ; of complaint without murmuring ; sigh* accompanied by few
tears i of hope, whoso near fulfilment lie* in the purest bliss, resolving
into C major. Aa it ha*, by nature, but one colour, it might be com-
pared to a young girl, clad in white, with »bow of rose-coloured ribbon
this key we once more return, with inexpressible
ital key of C, in which the heart and the ear find
the most perfect satisfaction."
[The whole of which, we trust, the reader may estimate at iU
exact value. — Ed. if. IF.]
AFTER aTsTORM COMES A CALM.
(From the Birmingham Journal.)
Ix the present dearth of musical novelty and excitement which
ich gene-
anything
rally accompanies this season of the year, it is difficult to find i
wherewith to interest our musical reader*. Locally we expect this
dulnesa, on tho principle of the old adage, " After a storm come* a
calm." We have just had our feast, and now must be content to
endure it* reaction in tho »hape of an unusual quietude. In vain
every one turn* to London, where, according to general supposition,
everything may bo found when wanted. There thing* are ju»t a* flat
and 'dull a* at home. Tiie opera houses are closed ; the professor* are
kal io*; the case or the hardship* of a continental tour; and msnajers
'at is to come. For-
series of provincial
" ™ its axis.
are amusing the public with a promising bill of what it
, there has been a aeriei
festivals, which may b« sail
tunstcly, to fill up the gap,
ly b« said to have kept the musical world i
Hereford led off, Birmingham followed suit, and Leeds took up the
keynote. Of the Jalter it is our purpose to (peak now. Musical
people were *omewhl* atartlcd when there ws* an announcement put
forth that Leeds was going to give a Festival that would eclipse any-
thing and everything tbat had gone before it,— something that would
annihilate Birmingham, completely shut up Bradford, and make the
Three Choir* regret tbat th»y had ever given a Festival. Hoyaliy
was to inaugurate it— a new room, a r.cw organ, new everything, were
to add to it* attraction— and ail the most talented artssies of the day
were to be engaged. The meeting took place last week, and iU suc-
cess ha* satisfied all moderate-minded and sensible persons. It was
not to be expected that a festival could be got up by inexperienced
hands without thoir being a little at fault somewhere. However,
at. Leeds everything wa» as complete as its best friend* could have
wished. It is true the programmes were not »o well laid out as they
might have been ; a more judiciou* selection might have been made,
and it' might certainly have been better put together than it was. Pieoes
were made to follow each other, which, in»tead of heightening the effee*,
were from their peculiar nature and arrangement quite the reverse in
tboir influence. Of the performance* nothing short of succe** could be
anticipated. With twenty principals, the Philharmonic band, and no
let* a person than Dr. Bennett for a conductor, what else could be
looked forward to P Leeds has tried her belt to get up a Festival that
will rival or rather beat Bradford, and in future it wdl be Bradford
rersas Leeds, Leeds etrms Bradford ; tho one will try to out-do the
other. Which will ultimately be the greet Festival of Yorkshire, the
future must determine. Wo have considerable sympathy wiih the
Bradford folks. They have had some excellent music meeting*, and
their chorus ha* become celebrated. It i* in thi* latter element that
provincialist* have most to do with these festivals. The band it never
local, and the principal linger* are the produce of the Metropolis ; so
the chorus is left to vindicate tho musical ability and taste of the
place. Whether Leeds will get as good a choir a* Bradford it is im-
poisible to say ; the voices at its command are spoken of a* being of
excellent quality, their only fault last week being a w*nt of better
balancing. Between the two town*, York seem likely to be forgotten.
So little is said about it and *o littlo done at it, with its beautiful
minster and grand organ, that it is a wonder the inhabitant* have
managed to keep it the musical capital in the country. York I
bo thought more or in tho day* of >Teuka.um, but lately it
into quietude, and gircs way to the more enterprising spirit of its
neighbours. If they mean to make the Leed* Festival periodical,
Yorkshire will be well off in a musical point of view. One thing baa
been done which must call forth tho praioc of all true lovers of English
music. At Leeds they brought out Dr. Bennett's new cantata, tbe>
"May Queen," which h»s justified the highest expectation* formed of
it. All who know Dr. Bennett'* work* mutt admit hi* genius, confesa
hi* wonderful ability, and regret that he doe* not write more, lie ia
said to be quite indifferent to a composer'* honour*, and care* little
about exercising hi* talent in tins direction. Be this a* it may, it ia
certain he can write if he like*, and it is a pity be doe* not write more.
His "May Queen" is said to bo tho beat musical composition of the
day, and a work of considerable magnitude. It ia full of beauty, and
replete with moaning, and hss raised Dr. Bennett'* reputation as a
composer. Proud a* we are of our Festival, because it has been tho
of bringing to the word the greatest production of the present
Digitized by Google
September 25, 1858.]
THE MUSICAL WORLD.
621
■gc, we cannot help regret in i_' it ha* not had the honour of bringing
out this work of Dr. Bennett. That there wu plenty of room for it
there U no denying ; that it would hare been an attraction ii likewise
true. If there were any circumstance to prevent its prod action we are
unaware or them. In time* gono by, manager* of concert*, and com-
mittee* of fostiraU, were »omewhat tardy in bringing oat new work* of
English composer* ; but this feeling i* happily dying away, and the
effort now serins to be a* to who can get the beat new thing to bring
out. Thia U a step in the right direction. It is an inducement and
encouragement for those who can write to do so. and will doubtle**
ultimately lead to a school of English art. Hitherto our native com-
posers have been sadly neglected, anil consequently few take the
trouble to write, whan they are conaeious the fruit* of their labour will
■ bo heard.
Mrs. Howard Paul announce! her benefit at the Egyptian
Hall, ou Thursday, Sept. 30, under distinguished patrouage.
Among other promised novelties Mr. Paul will give a new cha-
racter,' that of a vegetarian, and the fair binijiciaire will give
" Come into the garden, Maud," in imitation of a popular
the likeness to whose voice is said to be extraordinary.
Halifax.— The first annual
Society took place on Tuesday
Odd fellows' Hall, Mr. George
The accounts of the
[ of the Glee and Madrigal
the 14th inst, at tho
i occupying the chair,
audited, and the finances
found to be in a satisfactory condition. The officer* for the
ensuing year were then elected, and are as follows: — President,
W. I. Holdsworth, Esq.; vice-president, Mr. George Jackson;
treasurer, Mr. Joseph Keighley ; secretaries, Messrs. W. Foster
and S. Wainhouse; conductor, Mr. Ft S Burton; committee,
Messrs. S. Pollit, E. B. Keighley, E. J. Foster, W. Greenwood,
J. Sunderland, W. Dennis, and J. S. Bates. Thanks were given
to the gentlemen who had served in office during the first year
of the society's existence, and who had been the means of
establishing the society on sound and thoroughly respectable
grounds. It was resolved that the practices should be resumed
on Monday evening, the meeting place to be the Odd Fellow*'
Hall, as heretofore, the meetings to be held weekly, in order that
the subscribers may be furnished with a concert next month.
After business had been transacted, a number of glees were ex-
ceedingly well sung, thus rendering the whole affair one of a
very gratifying character. — Halifax Guardian, Sept. 18.
IlisTORt and Revolution. — The Paris correspondent of the
Globe, writing ou Sunday evening, says: — I spoke of Ristori's
triumphant progress through Italian capitals as the representa-
tive of the heroine J uditta. That progress has now been stopped
by the Austrian police. Her last display was at Venice, and
when Bha broke forth into the grand passage, " Tell your children
that they inherit from us a country, and the land that God gavo
them let them clear of all hoslilo invaders I" the cries of encore
were so terrific, and the counter-shouting of Austrian officers
from the boxes, that Ristori was forced off the stage, and a serious
scuffle took place between her champions and the police, which
in a proclamation against any further revival of the
widow of Bethulia who dispatched Holophernes and scattered
the Assyrians.
Paius— (From our own Correspondent.)— Mud. Ferraris, the
celebrated danteut, has taken leave of the Parisian public, and
is by this time en route for St. Putersburgh. She bade he^
adiev r on Wednesday, tho 15th — at the Grand-Opera, of course
— in the favourite ballet, Sacountala, and was feted and ap-
plauded to the skies. Mademoiselle Zina Richard, the charm -
mg artist who has proved so acceptable a successor to
Fanny Cerito at the Royal Italian Opera, will succeed Madame
Ferraris in Sacountala, Bcforo this reaches the eyes of your
subscribers Mad. Rosati will have made her rentrie in the Cormirt.
The opening of the Th64tro- Italian is announced for Saturday,
the 2nd of October. The season will extend, as it did last year,
to seven months, in order, it is said, to afford Sig. Tamberlik an
of giving several representations after his
from the St. Petersburgli campaign. Madame Penco has
arrived, and will appear on the opening night now comes
it, may I ask, that this very clever artist has not found
her way to London 1 With deference to Messrs. Lumley
and Gye, I think she might be placed in tho Hiiymnrkct or
Bow-street, At which of tho great houses I leave the managers
to settle between them. The Toreador has been revived nt the
Opera-Comiquo. M. Trov succeeds M. Battaille in the character
of Belflor, and Madlle. LefObvre to Madame Ugaldo in that of
Coraline. Tho revival was successful, and the new sustaincrs
of tho parts of Belflor and Coraline were received with much
favour. The triumphs of Madame Cabel, however, in La Part
du Diable have not been interfered with. Tho faseiualions
and exquisite singing of tho charming artist, coupled with
A'uber's sparkling music, attracts crowds to the Opera-Comique
nightly.
leaves Zurich, where he has hitherto re-
to Venice, where he conteruplatus residing
for a long period. The report that ho had obtained the Em-
peror's permission to visit Vienna has not been confirmed.
MENDELSSOHN'S SYMPHONY IN A MINOR.
(From Trie Birmingham Journal.)
So uiach hot been written about thia admirable work, in
which genius and tho most accomplished musicianship have
united in giving birth to a die/ (Toiuere, that to attempt a new
description of its character, a new analysis of its design, or a
new panegyric of its innumerable beauties, would be altogether
unnecessary. Suffice it, the symphony in A minor, about which
Mendelssohn had long been engaged, was first publicly performed
nt the " Gcwnudhaus" Concerts, in Leipzic, on the 13th March,
1642, under the direction of the composer. In the summer of
the same year it was played at the London Philharmonic concerts,
again under the direction of the composer. On both occasions
its success was triumphant. Since that time its popularity has
continually augmented, and its fame has long been established,
in the new as well as in tho old world. This work at once
placed Mendelssohn by the Bide of Haydn, Mozart, and Beet-
hoven, as a composer of symphonic*. His concert overtures
had already showu his very high capabilities in the nrt of
orchestral writing ; but, as the sympHbny is the largest form, so
it brings and merits the largest honours! The symphony iu A
minor lias been named the "Scotch Symphony," because tho
principal ideas were first suggested to the author by the romautic
scenery of Scotland, and certain incidents of Scottish life wit-
nessed during a tour which he always remembered with delight.
To the same tour we are indebted for the overture to the " Isles
of Fingal." Some German critics (the late Robert Schumann
among the rest,) confounded the "Scotch Symphony," when first
tierforined at Leipzic, with the symphony in A major; generally
: a own (for reasons similar to those already stated) as the "Italinu
Symphony," and proclaimed that "southern influences weieclearly
traceable throughout.'"* It was well known that Mendelssohn
had presented the London Philharmonic Society with a sym-
phony in A, just after his return from Rome ; and the Leipzic
quidnuncs, whcti the symphony in A minor was flint brought ont,
concluded that this must be the identical one ; and so discovered
all those " southern influences," of which Mendelssohn in his
* northern" rambles had been quite unconscious. But such
misconceptions are not at all singular with the ".esthetic" style
of criticism that has for some time prevailed in Vatrrlnnd.
What must the Leipzic reviewers have felt when the "A major,"
the genuine Italian Symphony, with its taltartllo, so instinct
with Italian colour and tho bustle of Italian carnivals, was first
performed for their edification at tho Gewandliausi Perhaps
they now revenged themselves by the discovery that northn-n
" influences were clearly traceable throughout" — which would
not have been a bit more absurd than the other.
• Lam
with
di, one of Mendelssohn's insufficient biographers, declares,
that he cannot agree in thU i ~
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MUSIC FOR VIOLIN AND PIANO.
In Twenty-four Humbert, One Shilling each,
POPULAR RECREATIONS FOR THE VIOLIN."
A COLLECTION OF POPULAR OPERATIC MELODIES FOR VIOLIN AND PIANO.
AlUtANGED BY GEORGE CASE.
PRICE ONE SHILLING EACH.
I. ROBERT. TOI QUE J AIME
S. QUAND JR QUI1TAI3
3 NiilJlL MGN.at
4 KO CASO EOOAL ..
4. VA PKNBIEItO
«. KKNANI IN VOL AMI
T TL'TTO E 8PRKZZO ..
» LA MIA LET'ZIA ..
t. ijl donna e mobile
10. E1LSOL DEI. AN1MA
11. OUESTA O OUKLLA. .
la BELLA FIOLIA
Robert Io Diablo
ditto
BqgMMtt
ditto
N.bucoo
Kro-iui
illtfo
Itliro rtLu
ditto
ditto
aim
INTRODUCTION AND OALOP RinOLEtTO..
MISEREIIE-All! CHE LA MORTE .. ..
IL DA LEV DEI. HUD
SI LA STANCH BSZA
MERC I. JKUNE3 AMIES
AMI LE IO.UR DI1ELKSE
JOl R DIVREM5E
I.IIIIAMO. IiniXDISI
PA11IG1 O I .'.tit A
Dl PHOVENZA
All ! FORSE E LUI ..
SEMiHrl LIBERA ..
Rip; ileltn
Troratoro
ditto
ditto
LcaVeprcai
TrarUta
ARRANCED
LA BOXNAMBCLA :—
1 Ooiwitriiii — Ou-o CMOi.«r-.io
S. VI ravvlao— Tti nan tat
t. Tntto | Kiolto— Ah I perche ncu . .
4. Prendi I' ao*1 ti dona
4. Ah! tmco de!o— Ah ! l.orj
t. Brm (oloao— Tutto I rii jn
LINDA Dl CHAMOUNI:—
7. Oar* luogbi— O Iocs dl que
£ ?.V^-~Ahl «"»«l»nnl ..
9. Ah M daaUn-Dllu pec. ..
"BOOSEY'S REPERT 0 IB E,"
CONTAINING SELECTIONS FROM MODERN OPERAS, ETC.
FRANZ
a. d.
BOZEN AND OTHERS.
LUX AX! :—
1(1. Kin.nil. lnr.Jimi
11 Mi. ^ erranta-InMi^Vira Au<riMrto Ac .. "
IS. Come rujrtnU al ce.pito
L. GOUDKllAX! -
IS. Three celebrated ft'iurl
14 Seeotiil Solee Jou of do.
IUCOLKTTO;-
U. Iiiinxlui-tioii— Q«r»'» o quella— Tiittn » eloja— BaUnta, Ac
10. K tlaol dvll'auliua— dm i.omi — Zltti. Jf.ttl— Deb noti paila
1 7. Tarm i reder— La doom t m. .bl It— Bella flgUa ....
CHARLES DE BERIOT'S COMPOSITIONS.
• <L
..10
..I *
.. I •
.. 3 t
.. I •
..*0
..JO
.. S 0
lat Air
Slid d •
raried, In D mnjur, with Piano, Op 1
, with VarUtlooa in do. mlth do.. Op 1
HI Corn dad, I
3rd do. raric-1. in P., I Sharp.,
4th do.
5th do.
«th do.
7th do
Published by BOOSEY AND SONS.
*.d-
. Impiored, aud lingered
with do . Op. a ..
I. l...,.n.rod, imlll1)if.r.<l
by the AuUior.
_ . , Jlj ^ri^od7lini>roTwi; and nngarvd by'thc Author.'
or Air rfoot-ward. In B Iht. with Variation., w,U> do, Op. 5
varied. In A. wltti do , Op. 12 .. .. .. ' '
in h. v, i;h
in d, with do ;: ;; ;; ;; ••
with do.. Op. 32
.J»
i 0
l>t Cjrj^erto, with .ice. at i-u
,,k ... :»! ri«Orchrtlr1i,vu:t»fflnyb4bndKpai^tclr'.'
Si.ddo. withacc ofd. *..
The aamo, with Op.ho.tro
S.d C^efrtf'Uil?thd0,<aUd'' B",*, fW"" """"^ WKU **
4tii do., with do., Op. W
Lo Train, 'Io: Caprtco aur un TI »m« do ~
d'Oichcatio i u do Piano — With Piano
Orchcatie p.vtU
W L-f.-BAJ?"!1. Omid Duet on Moat In Egilo. for Harp ami'viollii
if La Sounauibuta, for Piano .itvi Violin
a. d.
* 0
.. II 0
.. SO I)
:: 1 1
.. » 9
And BENEDICT, Kto..|kctioua i
S 0
IS 0
i 0
I 0
CHARLES DE BERIOT'S DUETS, ETC
IMPORTED Br UOOSEY AM) SONS.
LW. 1.
With LAIIARRE. FauUiaio'.ar lo cbiCur do»
< rapeaux dn Hhge dc CTlotliO . .
„ , Ur-
FanUUiowrdc.nK^I.d.Moi.0 ..
LSr. 3
— — SouTcnln do U Miiutto d« Portl'l
Llv 4.
— OSBORNE. FunUinic mr ,:, • roo'.lf. du
ComteOry
_ . Ur J.
~ — Variatlona brilianus ca lie. dtUicca a
la RJno d«a Pn ja-Bai .... j
Ur, 6
— T.^9rtf*V .V#d»Q»M en La luinrur,
d« lls«a a MaJ. Cotilmt
T.
— ZT .JAatalM brlllLuiio aur da moUt* do
t»'jj.ut;ni« Ti.il . . v
Ur. $.
— BENEDICT. Duo brillaut aur del motif,
do ia Somiiiuibulc .... »
Ur. 9.
— - Pu» ^r1"*"1 * < MH>. d«dJ« ^ Mj I.
Bertm do Vaux
Ur. 10.
— OSBORNE. Fauulnl. brillanto tm d««
motif. dulWaiix ti re.
Ur. II
— W.'HODERI.B'MlNliR. Dm Lrilluil .ur
do. moufi du 1 ,rAn»,.,0 . . "
_______ • Uv IS,
— OiBORNE. Duo brilaut
dea Puritaiaa ..
Ur. 13
~ — lr. N^ttirne .ur lea
a d.
5 G
Llv, 15.
With OSDORXE. V.nla!k>tia do ,
m Jtif de l Ambaiwdric*
Urn 10.
— — 1>U» brilUnt fJir un tliemo ordinal . .
briilanf sur Cat
a. d. '
0 0
« 0
a.d.
« 0
1 0
S 0
I 0
•
«
0
0
»
„ Ur. 14
- — Sd NoilurnoaurleaSoiroa.
Uv. 1«
io brdlai.t »ur >U* uiolif.
du ll..uiiui. Iiwlr
Ur, it
tVor.FF. r.v i.d Dm Irlll^t .ur doi
room, d; KmK, tic dUbl. ..
Ur. M
- Duo hril'a..tjiiri1cii molifn leZai tta « 0
I Du,. bril wit hi-
i do U EMMW
Ur SJ.
4 o ; —
7 0 —
(t 0
tl. 1M I W
- BES'EDICr.
a o
Liv S3.
f.ult de r.'r.u'.c. « D«.«
lai'lKto'. bnllautt mirdeanifl Uic. ci" Mm..
•ifcdto. ir.Bu.to .. .; "T: s o
Ur 24,
— Mot, Sme. 8ulu..
Lir. 3D.
f.ABARKK ler. ductt:uo
Mjtcr ,1c lUiadul
Llr.tt. '" "
— 2nd. duatiuo ,m !0 st-Ut M lUr
Ur, 3tL
BENEDICT. Lo Pn.«rrea. t>
dimcil0.,.ord,. .noUUfaroo.
let,
Ur, 47.
With OSBORNE Soeood cmnd Doo aur
motif, dc UuUlaumo Toll
Ur. 41.
~~ MOI.PP Duo brillaut >ur dc. moilfa do
U&lrcuo ...... .a
Ur. 4t
— OSBORNE Duo Ulllaut .ur do. mot f.
du lJ.iibierdo WriHo .. .. e a
Ur. io.
— Graud Duo bnllant aur dea motlfa dc
ui G.-uz i Ladra e 8
_ U» 11.
WOLFF. Gian l IhKil.nllant
du lu Dosiua del lnsro(R>b«rt Brucol
Ur. ii
— '.land Duo brillau: aur dea motif, do
la Mucttc de Poniei t „
— Duo brilaot Mir ' dot motif* da
Dajdrb so
„ . Ur.Ji. 50
— Duo brillant aur dea ro Hit* du Val
"Ur ii
4 0
4 e
.. « t
JSitltc
— — S"^ Duo'.ur de. root'i'r.
de lu Tart
dalalUiorito .
„ U..47
— Duo brIUatil aur dej niolifa de la Oene-
rcaitola .. .
Liv. M.
— Duo billLint »ur doa mo:if* du
Pirate t ># m
Uv. J*.
— Duo LrllLiul «ur de. motifs du Cud
Ur 60.
— Dii')brilIantaurd>BmoUf.d«L'£aifHnt
I 0
4 0
B008ET AND SONS' Mu.ioal Liorary, 24 ^28, Hollo. S„«t, Oxford-.treet.
SOLOS FOR THE VIOLIN.
1. La Sonnambuuv B-.h'hii
S Lucniia DomiA Dooii.tti
3. X-rau, Uclinl
5. Lucia .11
COMPLETE OPERAS FOR THE VIOLIN.
PRICK ONE SHILLING EACH.
4. FJisiie d'Amore. DmiiictU
II F.nun, Verdi
7. Maaanlollo, Au!«r
8 Don Pasqua'c, Do;ii<c".ti
9. I rurltitai. UuMi.i
H>. Lis Huguenots, M«)ciUcr
11. II Bar lucre, Krwmd
II Don Ju.ui. m
13. 11 Tmvalore, Vodi
14. Tbo Bolo iniau (.il l. Balfe
15. LaTravUU. V.nli
lli Blffnlllll* Ver.Ii
17. MariUhs Wnlliuo
19. Lc FrophHe, Meycibcer
IS. LnFMedu E^imoLt,
Douiiettt
». 1 ' i *\ Miller. Verdi
21. Martha, Flotow
1. L* Trvriatj QmdriUcs.
2. Ditto L'F.ts
r.mtalon—
[Laurent
3. Ditto P<,uU>
4 Ditln Ticniso
S. Ditb. Finale
a Tlie Summer Flowers' Valso— Tluncy
7 D.tto (Wcm.il bet
S. Tho Aunou Valso First Fi uie—
t>. Ditto tfccoi>d Figure ILnluzky
10. Ditto Third Fi uro
11. Ditto Fourth Fgurn
li, Tli.; Bu garUu F..ll.a— Montupn
13 The Malat.ufTGaI.p— Lau cut
It. IiudaiUCImmouDrQuaurilLa Fsn'atun
1*. Ditto L Eto [D JUlxrt
Id Ditto Fouls
17. Ditto Treu'io
lli Ditto Finale
19. Pcnclla Valse. First P-gurc— Tinnoy
20 Ditto Socond Figure
il. Dcutschc-L'ist Val-e. Flr»t Figure—
IT Ditto Soooud Figure 'Straiuj
23. Ditto Tliiri Figure
it. Ko.lgsberg Polks-C M
Ji. rlcrcn.adeOiaadiulo. No 1, "
Land '— Balfo
ONE HUNDRED DANCES FOR THE
PRICE ONE SHILLING. COMPLETE.
Xo.2. "Thi. ;s
VIOLIN.
HrTelliids
the pi co
27. Ditto No, J. "Good nU-ht, Beloved I
». Ditto No. 4. •ThoVlllam.HUiUsniilb'
•.'0 Ditto No 5. "Toe First Kis."
:J0. La TravUta Valse. r.r>t
SI. Ditto foe. ml Figure
31. D ibi Tt.lr i Piguro
S3. Ditto Pourtli Figil'o
|M, Ditto Fifth IVnru
:ii la Vnr-ovlaua— Henri Laurent
2i>. nieolutto Qmdulto. Faut..lou-Tinocy
:iT Di t. ueu
.it. Ditto Fo'du
3D. Ditto Tlentio
til. Ditto Find"
41. BfWlng Flowers' Valte. F.rst Fjpiro—
42. DiUo Srwul Fia>no [flnnot
43. Dio EUen Waliacr Kir»! Figure— L«-
44. Di"o K'tfotul Figure fUU'hV
45 Dit:o Tluid Hg.iro
4'c Olga II : :i i -tj m
47. Enmul Qua irtlo. FiiitUoD— JtdHtn
4S Ditti L'EU<
H. Ditio Poulo
io Ditto TrvnbM
11 Knuoi y.iadr'.lle. Fiualo-Jullicu
i2. M.*r^ti*T»tc IVan — H«ori I^iurviit
S3 ViUkii.'a VaU*. Tim Plume— LwrcBt
SI. Ditto Hrcontl Fuuni
il. It u»)!oi toVnUo Firat Fiijure— Laurent
1'. D'-lo Sooioul tijjoio
i~ D.t o lhinl F«"i»
il The Qiircn'* Scho tlnche— D.luMh
4*. T' c Alvjll O do|i — Laurent
'ti. Too Aiuir.il Q la-Jri.l-.'. P».i(»1i.«i— .
61 Di to L EW [liuucj-
Ditto P.i'il.)
US. Ditto Treiimo
> I. Ditto Fiiulo
■ Ci MvaaVklM. Flnit Figure— Tmncy
" Ditt • Socnid Figure
TUe Isabella Valao. Firat Figure — A.
Ditto Haruud P spirt [Mellon
Ditto Tliird Fl«<ir»
Tbo Enchautrraa l'olka— Juliano
Koooud Set of
Ditto No 2
7a. Ditto No. a
74 Ditto No. 4
75 Ditto
7« Oj.Hili i Vu'ao
No 1-Lou.
(reut
Flrtl Figure — Wmjrno:
77. OphnliaVidM Stcond Fiipirr-W.«ttcr
78. Eth,l Newcome Val)o- Firat F Jure
TO. Ditto fta-med F yure
»l. Arnica P.,lki-»trauM
«, fialop d aUoldee— H. Lanreut
B3. «t 1'ntrkk'. tJuacUtllc. rantal
si D tto VWtt
W. D I to Puule
81. Ditto Treniae
»7. Ditto Finale
«». Dreoiu* on the Ocean YjlUc.
Mirure — Guugl
81) Dilro 8ecr.n l Flcuro
on Ditto Tblnl F.(j.inj
»1 [talM Polka— GaTK^i
91. 15 Me or Lommenooor (Jundrlllf.
PanUlon— Ttoucy
»i. Ditto L EW
04 D tto Fouls
M. Ditto Treo <«
M. Dhto Ploale
»7 MtfeMH Valae Espagnol-Banriou
Ms. The Piccolomtnl Value — A. TOauucr
99. Tho Miu.1 Val»a— H. Laurent
100. The NI«hUi>«al«
ONE HUNDRED
Li Waroo
Ah fone ^ lul
Kemptellbtri
Pal iiji. o cara
Ah ! gran D.O
Tier*, la nntte
Di t.tl^ itiuor
Btrid la vampa ..
rcri^lurtl Aucor ..
juiU .. ..
Di quella pint ..
M«crere. Dunalu.a
Ah I cl.e la
I-aTmvUU Vciul
II TruraUre
Uuorta.. qn. IU ..
K- il - 1 dell' ai.lma
R^oletto
I
Tut to* aprvtto
O'tuQ per ino
S..-.T . II Mil. .
VI Tavi|M> , ,
Til UOIl Ml . ,
D' un ]Knaicro
Tutto c »c olto
Ah: ,
Knianl .,
8- uuanjbula, Iklltu
■M (rrdea
i Kiuuso
A!.
Ah
Cai-U Di
Ah • Iwllaaroeritorna
Dtih ojii tc.
Mim, o Norma
K( Clio all' ore
Cju;tl oor tro.lln l . .
Laluuallaol, Is. tells,
A to, o cara
Son icr, in . .
Hiioni la tr mbn ..
Vioi4 (ih queaUi braotb
lorua, torna
Sulla toniba
Vcrru.uoab-»uU'«ur«
So ir .dirioi tu _
.Sp.ir([i d' amaro
Kra t^<o h ino
DI nfl sioejaati ..
K. nti, U danz.i
Om'tbelU
81 vol: 11 primo
Di fjca. atorc i^uobile
Ainu tua iiiii'lr© ..
OPERA ilC
PRICE ONE
HotiiiambuU, B-l.lui
Norma
I.«iti»
AIRS FOR THE VIOLIN.
HILLING.
Guail ae ti •fui.'fc . . Lucre*!* Doalxetti
lufelioe 1 .. .. M ||
II .eareto .. .. ,, ,,
H' ool. ah ! ro' o.li !
DrU > erude'e . . L'Kliaire d'Amoro
EnuitlpurUbarti.iru ,. ,.
Ifl ana rloco .. .. „ ,.
y.innto oinoro .. „ ,.
Uu* fin llva lugriina „ „
Com b jfenlil , . Don Pasipialc „
Toiiiiinl a ilir .. „
I* morale lu tutto .pim'...
(luarachi .
Anon U tu
Du p iuvr-
Votcz du haut
Uua».icc- pom ft ,. II llarblcro noa»in
la aono docllo . . „ „
Kitti. ntti .. .. ., ,.
Finalo ....
Gtoiittelte. chi; fate D.inJiuui Uozut
La el .lar.^n .. .,
Flnche d.\l rino .. 9r
autl, bnttl .. .. „
Dsh vleul .... „
Manatdollo Auber
Vodral, carino
II uito tcsoro
PitTI Paffl ..
Cno dame noble
. Don Juan
.'noguenouM
Moiart
raojiii^to ,,
Delia t
Uu impcro pih
Air <lo Ballet
Mar.lieT»ioni|iUale „ „
UoTutin, cht, lutte „ „
Tarn on. old Tim.. Martian! Wallace
Vo. 1 1st mo like a aoldicr _
lu liappy momcnU „
Them n a flower .. „
8esnse that arc brliibteat .. '.
I.ipn Cborua . .Bohemian Girl. BjUIu
Oalop ....
I'lreiimtthatldwelt ., "
Th« heart bowo I down „
When other hps .. „ „
Thruugh the world ,, ,,
Hjippjrandllgi.to/henrt .,
The lair laml of Poland „ „
L' t not the beart . . „
Ob I what full delight
' tbo pud n. Maud . Da'fe
T.io l"W.bac!icd c.ir ..Lour
I remember ti.o h>.iiaj .. ..Mn-ctt
Oil rikB .t li-.nie .. . .Craven
OlddogTrajr F. ater
Will you lore me tb'li i.h UOW. - Anon
The irro-.-n 1 1 o ■-* whimpered . . BOfo
Minnie Ony .. ..Crnrsn
The Banks of Allan V. at«r
Sally syvlly, Lover
Mr Miry Ann Aunrtcaa
Who .hall t>- fa r»t T .. ..M. ri
My heart mi the Rhine ••iPffW
Oooi nigbt I beli.vei .. ..Biiio
•Twere ruin t^> Ult the*
Oftintl eo'illv nlKbl .. ..Mnr.10
Chid* no more Link)*
Swrx'tatam Gu.botioo
Tlie Reefer Itockntrv
Had I a liuart f..r talieliood ..M.uro
This t. tho placo .. ..BaHo
M.llyBawii I*»er
Horns' »«e t Home .. ..Sw.ss
T"e Roue s Errand .. ..Mackay
BoV-hi"g ar.miKi .. ..Auicric-ut
• • The fv ng», whkh aro the c.py.iuht
* and ' M ultiii*- uretxtrac «cl ffom t
ONE HUNDRED BALLADS FOR THE VIOLIN.
riHCE ONE SUILLINO.
Too Arrow an l tho Song ..Balfo
Kii'owoll.my trlui-i-ulh wherry DiUlin
The Green Bustus .. ..Scotch
Philip the Falconrr .. ..I. der
Ttc-iiicT and Flowers .. ..It. If.
The Hustle G'tu .. ..Mori
Tn.ika (liutaiau I >t vera Soni;iEdwar.ls
I Ho not watcb atono .. . .Fucker
Tin- latud of tlie Woat .. ..Lover
Kate K'flrnoy .. .. ..M'-rcrnu
The MittiiiR Of the Waters . . Moors
Tho Mooi. it 8ea Pn -it
A Ti..:uani.| a T.ar .. ..Mlll-wd
Twaa within a mllj .. ..Hootc'i
T!i- Fir.t Ki«s Balls
Ihox d.m olltlmrs ,. ..Faltlif d
Ths winds >ro Imsiied to rest . Oaoipuia
O N ui'.y, wilt Ihou K.uii: wi' inc Carter
Tl.« Ilappir-st Lnwl
A Yo'j-iu I^dv a " No" ..Anon
Polly, tr n't you try ino " ob !. . Am-riran
I'm an ett ltUH»:ll
Widow Maekrso .. .. ..Lover
Tholhoru Shield
n.1111,10 IViuiwCh iHlo .. ..«c- tch
Wi en live sw .Hows . .Abt
Fotrivs and f.irget ,. ..Lover
U.fc
.Ixivor
. Hua«el
.lUI.'e
.rkvtch
.Dr Am:
.Lover
Am nean
Tho U.y of B.Kay
Annie ot Thairww
Wapplua; Old »Uir*
Wait for tlie Wam
A Sol iiora Llfo(Ii.-.liem. Glr ).
I Irea-a.t tb it 1 dwelt {.io ) .
The l ean ho >o l <bi.vn (do ) .
When o*hur I1|to{<Io.)
. Davy
. Baits
. Peru/
American
I'm r ot myself at all ..
Tl.c Ivy (;:e. n ..
Th" 8c-nes of lio n* ..
Ob? wi istle, mid I'll conto
Pr i Go Hly (Mid is i
What will you do, lovo
Biuntilu! tkar ..
The Hninniir bloom baih[ieas»d H iy
Tbo Nun's Prayer .. ..Ob.tthUr
of Merits Dufl mid HodL-c n, are n. r:ed 'y an'.r.gcoirut w.th those pr-.tleme
e Coo.plcte Edittona of thow 0(r.ira* publtahcd lur the VicJlu by | UsllWlW of
Tlio fair land of PoUu i (do ) . .
Yes ! let me Ilk" a «.ldl^r fall .. Wallace
lu hippy m.im:;nt«(Manuna) ,
Xvllcst a: are briKlite«Md ' )..
Tlier-j is a (I wcr (do.| ,
Too Ute! too late! .. ..Pr.i t-u
Sally In our all. y .. ..Osrcy
My boy. Tommy Hootch
F*:r rhiu * tho Moon . .Verdi
The first Violet .. .. Msudrl»aol,u
Tlio An el's Whlspir .. ..Lover
Url'AtMil'fc. Oio pride of ths ocean
The Mill slrel Boy ..Moon
Pi tub.*, dearest ! lell.ol ! toll me Hattun
Willlo, we have mLssed you ..Foster
Tviobciiou .. .. ..Haas
Oh 1 bummer Nigl.t .. ..Don isttl
Tlie SUu lard Bearer .. Lindpiintnsr
Whsn tbs M «n on ths Lake ..Maaaett
Jotk o' Uaacldeu .. ..Scotch
Tr"t. Trot Kuc.cn
Am I not fondly tlilno own? ..Hiniraul
Wbcrs tlio liee ni.'ks .. ..Dr Arris
I'll look for tlu-o, Mary
Sweot love, arias
UcartsofO.ik Dr. j
l ive months ago ..Haifa
In the eye. the heart doth 'IweJI Abt
■;i il.. iivii mmm
Hu itinir tower .. .. ..Scotcti
Farewell, but whenever ..Mooio
; the tongs bum "Tbo Bobscnlsn Girl"'
■ CbspKlT. snd Cramer. Beals, 4s Co.
A !.«'">,
BOOSEY'S VIOLIN JOURNAL.
I »si( fv/ly Ofrintie Atrt, S<>n?i. flanca, dx., in Tia A"am!»rv, 1< W. t>*c)., or, MyMlljrlM 12a
B00SEY & SONS' Musical Library, 24 and 28, Holies-street, Oxford-street.
624
THE MUSICAL WORLD.
[September 25, 1858.
NEW MUSIC fur violin, flute, cornet, concertina, ltar-
roontam, and airing, brae*, and reed twoila. A catalogue to be bad gratia
on application, to Booecy mi 1 Suns, 24 and 2!5, Hoi oa fitrcrl.
NEW ITALIAN SONGS. — " II Mattino" and "La mia
pleti." by Ougllolro-., prioe K. tt'li, "MMHM," by Campaua, la A
cheap edition of G«nJii|iii»IN fifty moot popular aouira in one volume, Sla.—
Boosey and Sons', HolUa-etrect.
RS. PR ATTEND 100 operatic airs for the flute, price
• li. Ad. R 8 Pra'teu'd recroatloua for tha finte and pUno. CidiitA.nii.tr the
mo«t f<trotirll« airs ftrooi VcidVa *.'P«<r»«, tfcc , 2-4 Not , U. ca^b.— Boomv %ud ftims,
HoUt»-»tteeL
NORDMANN'S TOWER SCENE from " II Trovatora*
for the piaii' forte, including "Ah die la more," and the "Mlaaniro. '
'earth edition, prtce 3a. — Booecy aud Sous, Uollcs-str-.ol.
NORDMANN'S " M' apparri tutt' amor," a brillant and
KHIilar arrangement of Harlo> celebrated eong la Martha, U a piece for
BALFES NEW SINGING METHOD, price 5s., in-
eluding aixl«eu otlglml ballada -nd *nngt> with a large acimtion «( valuable
exercises foruilngthu moat altr.u.tivo elementary work crcroRered to the public.
"IA bnon to all students in the divine art."— Lmrpoot Mail. ••The best work In
English." — Wtttnmj o'tieaf, Rnoecy and Sons, Ilollta atrcct.
MR, GOLLMICK has produced a set of Pianoforte
piece*, which will l™ found idg'dy attractive. nHonly from tin. Kauty of
e airs, but from tbi taste a id .kill with which tie baa treated lliem" Tbeaborc
the aire,
ia extr.ctod from a crltquo iu the IlitutmUd London Uttrt, on ll.o Twelve Germ >u
VolkaUoder. a laptcd na popu'.ir p.ocefi fur the pi :n.»f rtc by Adulph Collmick.
Price S*. »d each. Booecy aud Sou*. Holloa-street.
MADAME OURY'S MARTHA, New Grand FanUwie
for the Pianoforte, prlc? 4a, uniform with the celebrated faiitaial^a on
Trovator*. Tetvdita. and rUgok-tto. by the samo compoeer Also, ju«4 pnblUhed.
by Madame (Jury. Tlwi Bohemian Olrl. 3a. ; Obe'uli, I'olka de Mduu. 3a ; Hubert
lol que j-alme. 4fi. ; Chorus, Lu.a Miller, la. "
NEW ITALIAN SONGS.
CAMPANA
11 candide, MeJodia
a. .1
2 «
! 0
GUGLIELMO.
II Mattino, C.tua 'Do
1m rata pieta, BallaU
Booiey and Sons' Musical Library, 28, Hollea-Btxeet.
PIANOFORTES. — DEWRANCE'S COMPENSATING
PIANO may now Ijo acca at the depot, IU, Soho'Square. By the application
of ihia principal a heavier atrinir cau be used, the result of which la, that the full
power mi a grand la obtained iroin a cottage InatniiDrut, tit the same ttaie the
w.roe and the frame on which they are strung expand and contract witli change
of temperature equally and together, a > that tbu neccaaity fcr frequent tuninir, aa
in the ordinary inatrummt, ia entirely obvLted For fa neaa and roun Ini-M ni
tone, with e»Unordln»ry powcra of nuidulatlun. three InatnimcnU arequiio un-
equalled, at tbo aaine time the price ia u.> i.igber than that of au ordinary pfaa»
IANO M USIC— Just published, Serenade of a Venetian
Gondolier, by L Drouet (*™„of tl.e celebr^Ufil JUutie^an,! wmposer), 3a «d.;
l«rTl
. Ouvlrilli .
Schmitt. 4a. ; Schcenbrnnn. P.,lk... b/ U.lu -(new edition), tm ; lihaiamlle. op. 61.
by Sp udler, 2a. »!.; "
Bet ur du Prmlempa,
liter, ny i
tArp«jft>'. TWnie
Val*> do Concrrt. par
Chal*.u de Illo a.
ipuee'
et Efido deCotillla, by L Dnei t. fila. 4a
ouet, cert. Sa. ; Lea F*tca de Cherboniv, and
ca, by Ijodnc. Sa each ; PoL.iuUaa, for 4 liauda,
de Chtlb
Grande
and Ijo
by
Berlin), Sa. | fea
t oua gratia and .
ton-sUcft, W., and
Elfiu. M T««n de Kaloai. up. 71
' f John (de HcitlnK J". : ViJae
lata of Rolfijrt Oocka and Co.'a
NH gratia and poet ,ge fiee Ismdon : HnllBUT CXK'KS and CO.. New Uurllna-
lalfMiifilc-aell.-ra
by John <de
it TMibliea-
THE IMPROVED HARMONIUM. — Mr. W, E.
BVANM, Inventor of tho Knirliah Harmonium (cxidbited iu London in lait',
calle 'tteliUiMl t" the iniprovementa h- baa lately made in thla luatni'i cut. Tli.
•ubjoined teetlmouinl from Mr. Alfred Melini U> one id tho many he baa receive-)
Tub Vale, Ktsto's Hoau. Cu*x,Ea,
March l»lh, ISM.
Dear Bib. — I h
llarmaaium : it M tbi
To Mr. W. £ Evant.
51, NorfoUt-etieet, Sbtffield.
hare much pleaaiire In civliitf \<at tny opinbMi upc-n youi
e beet inttmn>out of the kind I have ever heard
^ trUALKRED MELLON'.
OLENFIELD PATENT STARCH,
USED IN THE KOYAL LAI NDRY,
i »T nER M AJESTY'S LAUNDRESS, to be
THE FINEST STARCH !»HE EVER USED,
geld by Lvll Chfindlere, Ciwera, &c, «cc.
FREDERICK DENT,
aironomcter, Watcb, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
In) Iflahit ot l!)t Orrat Clock for tljt Jjon«« of iiailuiBUP.i,
«, Strand, and S4 and SS. Boyal !
JV'o i
on avi/A ;i3. Cotlctpur-iirttt.
GREY HAIR RESTORED TO ITS ORIGINAL
COLOirit — Ntiiralc'.a. Nerrona Headaebf. Ithtiimatlam. and Htiff Jefata
cured be F. M. UEIilllXO S PATENT »l AO NET1C COMBS, HAIR AND FLESH
DBDSEUSft. They require n" prepurutiotl, re alwnya ready for uae, and can <rt
get <ihl i>t onlor Btudiea, lua. and lie. ; Comb* liotn 2a. CcL to Ma. Grey hair
and b.ildneaa prevenUfii by P. M. H."a Patent Prcvo: tlvo HnuuS. once 4a. and la.
Offlcus n But ngh-ill-itrnt Ijiudon Illuatrato.1 |«iuphloU "Why Hair
bocoinea Orev. ai«l ita Rimedy.- gratia, or by poet for fuur etacnpi. Sold by 01
cbetuUte aud pcrhiiucra ot repute.
MR. HOWARD, Surgeon-Dentist, 52, Fleet-street, has
introlucod an entirely new dcacrpMon of ARTIFICIAL TEETH.
without apriu«., wirtN or ligaluica, Tl-cy a-> porf cUy resemble the natu.l
Uotb aa not to bediatinguifibe 1 Ikvm tlie »ri;lu»l> by tie cloejrvt oUaerrer. They will
deiay. an 1 will be found i
never c>'anc.o cilour or
tl^u. will aupport and
artlefiilatlon iind ma
UKfill iu maatloatir.il
lecay, and will
uaod. Tblfi tnulhorl ib*» not rupiiro tho »xtmetioti ol ro-ita, or any |«iurul oferu-
id privne ' fi th that arc Iroao. and ia guaranteed to ra»t'*c
aeticitb n. Dfixwyed teeth atoppod and rw
52, Flocl-fitrect. At uouio tri m 10 Utl 5
io any Ueth ever before
LAURENT'S NEWEST DANCE MUSIC.
Martha Q/aadrille . .
Valao
Lulaa Miller tjuadrille
V,i|.«
a i
.. 1 •
.. i o
.. 1 1
MAD. OURY'S NEW PIANOFORTE COMPOSITIONS
ad.
Martha, Grand Fantasia * 0
•• When other lip." Romance, Bubeniiau Olrl 1 •
CIioruafr.«n l.ulaaMlll.i » •
lU.bert, lol. juoj-aloie, Kiibert le Diablo « •
Graud Fantaiaie ou 1'ruaiuui Air* * •
Obcroo P.ilka .. I I
La cula letizla, TraiLacription. .. .. •> •■ •• .. a e
NEW MUSIC FOR HARP AND PIANO.
OBERTHUR.
• d.
MAKTIU. Fantaiaie auideatnotlvea do l-oi^ra" Martha -do Fiotow, price 4 I
Auld Robin Gray * •
O Nanny, wilt thou irang wi' mo 14
0liireatth.ee. Iul» 1 «
THOMAS.
M at rere, and All ! clie la nv-rtc, Trovatr.ro 4 •
II !»lcn. and lb tule amor. Tiovatoie I J
St '.a atanchezza, and liquil i c cbenrU Trovator* .. ..el
D amjr aulj' alii rooec. and lli nuella pira. Trovnloio t 4
UudlaeUn. Rlg..|etto II
UflMHeane, Lea Vtprea SkalienhM 4 1
Booiey and Sons' Huiical Library, 28, HoUes-itreeu
Publiabcd by Jnnx R..,-i r. ef Qiatlcl .ir-1 IP, in the |»riah of Ealing, is *■
CoiLLity . f Mid dlcMix. nt thcofli.-e «.f llooar.v It 8o»a i». HoUes-atnet. Soil
alio by lltrn, I'.. J. lin.atiwt. Great IVn-tland aticet : Alleu, Wirwlek-
ltnc; VitKoi.fi, Holywell atrtet ; Kuril. Paowae, t Co., tS, Cho»raoi< ;
O. ek nei niaaxx. nil, N. wgate-aireet ; Jo»x SHrrnuD, Newg»te-etP«t .
llaanr Mav, 11. U>. loru-bara. AgrnU for boollaad, PaTiaeoa A S»».
Edinburgh and Gloegow ; fur Ireland, II. Btuu, DuhJiti ; and all M»tt-
aollera.
Printed by VYiumh Srrwcra JohKhj?
U»o. In the Pariah of Si. Martlu-lu the Ficlda, iu
owlurday, September S4, ItiM.
Digitized by GoogI
or Art appears host smixent is Music, antes it bbqctbh xo matbbial, no scwkct-mattih, whose imoi i
BK BSDCCTKD. IT U WHOLLY FORM AM) FOWBB, A!»D IT BAISBS A WD EKXOBLES W1IAT8VKB IT BXPBB8SES." — OMke.
SUBSCRIPTION:- Stamped for Postage, 20b. per annum-Payable in advance, by Cash or Post Office Order,
to P.008E7 A SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 40.
SATURDAY, OCTOBER 2, 1858.
i PRICK 44.
\ STAMPED 5d.
A FINE COLLECTION
VIOUNK,Wr,a*purdi
OF THE BEST ITALIAN
Magiui, Amati, Ouanarlna, OellUno, etc., on
be viewed daily. from 11 till 4 at H. ~
by letter Immediately, addressed
"l'«f H
to the
hcCTc'.ary, Mr. L'aylcy, a* sl*jve.
pROFESHOR WILJALBA FRIKELL— Polygraphic
X HaU. King William-street, Clia* ing-croai.— TWO noCRH OF ILLUSIONS.—
Last week but Two previous to rr-'tw*or Frikcll's departure on * provincial
tour. Every evening at 8 ; Saturday jflemooii* at S. Private boxes, one guinea ;
Bond-ntrvo-..
WORLD
ONE OF THE FINEST ORGANS IN THE
TO BE SOLD,
witaulk ran a
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL
Apply to th« Publlnher* of the •• Musical World."
GLOUCESTER CATHEDRAL— There is a vacancy in
Ibis Choir for a BASS VOICES, who will l« appointed Probationary Lay
Clerk HI* doti«* will be to attend Divine Serrict twice daily, and imctiamg
whenever required by Uic Precentor. The emoluments wid bo a fixed alipeti'l of
£10 a-rrar, and one shilling and alxpenoo for every attendance at Church ; and a
sum of A10 yearly will be wit aside, and with lite accumulations of interest will
be at plied for bis benefit lu such way na the Chapter shall think best on his retire-
ment frnni Lis office, with the onnaent of the bean and Chapter, provided bis
conduct has been satiafcetorjr The Osndld.tes likely to mil will be required to
-appear before the Dean an.l Chapter on some dsy in October or Ncorcmber. which
will bo figTulied t.. them. '
piece of r
character,
pt&nlted to them. Application* for the situation, stntio;' the ace mid
reaiilence of the Applicant, with Testimonials as to moral awl relijtlous
r. power of voice, aitd mimical capacity, to be forwarded to J. A. Whit-
evrobe, E*q , Chapter Clerk, on or before tho SiHh of "
Barton >t roe L (Honors! or,
l«Bept.. HUB.
rof the Dean and
an ami Chrpler.
J NO. A WHlTCOMBE.
rpHE MAY QUEEN," a Pastoral, composed by
X WILLIAM BTERNDALB BENNETT, Mas. Prof. Cantab., to words by
it the Leeds Musical Festivnl, September 8,
•iiaista of nn overture and t n vocal
Bach piece may be had si
r ol Bcok-i.trect. London
Hcnrv F Cliortev. first petfom
1X58. IH NOW PUBLISH 81
IVice. compute. Fifteen Bli
i' i«l Dock, OS, New Bond-itr,
PIANO MUSIC
the Violin, Op M. Transcribed for PUno, by W VIH
• That penetrating and thrilling «wwt,»w which flowed
•en: and >|<aVi! an powerfully and tonrlilngly to the aonl<
lieauUful ronanof .TwoVm VThif. Betd. IT.
BEETHOVEN'S ROMANCE for
VINCENT WALLACR 3*.
from Beeihovcn'* turn
"MEW PIANOFORTE MUSIC by O. A. OSBORNE.—
A, e Du, do liegst nor 1m Bersen, 3«, ; Trah, tmb. is : L* Belle Nnlu Nocturne, S« ;
The Uly Wall/ Sa : What aie iho wild wax* saying (tlnmcrlbsdj, fj lid. ;
Hel.linnmerUrd, by KOcken (transcribed^ 2s. ; The Tear. By Ktlcken (tranaerihcdl
3a i Orwvl fknbvia from Mozart's ''Don J nan,'
scribed i, *.. ; The VI 'let. Mazurka, :!«.
French sir, by Auber (Inn
BRINLEY RICHARDS' RECOLLECTIONS OF
WALES, for the PIANOFORTE. Twelre books, Ss each, or. in one vol,,
5l« Ali^, bv the jtune poptiiar con>t«er, Angel's Song 2« ; Ma Normandle. ■
Htunn Mnr»l> Oaitiu, 3s ; The Vision. Sa ; Aiuje si pur, *s M. ; Ij» Rein* Bl.rnc
NEW SONG.— Just published by Robert Cocks and Co.,
New Bnrlingtonatreet, the song or " HOPK," poetry by C. D. H.,
by Alfred Oilbert.
T'HE IMPROVED HARMONIUM. — Mr. W. E.
-L EVANa Inventor of the Kugliih Hurmotilum (exhibited in London in 1M4>,
calls attention U> the improvemenu he h>n lately made In this iuntnm.c '
subjoined teatlmonial from Mr. Alfred Mellon la one of the many he lus
from eminent pre feasor* : —
Tit* Vale, Kiko's Roan. Cnnaxa,
March lHh.lSSS.
Pkah Sift, — I bare much pleasure in giving you my opinion U|tou youi
Hntmanluin ; it t* the beet lustnnnait of Ute kind I have ever beard
Your* very truly.
To Mr. W. E- Evans. ALFRED MELLON.
41, Norlolk-strect. Sheffield.
PIANOFORTES— DEWRANCE'S COMPENSATING
ipot, 113, Sobo-sqrnre. By the n|ii»licitlou
used, the result of which is, thai the full
cottage instiiiment, at the nunc time the
»trumr cxpan'l and c>>iitract with ehaugo
that the nreewrty for frequent tuning, iu*
obviated. For fainesR and roundness of
three taetramaais are quite un-
A pi ANt) may now be *ccrt at the di
of this principal a heavier string can be
power (<r a grand la obtained from a
wires and tlie frame on which they are
of temperature equally and together, so
In the ordinary instrument, is enUrcl,
witb exUnorduwy powers at
lone. wlUi extinordm
equalled, at the same
time the price Is no higher than that of an
MUSIC STRINGS.
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ROMAN AND NAPLES 81 HI NUB (not to be aurpamed) are sold by Monsieur
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cxt>tR nn: rATHON ii.i. or
MOST 0RACIOU8 MAJESTY THE QUEEN.
II K II THE PRINCE OONBOKT,
THE ROYAL FAMILY.
Hi M*ak beyaniost rcapvctlujly to announce Hut lie i* open to ciixogemeuls
with hi* highly approved, Intereaiing. idtaslng, and uulrucUve
MUSICAL ENTERTAINMENT,
rKTlTXEP
DR. MARK AND HIS LITTLE MEN,
of thirty Iiivtruinentalista. and a moat effective
whole forming a most complete and unique
<b*
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of •ige.'^ti 0 y] -jr
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Little Eu«U-b. Irl*b. and Scrtch boys, from Cv,- to ixtc
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sing orngs, enoroses, Ac , In a most eflTcotive manner. :
gratuitous general and musical education in order to :.'i«f:dc E£
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excite an Interest for and help to establish trri* in*tit'iUvyJi caliri V-S
scrratoire* of Mn*lc" for little children in every totn cityrtvv? »rr!*i.. '*^trii»
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All tetters rvd-lrt**, ploraic, Km Trjdc II II Mautbaj>[r
/
MUSIC FOR THE CONCERTINA.
CONCERTINA SOLO.
An Introduction to the Baritone Concertina
for the Viol* or for the Violoncello In Coo
Bixwr'a Universal Infraction, for the
with remark, on its advantage* and capabilities aa an arcompaniincnt to the Voice, and a* a aubatitnte
for the Viola or for the Violoncello In Concerted Mualc ; follow! by a ecriea of Sacred and Secular Subject*, arranged in a prognaalve form 1
Study to the mott difficult and t
C a nr. Thin] Edition, price 4i.
La Sonnambula, complete for the Concertina, arranged by Okobgk Cask, price it.
Eacrciaea for Daily Practice, by Gioboe Case, No. 1 in C, No. 2 in O. 2». eacli.
I from « Klisre," by (Jwjbob Case, 3.. Cd.
'by<
ONE
HUNDRED MELODIES FOR THE CONCERTINA.
Selected from the moat popular Modem Opera*, Dance Mvuic, Song*, Ac., arranged by ClEOBGE Case. In One Book, price One Shilling.
Alio,ju*l published,
ONE HUNDRED SACRED MELODIES FOR THE CONCERTINA.
ARRANGED BY OEORUE CASK. PRICE OSK SHILLING AND SIXPENCE.
CONCERTINA AND PIANO.
THE CONCERTINA MISCELLANY.
A Periodical of Standard and Modern Music, arranged for the Concertina and Pianoforte. Arranged by Qbokoi Case.
Sumberi, One Guinea : or, Price Half-a-Crom tack.
Subscription for Tuxlte
18S6.
No. 1. FinUI.*, Maawle'lo
'J. Selection from Th» Cr
X Sanation from Lucia • . . .
4. Fnntulne oo Iri*h Air*
5 Selection of Prnub Air* ..
B. FnntAi«ie on OuiU.utne Tall
r. Seiectiou of popular Dance Muaic
a, F»nt»i*t« oo IlTrovatoro
». Select loo of American Melodic* ..
10. Fintalate on Don OtoraoDl
11. Selection
W. Sakctlon horn
figs
l*.nl»ettl
National
S iti n il
R/aalnl
V.ri-.uh
Verdi
NOional
13 Selection from
8 int. nt Muter
RigoleUo . .
Kw'IM
Verdi
Selection from Don Paaqual*
~ aoctlon from Eruaul . . . . Verdi
IS. Selection from the Bong, without
Word* Meodeliwoba
1°. Selection from La TniviaU . . Verdi
N. ■ •: ■
11.
■a.
•it.
■2:..
i'j
H
:n
3 1
\k% Quatrc S»i*ous ..
Wadding March
Selection from Ziimpa
Selection of Scotch Airs
Selection from Fi
fsSV,
Selection from Ia Kill.du ReKimptit
SalccUno from the Bohemian Girl . .
Sec-nd Selection from II Travator*
Be' action (Inflii Lea Huguenot* ..
Selection of Notional Engtiah Melo-
dic*
SVoction from Norma
Srtc«iii«i from Fm Dlavu'.u
Selection of Popular Rmwinu Melo-
dic*, introducing ttio National
Verdi
Mcndcl**r>hu
UeroM
>' u . I J
liooirt
Donite'.U
n*lfe
Verdi
Meyerbeer
National
S3 FanUata on I LomlMrdi.
34.
I Lombardi. intro-
ducing La mi* letutia
Frandi 1' ancl. Duct..
La Carita and I Morlnarl
Verdi
fkllirn
BoMlrd
No.S«.
ltol>ert toi que j'airoe — Robert le
DUbl*
1858.
The celebrated Air and a Section
of the Variation* from Sonata
dedicated to Krcutxer, Op 47. .
Fotj>3urri from The Crown
Dltmcod*
Selection from The
Night * Dream .
Fantatia on I«Tr»*iata(!d Select) Venll
Election of PopuLar French Bong* Vi '
(3rd
Auber
40
41.
41
48.
44.
14
i«. Selection from La Favorite
17. Selection from 1 Marliri ..
48. Selection from Btebet Mater (:.th
(4th
Toloir
POPULAR RECREATIONS.
A Serica of Farouritc Subject* for the
with
Piano, by George Case.
^^f*f oc C^*w*? *S(^ t£i hmj
Arranged in a new and eajy
form, com
No. 1. nig-ilcUn : "Ta donna o mobile," and " Quc.U o quelU "
2. UTiovator*: "11 Wen," and "Ah! chc U morto" (Trou.
badour'a Soncr)
S LucUdl Ijunmcnncor: " Fm joco a me, " and "Tu cba a Dio
aplegaatl "
4. Stonriambula : "All ia lrwt now," and " Still »o K«utly
5. Norma: "Deh! too to "
g Selection of «,-^V,
Donijctti
Bell nl
DAlbcrt
D'Alb-.rt
No 8. W^e (nine by M^lnm... Gaaaicr)
». Ficach Aira: • T*rt*nt pour la Syria." "La ■faasaflWaa,"
"Moaftr pour la patrM" „ , „
10. MA Alia: "Tb* ffirp tliat " onco" through f»r»-. 'HoUbJ"
"St- Patrick*! Day." and "TheLaal Hon- . f gumma*-" .. Rational
Scotch Air*: "IV>i.nu) Dundee." "Blue BelU of Scotland, "
' Annie Lauria," and "Comin* Uiro' the ryn" National
Hevn Aira: "Mimiie,- "Old Folk.»t "
V Totot
II.
15. A
0. BEGOVDI.
nEPEHTOlRl; CONSIST1NO OP THE MOST POPULAR MODERN'
OPERAS, Ac. ARRANGED BT OIDUO REGONDI a d
Ci-tnp [wr me ecrcno; Car* Caropteno .. ..3 0
Vi raT»lao: and Tu -b ti **1 30
9 0
0
0
"
n
t>
1
1
0
0
0
k ditto
f. ditto
10. KroonL
11. ditto
II. ditto
19. L. Gordiglaui.
14. ditto
14. Rlgolctto
16 ditto
IT. ditto
15. Lc* lluipictiot-i.
IV. ditto
20. ditto
Tutto * »ciolto ; aud Ah ! pcrche non
1-rcn.lll imeltldotiu
Ah : ro*r...»c'.oj aii.l Ah I ««o viung*
Ah ! b«l dcnUn ; uud Di tu pene
Krnani, Erniuii, inrolami
Solinip) erratil* ; InfcUcc; Viva Aujuato ; Ac.
Cora* ntgiada al oeaptle .. ., ., a
14.
IS, I Fnrttani.
Three Celebrated Sntin
Sec i«l M*l.-i-tlr.n of ditto
Introduction ; UunU o quolia . Tutto ; Ballata, 4c.
R II anl ; Caro name : Zittl, ritti ; Dch nou narla . .
Parml veder ; La donna % mobile : BelU (Wlla
Introduction utid Cborala ; S*n* 00 beau del ; Flu*
blanche ; Noble* Sei(rncnr* , , , .
O beau pay* ; Sombre Olivier ; Dc« balaneuatat . ■
BoaMto' diviuo; Rataplan; VMTgc Marie; En mon
bou droit
Oloire au grand Dicu ; Le danger preata
Vcttcs ; J*'iU rcvitalt: t> Fortune; Va cubetle
Kn vain I'o^pCK ; Idol J* ma vie; tj-.mnd Jc quittai
prsHe ta
Ia lun
iiHllr ; Fatal iDoenent ; Robert. |*J qu«
ir> ; Dim pidannt (Trio tlmue)
p*l. le .telle: Alert*! Ah t per at
Bui com* ante • a U, o'eam '4
ditto Boo. vargin ; Quila voce ; Vlai diletio ; Corre a valle ;
No. i'7. Lucia di Lamuiarmoor.
38. dlUo
Per
1 rreto Is apiagg.?; Crod* unaata; ad.
».nava nel ; Su l.« tomba .. II
ra n*l pianto; Clii" ml frena; A18n
ma; Era pocj a me 4 0
MISCELLANEOUS.
PIECES FAVOURITES KT FACILES, AltKANGED BY REUONDI, CASE.
AND SEDGWICK each
and " Nou vha
'Conic innoccutc tlov.inc,*
llolcua"!
" My brjliood'a luve." iuvd tValu from "
" l<a>lc o- Uuclian," aitd "Oh, whlull* '
"Dch non volor." and "Ah! eoaT("
"A lowly youth" ("Matilda^
" Beauty'* prmiae"— -Wtnrn
" My skiif i* on the aiioro '
"Thou ;ut gone from my gajte"'
GEMS OF ITALIAN UPERA, ARRANGED RY GEORGE CASK., each 3 (
No. I. Tu vedrai la nventatum, from "li Plrata"
2. Bel r*4,-glo luaiogfaicr, from "Sanuramldc '
3. Viti tu, (Km "Anna Bolcna"
4. In qucato acmplice, from "Botly"
t>. Era poco a me, from " Lucia di Loinuermoor"
a. Ah : nou credo*, and Ah non clunge, from " SoanatubuLa"
CUa Irom Weber »Precloaa, "Beauty'. Praia*, " by Oivuo Rboojibi . . 2 a
^^^.^P^^Tb^RiCBi^Bi^Wi " "
"'^"do^^laNoraandle," fZ" R^bclTle'Diabi; • ft* WlAHli * *
■au 1 a
• AUI.Iewt.- from " U Souuambul*, ' by Uaicav Faana» »u
Variation, on a favourite Air from " Ln Sonnambola"'— UaaRv Fataga .. St
Pot-pourri on Alia from Vcnll'. "I Louibanii"— J. SVana .. .Si
"Adalude."bTL. van Ueatbovcn^I. HeaTiai S «
Polk*, by Charl*. D'Albert-J. Scat as
Wnll«Q.ofr*»4>t Orford.8trAer-
Digitized 6y CjOOqI
October 2, 1858.]
THE MUSICAL WORLD.
627
MISS ARABELLA GODDARD.
(From tho London Journal.)
This young lady, who, at the age of two-ami- twenty, has
gainod an European reputation, and a distinguished place among
tho greatest pianists of the day, affords a remarkable illustra-
tion of the fact, that high genius is almost uniformly precocious.
Genius, indeed, seems to be intellectual power, thrown by pecu-
liarity of temperament, or, perhaps, external influences, into a
particular channel ; and, accordingly, it is not only in poetry
and thu lino arts that precocity of genius has been generally
observed, but also in philosophy, ami the most severe and
abstract science. We have had precocious Pascals, Now tons,
and BernouilliD, as well as precocious Popes, llaudels, and
Mozart s. It has been said, indeed, that, in music especially,
great genius has been found unaccompanied with general mental
But tins we have never believed ; and the citation of
pOW(
the case of Mozart as a proof of this assertion, is founded on a
most injurious misconception of that illustrious musician's cha-
racter. Absorbed in Ids art, ho was little conversant with tho
business of the world ; but it is impossible to read the sad and
affecting history of his life, so finely told by his biographer,
Holmes; or his charming letters so full of deep thought, acute
remark, and pure and lofty feeling, without perceiving that his
intellectual strength was not unworthy of his artistic genius.
Tho youthful subject of his slight notice, though no one has
ever been more deeply devoted to music, is (an all who know
her aro well aware) by no means a mere musician, but pos-
sesses a well-cultivated mind, and the talents and acquirements
which bestow a grace upon society.
Miss Goddaru was born in 1B3C, at St. Servan, in Franco,
where her parents were then residing. When a mere infant her
musical propensities excited attention, and she made such pro-
gress under the instructions of her mother, that when she was
four years and a half old, she appeared at a charitable concert
in tho above town, and played a fantasia in a manner which
created general astonishment. She afterwards received lessons
from Kalkbrcnuer, at Paris ; and, on the return from her family
in London, was for some time the pupil of Mrs. Anderson.
Her last instructor was Thai berg, • from whom, doubtless, she
acquired her exquisite beauty and delicacy of touch. lint
neither from him nor from any other instructor did she acquire
at urea of her artistic character on which her
; is founded. It was by her native force of
character, hor active and inquiring mind, her indomitable energy
and perseverance, that she was enabled to grasp the whole
range of art, as developed in the works of the greatest masters
of every age and overy school.
It was in the year i860 that Miss God-lard first appeared be-
fore the London public, at the National Concerts given at Her
Majesty's Theatre. Sho was then only fourteen ; but the re-
markable brilliancy and finish of her execution were immediately
noticed, and she became one of the chiof attractions of those
entertainments. As might be expected, her performances, in
thoso days, consisted chiefly of the music of her principal
instructor, Thalberg, and other composers of the same school ;
though even then she began to emanci|iate herself from its
trammels, and by her playing some of the works of the great
taiil almost forgotten old masters, to show the catholic spirit
which she has since no strikingly displayed.
Soon after that period she made a continental journey of many
months, chiefly, we believe, in Germany ; in the course of
which she visited the principal cities of that most musical land,
eagerly profiting by all tho opportunities of study and improve-
ment which it afforded, while every one warmly welcomed the
charming young Englishwoman, so eager and enthusiastic in the
pursuit of her art. Her career since her return is well known
to all who are acquainted with the state of music in London.
From year to year her powers and her reputation have gone on
increasing. Her presence at the principal concerts of the metro-
* There teems to be tomo error here. If wo are well-informed,
M. Thalberg hod no more to do with Miss Goddard's '
tion than Kalkbrenncr or Mrs. Anderson.— En. M. W.
polis is deemed hidisjwnsable and essential to their success;
and the same thing is becoming tho case throughout tho
vincos. We are proud, in short, of our native artist ; and
proverb that "a prophet has no honour in his own country" is
reversed in the case of Arabella Goddard.
To be accomplished in any one branch of an art, it is necessary
to be conversant with it in its whole extent. No mere performer
was ever a great performer. To execute a sonata of Beethoven
as it ought to be executed, the player must not only be animated
with a spirit congenial with Beethoven's own, but must under-
stand all those principles and rules of art employed by tho
composer in giving substance and form to his thoughts. Thin
knowledge is possessed by Miss Goddard in an eminent degree;
and hence she derives her wonderful faculty of identifying
'lerselt,
it were, with the musician wli<
nceptions she is
interpreting. She utters the language of Bach, of Mozart, or of
Beethoven, as Bach, Mozart, or Beethoven themselves would
have uttered it. In the most severe and profound, as in tho
lightest and most ornate pieces, she is equally at home, but she
is very far from feeling towards them equal attachment. Sho
plays tho popular music of the day as a sacrifice to fashion, but
evidently as seldom as possible, her heart being with tho great
masters of an older time. To the study of Beethoven she has
especially devoted herself; and the manner in which she has
doveloped the profound and recondite beauties of those works of
his latest days which have so long been a sealed book even to
musicians, and made them as clear arid brightas sunshine, even
entitles her to tho warmest gratitude of every real lover of
tho art.
In everything relating to the mechanism of pianoforte playing,
iss Goddard has eomo as near perfection as any performer has
cr done. She has the rapidity of lightning ; she can emulate
Miss
ever
the thunders of the full orchestra, or Breathe the :
of tho human voice. Indeed, by the exquisite pressure of her
finger, she produces those sustained notes, "in linked sweetness
long drawn out," which seem actually beyond the capacity of an
instrument of this class.
These are not merely our own individual opinions of Miss
Goddard's powers as a pianists ; we only echo the unanimous
voice of the musical world. And if we have put no shades into
our picture — if we have pointed out no faults or defects, it is
really because we have been unable to find them out
Her Majesty's Theatre. — A certain paragraph in the Glob*,
and a certain advertisement in tho Timet, have led to gloomy
reports with regard to Her Majesty's Theatre. Those, however,
who would like to sec this voncrablo place of entertainment
closed, and those who, while friendly to it, are still apprehensive
for tho future, must not lose sight of the tact, that Mdlle.
Tietjens, Sig. Giuglini, Mdlle. Piccolomini, and othor popular
artists connected with the establishment since its re-opening in
1 656, are engaged to Mr. Lumley for a series of years, on such
conditions that if ho has uo London theatre at disposal he cau
employ their services olsewhere, at his own discretion. At this
moment Sig. Giuglini is about to depart for Madrid, and Mdlle.
Piccolomini for the United States, their engagements not being
on their own account, but on that of Mr. Lumley. Experience
has proved that it is not so easy to dispense with this in i
respects justly celebrated impresario, who has evidently
lien on Her Majesty's Theatre, of which neither Lord Ward i
any one else has tho power of dispossessing him. Moreovor, the
present " alarm" is not the first by many. Her Majesty's
Theatre has been at the point of death (according to rumour)
some dozen times at least, and Mr. Lumley cashiered. Yet,
when the musied season was about to commence, a little yellow
prospectus gaily informed the world of fashion not merely that
■ old Double" was alive and free, but that he had been busily
employed during the interval in entrapping new singing-birds
for its delight. — Literary Gaatte,
Drurt Lane.— Tho production of Martha is postponed for
the present, in consequence, as is alleged, of the continued sue.
— " of The Rote of Cattille,
Digitized by Google
628
THE MUSICAL WORLD.
[October 2, 1858.
THE BIRMINGHAM MUSICAL FESTIVAL.
(Concluded from pas* US.)
Thb Festival of 1826 commenced on the 3rd of October, and
waa tho first occasion on which the meeting wag honoured by
being permitted to place at the head of the Hat of patrous the
name of the reigning Sovereign, a distinction which has ever
■ince been retained. The president for the year waa Earl Howe,
and the preacher the Bishop of Lichfield and Coventry. The
principal vocalists were Mix* Stephens, Madame Caradori, Miss
Baton, Miss Bacon, the Misses Travis, Messrs. Braham, Vaughan,
Knyvett, Phillips, and Signers f.'nrioni and de Begnis. The
choral body was greatly strengthened, and was aided by the
Birmingham Choral Society, who hare on all occasions, since
their establishment, rendered most valuable assistance to this
department of the Triennial Meetings. Amongst the instru-
mentalists were J . B. Cramer, De Beriot, Kiesewetter, 11. Lindley,
Nicholson. Moralt, Ashley, Diatin, Turzi, Harper, and most of
the other leading metropolitan )>crformcrs. Mr. Greatorex was
again the conductor, and was assisted by our late townsman,
Mr. Mundeu. The musical selection comprised portions of
Mehul's Joseph, Graun's Tod Jetit, the Triumph of (iideoa
(selected from Winter), prt of Haydn's Soatom and of Handel's
JuJa* Sfuceabo-ut, and the choicest morctaux from the works by
Mozart, Beethoven, Marcello, Leo, Winter, and other composers.
The receipts were £10,104, of which £4,W2 were approbated
to the benefit of the Hospital.
We are not able to record the production of any important
novelties at the Festival of 1820, which commenced on the 10th
of October, under the presidency of the Earl of Bradford. Most
of the works given at the morning jierformances were the same
as those produced at the preceding meeting, with the exception
of the introduction on Friday morning of a selection from the
service written by Chcrublnl for the coronation of Charles the
Tenth, King of France. The evening concerts, at the theatre,
were diversified by a selection of operatic music, aided by the
casual scenery and costumes in which the famous Malibran
acquitted herself to the astouishment and admiration of a Bir-
mingham audience, who now witnessed her performance for the
first time. This lady, of whose wonderful power many of our
readers still retain fond remembrances, was ably supported by
Miss I'm ''D. Mrs. Knyvett, Miss Fanny Ayton, and Madlle.
Blasis; whilst amongst the male vocalists the credit of the
Festival waa sustained by Messrs, Braham, Knyvett, Vaughan,
Phillips, Bellamy, Signor* Oiubilei and de Begnis, and Signor
Costa, who is better known by his English name of Mr. Costa.
Thia was the last occasion on which St Philip's Church was used
for the morning performances. Before the next Festival was
norning
the indomitable energy of Mr. Moore had secured the
erection of our superb Town Hall, and In 1834 that edifice was
inaugurated by a Festival, with a notice of which we shall com-
mence our next and concluding article.
Tito thin! period of the history of the Musical Festivals com-
mences with the celebration which took place in 1834. The
Festival of that year was for many reasons more than usually
interesting. The performances of sacred music were no longer
given in St. Philip's Church, but in the Town Hall, an edifice
which excited general admiration as the finest concert-room in
the world. The organ, snperio'r in capacity and richer in tone
than any instrument then existing, was used for the first time.
Further, a new oratorio, by a composer of whom great, expecta-
tions wore formed, was selected ns a fitting complement to the
noble organ and the magniflceut Hall. The Festival began on
the 7lh of October, under the prcsidenev of the Earl of Aylesford.
The vocalists were, treble, Madame Caradori, Madame Stock-
hausen, Mrs. Knyvett, and Miss Clara Novello; ttnort, Mr.
Braham, Signor Cnrioni, Mr. Vaughnn, and Mr. Horncastle;
•■tenort, Mr. Hnwkins and Mr. Terrail ; hntte*, Mr. Phillips,
Mr. M.ichin, Mr. Bellamy, and Mr. Taylor. The morning per-
formances were led by Mr. Cramer, the evening bv Messrs.
Weichsel, Mori, and Loder; the solo performers were Mr. Mos-
cheles, on the pianoforte; Mr. Mori, on the violin; Mr. Lindley,
on the violoncello; the Chevalier Neukomm, on the organ; and
M. Stoekhauseo. on the harp. Mr. Knyvett acted as conductor
assisted by Mr. Munden, who had performed the dunes of chorus
master. On the first morning the performance consisted of a
miscellaneous selection, chiefly from Handel, Haydn, and
Cimarosa; a portion of Nenkomm's oratorio of Mcmu Stnat,
and the closing i*rt of Spohr'e baa Judgment. On the second
morning tho Hall was filled by an overflowing audience eager to
hear Neukomm's David, in respect of which public cariosity was
powerfully excited. We are not hero called upon to criticise the
work ; bnt we should manifest undue forbearance if we did not
say that the David fell short of the anticipation. £• far as we
know it has not been repeated. On the third morning a larger
audience than had ever Veen present at a musical performance
in Birmingham crowded tho Hall to hear the Meuiah, Every
foot of space had its occupant ; even standing room could not be
found for the enormous number of applicants for admission, and
hundreds retired unsuccessful and disappointed. The power of
the organ and the capabilities of the Hall as a music-room were
severely tested ; but the test was admirably borne, and the high
qualities of both the instrument and the edifice were demonstrated
beyond the possibility of cavil. The oratorio was superbly per-
formed : great as its effect always is, on this occasion it excited
the andience to enthusiasm actually painful in its intensity. A
writer who was present describes the effect of the Hallelujah
Chorus : —
"The audience rose ss ooc tns»f, tilent, breathless, and expectant,
Awaiting the firtt grand burst of thi» imperishable monument of great-
new. All thai knowledge, power, and precision could do was done—
the shout of hundreds, the Wait of trumpets, the deep-toned dinpaoon
of the organ, the thunder of the drums, conspired to fill the mind with
•uch overwhelming and indescribable sensation, that most trembled,
while many wept sa children, so uncontrollable, were their feelings.
During the performance of the concluding choruses—' Worthy ia the
Lamb,' 'Blessing and honour,' and the ' Amen'— »o totally absorbed
and lost was the understanding in the awful majesty of the music, Snd
so deep, so universal wss the feeling, that when the bond had coasts! a
death-like silence prevailed, and it was not until after tome minutes
hail elapsed that a foot waa moved, a word waa spoken."
Of the Evening Concerts two were given in the Hall, and one
— at which scenes from UtcUo&nA AnnaBoiena were performed —
at the Theatre. The closing ball took place in the Town Hall,
and was attended by more than 1,700 persons. The receipts at
the Festival were £ 13^527. and the profits .£5,489, out of which
had to be paid 41,200 for lengthening the Town Hall, aud .£334
towards expenses connected with the organ, which had been
erected mainly by public subscription. The sum actually paid
to the treasurer of the Hospital was £4,03°.
The Festival or 1837, which commenced on the 19th of Sep-
tember, under the presidency of Lord Willoughby de Broke, was
marked by the production or Mendelssohn's St. Fanl, conducted
by the composer himself, who also performed extempore on the
organ at one of the Evening Concerts, a Concerto on tho piano-
forte, written expressly for the Festival. Two new oratorios,
The Atcension,by Neukomm (conducted by theChevalier himsell),
and the Triumph of Faith, bv naeser, were likewise performed
at this Festival ; and on Wednesday evening the opera of &nii-
ramid*, in which Orisi appeared, was given at the Theatre. The
great attraction, however, independently of the Mtuiah, was the
St. Paul, to which more than customary interest attached on
account of MenilelsHoliu's presence. If, however, the Festival
was thus strong in point ot the works to be performed, it was
not leas remarkable as regards tho vocalists engaged, amongst
whom were Grisi, Madame Albert azzi, Mrs. Alfred Shaw, and
Signor Tamburini, nono of whom had previously appeared in
Birmingham ; Mrs. Knyvett, Miss Clara Novello, Signora Cnrioni
and Giubilei, Messrs. Bennett, Henry Phillips, Machin, Hawkins,
Hobbs, Vanghan, and J. A. Novello. The instrumental per-
formers did not vary much from those who had appeared at
previous Festivals, with the exception that Mr. Tnrlo and our
lamented townsman Mr. George Hollina, were the organists.
Mr. Knyvett was again tho conductor, aud the orchestra was
augmented to nearly four hundred performers. The Festival
produced £\ 1 ,000, the profit on which was 42,776. the long list
of costly engagements having seriously increased the expenses,
Digitized by Goog
October 2, 1858.]
THE MUSICAL WORLD.
629
Too interest excited in 1837 by the visit of Mendelssohn was
amply maintained in 1840, when his noble Mufetang, a Hymn
of Praise, wag produced. This Admirable work was conducted
by its composer, who also look a considerable |iart in the other
performances at the Festival, including the performance on tho
organ of a composition by Sebastian Bach. The main portion of
the programme was composed of the workn of Handel, including
the complete oratorios of hrad in Egypt and the Mutiah, to-
pother with selections from Joihua and Jephthah. The Evening
Concerts were varied by the performance at the Theatre of
Rossini's La Oaua Ladra and Gnecco's La Prova, each of these
works being compressed into one act to bring thorn within the
limits of a single evening. Another concert was enriched by the
performance ol Mendelssohn's overture to the ilidtumnor A'ight'$
/forum. The warmth with which Mendelssohn was received ou
his appearance at the Town Hall was very remarkable, and the
keen appreciation of his works thcu manifested may not unjustly
be considered to have done something towards procuring for
Ilirmioghani the high distinction of having beeu the place where
his Immortal work, the k'Ujah, was tint given to the world.
The list of engagement* in 1840 afforded strong evidence, had
such been needed, that the committee were animated by a deter-
mination not to suffer the least abatement of the reputation the
Festivals had acquired. Amongst the names of vocalists who
had not previously appeared in Birmingham we find those of
Madame Dorus Gras, Madame Caradori Allen, Miss Birch, Miss
Maria Hawes, and Lablache. The engagements also included
Mrs. Knyvett, Brahain, Phillips, Vaughan, F. Lablacbe, Young,
Machin, Pearsall, and Signor Musatti. The Festival comiucuccu
ou Sq.t, ruber 22, under the presidency of I»rd Leigh, the father
of the present Lord-Lieutenaut of the county. The total receipts
were £\ 1,613, and the profits afeMtt.
The next triennial meeting, which commenced on the 1'Jth of
September, 1843, was not marked by the production of any im-
portant novelty. The ifeuiak was the only oratorio given in its
entirety ; but the programme included a selection from Handel's
Jkborah, part of Crotch's Pa!utine, and Rossini's Stahat Mater.
Two of the evenings were devoted to the performance of operas
at the theatre ; the third evening was allotted to a miscellaneous
concert at the Town Hall. The Festival closed as usual with a
ball. The principal singers wero Miss Clara Novello, Miss Rain-
forth, Mrs. Knyvett, Mrs. Alfred Shaw, Miss Hawcs, Signor
Mario, and Sigtior Fornasari. Mr. F. Cramer led the morning
and Mr. Loder the evening concerts. Dr. Wesley presided at
the organ, assisted by Mr. Stimpson. Mr. J. H. Tully directed
the operatic performance, and Mr. Knyvett for the last time
filled the poet of conductor. The receipts at this Festival were
lower than they had been for many years, the total amount
being only £8,822, of which, however, the hospital received
£i,'.m$. The president of the Festival was the Karl of Craven.
The Festival of 1H40 commenced on the 25th of August, with
Haydn's Creation, followed by a selection from Rossiui's Stabat
Mater, in which Mario, Grisi, Miss Bassauo, and the famous
Herman basso, Staudigl, appeared. On the following morning
was performed the Hi/ah, the production of which has conferred
enduring fame man the Festival of this year, nia great work
was conducted by Mendelssohn in persou, aud though we are
tempted to linger over the recollection of the performance, we
are precluded from yield iug to the temptation, by the circum-
stance that tho event is still fresh in the memory of our readers.
The vocalists to whom the music of Elijah was allotted were
Madame Caradori Allan, Miss Bassano, Miss Hawes, the Misses
Williams, Herr Staudigl, Messrs. Hobba, Loekey, Phillips, aud
Machiu. A melancholy personal interest clings to the production
of Elijah. The composer had bees supported until he had
achieved an imperishable work ; but this dune, he departed from
amongst men. The year after his visit to Birmingham Mendels-
sohn died, worn out by tho fatigue attendant on the composition
and production of his masterpiece. The Mutiah was given on
the Thursday, and on Friday the morning performances closed
with a selection chiefly from the works of Beethoven. There
were not any operas performed at this Festival, their places being
more agreeably supplied by miscclliuioona concerts, in which the
singers already mentioned, and in addition to Mr. Braham, took
part. One of the evening concerts included a piano-forte duet
between Meudelsaohn and Moscheles, who rewarded the attend-
ance of amateurs from all part* of the kingdom by a brilliant
performance, which those who were so fortunate ns to hear still
vividly remember. Or. Gauntlett and Mr. Stimpson officiated
as organists, and Mr. T. Cooke and Mr. Willy as leaders of the
band for the morning and evening respectively. The president
of the festival was Lord Wrottcsley. The receipts were ,£11,698,
and the profits £:• .108.
In 184U the Elijah was repeated on the opening day of the
Festival, Tuesday, September 4; and on the following day Men-
delssohn's Athafie was |>erfonncd. followed by a selection of
sacred music. Iu conformity with ancient custom, Thursday
was allotted to the Messiah, and on Friday morning ltra4 in
Egypt was given. The principal compositions performed at the
Evening Concerts were Mendelssohn's Walpnrgi* A'ight, his
MS. overture to Hay Mat, and his Symphony in A minor; in
addition to which thero were also given Beethoven's Pastoral
Symphony, aud other important selections from his works, nod
those of Weber and Rossini. Several vocalists of high eminence
appeared for the first time at this Festival. These were Madame
Soutag (then driven by her husbaud's misfortunes to return to
the stage), Madame Castellan, Mndlle. Jetty de Tr-rtV, Miss
Catherine Hayes, Madlle. Alboni,and Madlle. de Merle, amongst
females; aud Mr. Sims Reeves, Signor Calzolari, and Herr
Pischek amongst males. The other principal vocalists were the
Misses Williams, Miss Stevens. Madlle. de Meric, Signor Mario,
Mr. Machin, and Signor Lablache. The instntmentaliterformers
were reinforced by Thalberg and Sainton; Dr. Wesley, and
Messrs. Stimpson, Si ruins, anuCbipp, officiated as organists, and
the couductorship was for the first time entrusted to Mr. Costa,
who has since retained it, and whoso pre-eminent ability requires
no eulogy from us. We mav, however, for the aako of the Festi-
vals and for the interests ol music, express a hope that many
years will elapse before he retires from a position which he alone
could worthily occupy. The president for 1849 was Viscount
Guernsey, M P. The gross receipts of the Festival amounted to
£10,331, and the profilsio .£2,448 lit this Festival a proof was
afforded of the affection with which the memory of Meudelsaohn
is cherished by the people of Birmiugham. A subscription was
raised for a colossal bust of the lamented composer, and ample
fuuda having beeu obtained, the commission was entrusted to our
townsman, Mr. Peter Hollins, who, although the task was beset
with difficulties, succeeded in producing a highly characteristic
work. On the morning of the performance of Elijah this bust
was placed in front of the orchestra, and remained there through-
out the festival. It is the projierty of the committee, and is to
be seen on the principal .staircase of tho Town Hall.
The Festival of 1862 commenced ou the 7th of September,
under the presidency of Lord Leigh. The principal vocalists
wore Madame Viardot Garcia, Madame Castellan, Miss Dolby,
Madame Anna Zen-, Madlle. Bertrandi, Miss M. Williams,
Madame Clara Novello; Signor Tamberlik, Messrs. Lockey,
T. Williams, Sims Reeves, anil Weiss, and Signors Polouiui and
Belletli. The solo performers were— violin, Saiutou; violon-
cello, Piatti ; double-bass, Bottesiui ; pianoforte, Kuhe ; organ,
Mr. Stimpson. Mr. Costa, whose conducting had commanded
universal applause at the previous Festival, was again appointed
to discharge that all-important duty. For nearly the first time
for fifty years we Bin from the list of the leading instrumental
performers the name of the venerable Robert Liitdley, who waB,
however, worthily succeeded by his pupil, Mr. Lucas. Another
famous name, that of Dragouatti, the celebrated double-baas, also
disappears from tits list, and is replaced by that of Mr. Howell,
whose ability has averted the loss the orchestra might have
sustained by the death of his cmiucut predecessor. Tho Festival
opened with Elijah; on Wednesday the programme included
Haydn's Creation, Mendelssohn's Chrittiu, anil an Authcm by
Dr. Wesley ; on Thursday, iu accordance with time-honoured
custom, the Mcttiah was performed ; and on Friday Handel's
Sampton. At one of the evening concerts Lorely, part of an
unfinished Opera by Mendelssohn was produced. The Festival
receipts were £\ 1,923, of which ,£4,704 were paid to the
shape of prof
Hospital in tho
Digitized by Google
630
THE MUSICAL WORLD. [October 2, 1858.
The last Festival, held on the last days of August, 1655.
under the presidency of Lord Willoughby de Iiroke, excited
unusual attention in the musical world from the announcement,
that Eli, au oratorio composed l>y the accomplished conductor
of the Festivals, Mr. Costa, would be produced. As usual
Elijah was given on the first day, and was fallowed by Hi,
which attracted an overflowing audience, amongst whom were
most of the persons eminent for musical reputation, either as
critics or performers. Those who were present, and recollect
the oration that greeted Costa as the sounds of the final chorus
of his work died away, will not readily forget the scone, which
was, indeed, not second even to the applause on the production
of Elijah, stimulated as the public then were by the presence of
Mendelssohn himself as conductor. Since 1 855 Eli has frequently
been repeated before the Court, and at most of the great Ixjndon
aud provincial meetings. It will be again |>crfortned iu Bir-
mingham at the present Festival, and we are glad to learn that
the applications for reserved scata auger well for the number
and character of the audience on this interesting occasion.
That— apart from a consideration of its high merits — much
interest should bo felt in Eli is very natural, from the circum-
stance that it was written for the Birmingham Festivals, and
also on account of the singular disinterestedness which marked
Mr. Costa's conduct on its production. Besides Eli, Beethoven's
Mount of Olivet— a novelty in Birmingham — was performed, and
on the same morning were given Mozart's llequiem, and a
selection from Ilandel's Iitrael in Egypt. True to their principle
of encouraging English talent, the committee produced at one
of their evening concerts, Macfarreu's cantata Leonora, and at
another Glovers descriptive cantata Tarn o'Uhaitfei: The prin-
cipal vocalists at this Festival were Madame Grisi, Madlle. Bosio,
Madame Rudersdorff, Madame Castellan, Mias Dolby, Madame
Viardot Garcia ; Signors Mario, Gardoni, Lnblache (of whom
death has since robbed us), I Terr Formes, Mr. Sims Beeves,
Mr. Weiss, and Hcrr lteichiirdt. Tho gross receipts were
£\ 2,748, and the profits £4,1)91, out of which had to be paid
about .£1,000 for decorating the Town Hall, and ornamenting
and repairing the orgau. — Arii't Birmingham Gaxeite.
AN OPERA BY BERLIOZ.
(From the Courrier de, SaeShU.)
SnusBCRo, 16th September.
OsfE of those pieces of good fortune which seem denied to the
provinces fell to the lot of the persons who assembled tho day
before yesterday in the saloons of M. Georges Kastner. Our
learned fellow-citizen had been kind enough to invite them to
hear M. Berlioz — who is stopping with him for a few days-
read the book of an opera in five acta, composed for the Academic
Imperials de Musique, and of which he has written both the
words and the music. It may easily be conceived what an interest
was felt to hear a work not yet produced read by the author
himself, a musician and a poet at the same time, especially when
that author is already so celebrated.
The subject of M.Berlioz's opera is taken from classic antiquity,
but treated in the modern fashion, not without being adapted,
ns far as the scenic development is concerned, to that exceptional
style to which the composer of Itomeo et Juliette has devoted
himself. This is tantamount to saving that, under the circum-
stances, M. Berlioz could not have found a better librettist than
himself, and that everything will gain from the fact that the
words and the music of the work, executed in a form aud on a
plan scarcely ever selected up to the present day, have proceeded
from the ftame brain.
The book contains a great number of dramatic situations,
many of which must produce a striking effect, to judge by that
produced at the reading. As to tho musical situations and tho
melodic motives, the poet has prepared them for tho composer
with quite a paternal weakness, which we fondly hope the
audience of the Opera will sanction. Tbey result moreover
from the very nature of the subject, taken, as we have said, from
antiquity, by which lyrical art was so highly honoured.
Berlioz has given his opera proportions which are
strangely grandiose, and has taken care to surround ;t with all
I the accessories indispensable at the present day for the success
of a dramatic work. Thus the book suggests a brilliant nt'ie-
eH^cine, which will call up our Homeric and Virgilian remi-
niscences ; change of scene, mythological scenes, and a graceful
and picturesque ballet, or, in other words, so many element*
which will soften down the tragic nature of the action, and
heighten the splendour of the spectacle. We must add that the
symphonetic proportions of the score, to judge by the outline of
the Ktnarium, gave promiso of being gigantic.
The rehearsals of the— I was about to betray the title !—
will commence, it is said, under tho csjiccial patronage of Uis
Majesty the Emperor, and Puris will soon appreciate the opera
of M. Berlioz, which is destined, on so many accouuts, to pro-
duce a deep sensation, and of which, thanks to tho courtesy of
M. Kastner, we have had a literary foretaste at Strosburg.
RICHARD WAGNER'S "RIENZI."
A coRRBsroKDRXT of the Niederrheinisehe Afusik Zeitung,
writing from Dresden on the revival of the above opera, says ;—
" The opera of Sie*:i dilfera very much from Wagner's later efforts,
to which, indeed, it forms s strong contrast. In Sienzi he entered on
the path of grand French opers, and, with bold youthful fire, freed
himself in it, to a certain extent, from tho purely material elements
then predominant in his nature. Empty phrases, full of tune, bom-
bastic pathos, and coarse maseliLe effects, without delieaoy of colouring,
are there in full force. Deep, heartfelt expression, trua character, real
feeling, and that poetically conceiving, highly coloured style, which
produces so great an effect in his later operas, rarely occur. It ia true
that tho composer of 'the later operas' is sufficiently evident ia
many peculiarities and affected mannerisms, a special notice of
which would here lead us too far, in many detached mo-
tives, in speculative technicality, aud in the attachment to the
rhetorically-musical clement ; but the forms arc not yet free from the
ordinary type, tho stylo is altogether s mixed one, swaying from pathos
to triviality, and Meyerbeer's influence is frequently visible, while in
Titankiiuicr and Lohengrin, Weber is the composers romantic model.
Tho sensual tone-painting, which, iu Tannhmicr, works upon tho
imagination with poetic colouring, degenerate.', in Eie*:i, into coarse
noise. Hut, however far tho composer still was, ia Rienxi, from his
deeper intellectual development aud enlightened conception, his great
latent for dramatically-musical description and stage-effect, and his
bold and daring mastery of technical difficulties, are indisputably
manifest. The masses move with rhythmical certainty, while
the recitative and ariotot, in a constant struggle with all the
wind instruments, possess vigour and dramatic consistence. Iu the
midst of tho coarse tumult, which causes us to tear we shall
soon have to stumble over vandal-like ruins in art, a freshly
daring and fiery power are pleasingly perceptible, and every act con-
tains certain pieces, not merely short fragments, but lonjr, independent
pieces, comprising sufficient of what is valuable, uncommon, and
inspiring, to en use us to say— were only this first opera of Wagner
lying before us — 'The composer would bo successful at soma future
period, if bo really dedicated his talent to art.'— Xiraxi lias been pro-
duced at our theatre with groat splendour, and with new and admir-
able scenery, the view of the Forum Romonum being particularly
effective. After four hours' enjoyment of this real musical inflic-
tion, the inevitable result is a feeling of astonishment at the powers
of endurance possessed by the singers and orchestra — especially by the
wind-instrumentalists. The opera had been rehearsed with the greatest
care under the direction of the Capellmeitter, Hcrr Krebs, and the
entire representation was a successful one; every person engaged
exerted hunself to the utmost. The performance of Hcrr Ticbatschek,
as Rienri, was admirable for its dash, grand heroic style of expression,
and the unimpaired freshness, powers of endurance, and still unbroken
smoothness of the singer's voice. The highly fatiguing and dramatically
important part of Adriano was sung by Madamo Krcbs-Michalcsi,
with excellent effect. Next to these two artists come Herren Mitter-
wurzer and Couradi, as the chiefs of the Orsims and Colonnas. The
applause from an overflowing house was very great; Madame Krcba-
Michalesi was called on several times, and Hcrr l'ichotecbek after
ach act."
Maxchbstkr.— There was a large attendance laat week at the
first of tho Monday evening concerts. The vocalists were
Mias Sara Dobson, Madame Amadi.and Mr. Mann, and part of
the Manchester Vocal Union. Mr. W. T. Best presided at the
organ. Mr. Banks was the conductor.
Digitized by Google
[Octobbr 2, 1858.]
THE MUSICAL WORLD.
631
DANGERS OF THEATRES AND ASSEMBLY ROOMS.
l'DB greatest dancer which the audience of a theatre apprehend ia
from the firing of the building in which they are. Once give them
ocular demonstration that due provision baa been made against accidcnta
of ibie nature, and the causes of panic will be moat materially
diminished. The dread of fire ia leaa reprehensible and more excusable
than may at first sight appear. On the oecaaion of tho fire at Covent
Garden Theatre, people acre told that liad the maaquera been numerous,
t hare been
got out of the building, and calculating men hav<
nicety how many could paaa out of auch or audi a <
roasted alive before they could possibly hare
hare ascertained to a
i ttrueture before it
win entirely consumed, and, consequently, how many of the audience
would bi) burned. Kono of these investigations are calculated to allay
fear in the popular mind, or to prevent panics, and wo repeat that panic
ia the cause of fatal accident a in nine cases out of ten.
Among the few good examplea act ua by our neighbours in theatrical
mattera ta the ostensible provision they mako against fire. In every
Paris playhouse or similar place of amusement, firemen— pompitrt— in
their shining brass helmets may be seen. The audienoe know that at
the firat alarm of flro they would all be drenched to the akin, and as that
would spoil their toilette; they carefully refrain from raising an alarm.
Unfortunately in English crowds there ia generally some " fast " young
fellow who imagines it to bo lino fun to frighten hia companion*. But
if the certainty of a sound wetting were preaent to hia mind, ho would
refrain from indulging in so dangerous a "kirk," and tho audience
themselves would take prompt justice of the offender. In every theatre
or music-hall the local authorities should insist on mains being ei ta-
bliahod, which should always be charged, and at high pressure. Nor would
it be desirable that the mains should be hidden out of sight. They should,
on the contrary, be mode aa evident aa possible. It would not interfere
with the ornamental appearance or convenience of the house If mains
tan round the fronts of the different tiers of boxes and galleries.
Indeed, in that position they would afford tho means of cooling and
purifying the atmosphere, and so improve the ventilation — to the great
comfort of the audience. Around too box tier of the Porto St. Martin
a water pipe ia carried, which discharges at intervals small fine streams
of water into the midst of groups of flowers, and which afterwards
(low away to the drains. It may be that the water lias an affinity for
the noxious products of combustion of the gaa, and for the scarcely
less noxious aspirations of tho crowd. Tho atmosphere certainly appears
cooler and leaa disagreeable than in other theatres where this expedient
is not resorted to. But should the effect of the water be actually very
slight upon the atmoaphrre, it ia very great upon the faculties of the
audience. There ia a sense of freshness, and perhaps of security, which
tho reader can readily understand, and we are sure would aa readily
appreciate. There ia no reason why a similar arrangement should not
be adopted in all oar English places of amusement. The water-rale
would be comparatively trifling, and well worth the improvement it
would effect in the ventilation of the Interior and the comfort of the
audience, and the sense of security it would inculcate. People who
taw streams of water issuing from all parts of the interior of a theatre
e* music-hall would be slow to believe in the presence of fire, from tho
very antagonistic nature of the two elements. It would be no leaa de
airable to adopt some modification of the pompier system. A couple
of policemen in the galleries and one in the pit, in charge of distribu-
tee supplied from the mains, would afford palpable evidence of due
proviaion against Ore ; and, ahould a " faat " youth evince a desire for
a "lark," by screaming fire to create a confusion, a well-directed volley
from tbo barrel would wash the ** fun " out of him. Those who sat by
the aide might be inclined to take summary vengeance for their wetting,
and— provided no bones were broken— no one would regret tho cuffs
the aimpleton would receive ; for it is monstrous that people who go to
be amused ahould be alarmed and killed became somo fool chooses to
cry Fire.
If we pasa to tho consideration of the architectural causes of the
accident, it will be seen that it was duo chiefly to two— the inadequate
provision of means of egress, and that reprehensible ayatem, whieh ia
growing more and more common every day, of applying a structure to
its uses before finished or the work fairly set.
Taking tho last-named evil first, it will bo remembered how great a
boast was made that at the opening of now Covont Garden Theatre the
workmen left aa the audience came in. It is quite true that the main
substantial portion of the structure had been erected and tested pre-
vioualy j but it would have been infinitely preferable if everything had
bean carefully completed, and as carefully examined beforehand. It ia
now tho fashion to do things in a hurry,— a very pernicious fashion,
and destructive of all art and sound scientific construction. What is
worth doing at all u worth doing well, and architecture hurried or
scamped is never worth the money it eoata. There are limits to rapid
building which cannot be tranegreeaed without danger. We may build
fast enough with glasa and iron, but not with brick and stone. Tlicre
must be sufficient time for the materials to act and acquire ooheaive
force, which in many coses is now hardly allowed. We believe that the
fall of tho Ilainpttead tunnel will be found mainly due to this passion
for hurry, which led to the supports being removed before the brick
arches had acquired sufficient solidity and cohesion to resist the super-
incumbent pressure of the earth. We are not the lesa lovers of
diligence because we dislike hurry, nor shall we be deemed " alow
coaches " became we disapprove of scamped architecture, believing
that if it be peraisted in it will result in aome terrible accident which
ia yet without parallel.
At Sheffield there can now be little doubt that the accident was
caused by the explosion of gas. Had there been lesa hurry, all the
gaa mains would hare been tested before the public were admitted, and
not, as it is now proposed to do, after the accident. The evidence of
one of the witnesses, which carriea with it the impress of truth, prove*
that tho board over a gaspipe was blown off by on explosion of gaa
following on hia lighting a lueifer match, and that previously he aaw
a workman twice put white lead on the top of the chandelier. The gas-
fitter givce a somewhat different version, and maintains that the board
was sprung, but not by the explosion of gaa. His explanation is, that
before tbo panic " ho went with a man to the spot and unfastened the
boarding to ascertain if there was a leak there. So soon aa the inves-
tigation was finished the man refasteued the boarding, but hurriedly, as
the people were taking their scats; and the boarding not being suffi-
ciently secured, sprung out of its place, as it would naturally do, being
bent into a circular shape to fit the bend of the gallery." This evi-
dence ia unsatisfactory in more particulars than one; for unless an
explosion had already taken place, how came the fitter to proceed to
that precise locality to look for leakage ? Great stress is laid upon an
allegation to eatabliah the non-explosion of gaa— that the velvet on the
top of the front of the gallery was not burnt, and that none of the
ornamental work, though slight, sat injured ; but aa it waa positive
that the volume of gat which exploded waa small, and that it occurred
in apace, it ia not at all surprising that the velvet waa not singed. Von
may explode gun-cotton on (he palm of the hand without inconve-
nience ; but clench the fingers and tho hand will be shattered. Which-
ever version of tho evidence be accepted, the public can arrive but at
one conclusion — that if there had been tees hurry there would have
been leas chance of accident. The statement even about the board
springing out of itself, and not admitting of being easily refastcned, is
conclusive evidence upon this point.
There ia, however, another point showing the influence of hurry upon
the accident. The audienoe knew the building waa not finished. They
saw the temporary entrance, the work going on in front, and it would
not be unnatural that their minds ahould be filled with a sense of inse-
curity and predisposed to panic. Few would enjoy a meal with the
sword of Damocles suspended overhead, and a dense crowd may be welt
excused for feeling alarmed in an unfinished structure. This brings us
to tho question of trustworthy supervision and inspection of public
buildings. If the law ia insufficient to secure sound construction in
edifices of this class it must be amended, in order that they may not
be opened to the public until examined and certified by a competent
surveyor. No railway can be opened until examined adequately and
tested by a government inspector. Every passenger ship must be
surveyed before the can clear out ; and yet in each ease the number of
Uvea that would be jeopardised by faulty construction is lees than
would be risked by an insecure theatre or assembly-room. In the
Surrey Music Hall at Sheffield there were upward* of three thousand
persons, whereas no railway train or emigrant ship carriea anything
like the number. Wo fully understand and concur in the jealousy
experienced by people of government interference and control. We ask
nothing from the State but that it will give the people the power to
' itratea and town authori-
emeut in the
m equal tenderness for people's lives
none will be found to object. Churches, chapels,
theatres, music-halls, and lecture- rooms are not buildings of such con-
stant occurrence aa to call for the service of a large staff of surveyors.
Where town surveyors already exist these duties could be added with-
out being laborious ; and in other cases the salary of a competent
architect would not make a large deduction from the county reaa.
The present uncontrolled ana dangerous at ate of things ahould not
be suffered to exist. It throw* too great a burden upon the ]
provide for their proper tecurity. The magistrates
ties have now the licensing of all public places of
interest of public morals. l et an equal tenderness
be ahown, and t
Digitized by Google
632
THE MUSICAL WORLD.
[October 2, 1858.
THEATRE ROYAL, DRURY LANE. — Under the
nuuiauamoot of His* Isnil-u Pyne and Mr. W. lUrruott-— One Huudrettli
Might of THE ROSE OF CASTILLE — Ou Monday. October 4tti and durlnc llie
week. Her Maieaty* nmais will iwrform 11 life's 0|*ra, THE ROSE OH
OaSTILLE. Punrtpal characters by Mias Lotuau Pyae, HUs hu-au I'j u . HIM
H. Proacutl; Mr, P, 0 nrer, Mr. A. 1st, All>yn, Mr. Oaorgi Honey, Ur. Daitieiiinu,
aud Mr. W. H. Humevo Conductor. Mr. Alfred M«l'«i. To conclude with *
grand Oa)lei Divi rtiaeumeut by Mdltes. Zilla Miihokt, P*aq,uale. and Morieochi.
witli a numerous corps da ballet. The band of fifty perfwuiera, on 1 tU« chorus
of forty voice*. sele« 'ted Irom tnc Royal Italian Opera. On Wclncs lnv evening,
a new grand Balbt DiTcrUewm, .it, entitled LA Fl.KUR D'AMOCR, turcclud
and ru-ranged by H. IVtll. Tito new trmaic comf-osed by Mr. Alfred Mellon.
Actintr iniuiayera. Mr. William Urcugu and Mr. Edward Murray : Stiigv-nauager.
Mr. 8 Stirling. Door* open at aeren, commence at half-past. Btalla. 6a. ; Dreai
Circle, ; Find ditto. 3*. ; Upper Box**, 1*. Od. : Pit, -» ; Gallery, la ; Upper
ditto, »J ; Piltate R..t ••«. ttt S». *?< £3 S« . ar2 2a, *T1 lis. od. *?1 la. mid
• r two per*™.* 1<K Od. Box-office open daily from eleven to five, under the
» of Mr. E. Criterion.
ROYAL PRINCESS'S THEATRE.
ON MONDAY and during the Week will be presented,
Sli.kaprrVs play of THE MERCHANT OP VENICE 8-.»K-k by Mr C.
Keau ; Portia by Mrs C. Kean. Preceded by tLc farce of V VI Mi FOR LOVE.
R
OYAL OLYMPIC THE A TRE. — Ou Saturday evening,
October S, will be iircsenred A DOUBTFUL VICTORY. "with nLSH
After which A TWJCK-TOLD TALK To conclude with TICKLISH
GREAT NATIONAL STANDARD THEATRE,
8HORKDITCH.— Proprietor. Mr. John B<icgu»o.
Another irroat eugajremt-'nt. lle-appranuicc of tlte evtebruleU ertxcea Madame
Celeate, wllK Mr. P.ul Bedlord riudHlea Hjirte^ Gordon, who will amiear every
g.Vcmci4t- J(e-appranu
*al Bedford rtud Miss llirnM Gordon, who will oi>|
uluc lu the popular drama ul "I HE OREEN BUSHES, by tbt kind permtauon
ol B Wubeter. i.vi Kirat apocaraoao also id tlio Great Winders of Uie Ago. the
American Boone Children. Ho advance in the price*. On Mouday, Oct. 4. and
all the week, to bavin with THE GRKBN BUSHES. Miami fber origiual chn
racier), Madame 0«leeto; Jack Gong (bis original character), Mr. Paul Bedford ;
Nell*, M ims Htrriet Uordou. To be loli„»id by aebcUoiut fioni tbo cmiody of
TUB SCHOOL FOR SCANDAL Sir Teter and L»1y Teazle, by the B-ntie
ab Jin Daudnil br Gordon and Isabella Boot.e To conclude with
furco ol THK VILLAGE IN AN UPROAR.
TO CORRESPONDENTS.
j at utU a* Porta, played M. part of OttUo
at well a* Dt*d«i*ona in HominCt Optra, at tkt /(alien* in
Pari*. Sk4 only mutaintd Ik* characur of tkt Moor
A. C— In tkt Clemetiza ili Tito* not in II
mittalt, tkough foolitk, it not of jhkc
editor, not tht p\Mitktr, it in fault.
■L L. L, — Madame Vettrit, ux believe, vat tkt
tin it Bemintmide, in London .
The
Ik,
THE MUSICAL WOULD.
LOB DO. V HATUKDAT. Oct<
Hkxrv IV. of CaHtile, son to Juan II., and brother to the
famous Isabella, succeeded his father in July, 1454. His
temper was agreeable, and he expended his money so very
freely, that good natiired calumniators named him the "liberal"
— thia expression not having the slightest reference to his
poUtical opinions. He kept in pay a body guard 3,000
strong, officered by nobles, and ctwtumcd accordingly. Thus
did ins popularity increase, while the maravedis oozed
out of his strong box, but, not content to let well alone,
he sought to become more popular still by proclaiming a
crusade againBt the Moors. This plan did not lead to a
fortunate result, for when Henry carried war into Granada
it was to no purpose, and though he tried to oxcuso his own
incfticiency by the affecting remark that he prized the life of
one of his soldiers more than thowe of a thousand Mussul-
mans, the said soldiers laughed at the clap-trap instead of
honouring it with bursts of applause. About a year
after his accession he married Joanna, sister to Alfonso V.
of Portugal, haviug put away his first wife, BUnche of
A ragon, on frivolous pretences, The nMUiners of the young
I nueen were of a kind to encourage the propagation of scan-
I dalous rumours. Beltrau do C'ueva, a cavalier of reumrk-
] ably handsome appearanoe, wits supposed to be the object of
i her affections, aud whan, in 1462, she gave birth to a
: daughter, the young princess, though christened Joanna, was
1 generally nick-named BeRraneja, in the supposition that
I Beltrnn de Cueva was her real parent. An adulteration
I of the coin, and a state of anarchy that allowed every owner
of a castle to become a bandit, afflicted the country, while
the royal palace was the scene of the most shameless
licentiousness.
All this was extremely disgusting to the ancient noHes,
more especially to the Miniui* of Villena and the Arch-
bishop of Toledo, who, falling into disgrace, soon endeavoured
to screw up the rest to their own level of dissatisfaction. The
result was, that a body of aristocratic confederates met at
Burgos, aud there took a solemn oath that they would not
re-enUir the service of Henry till he had redressed their
wrongs. The timid king, instead of attempting to crash the
conspiracy by a vigorous blow, preferred the method of
negotiation, appointed a committee of arbitrators, and then,
being dissatisfied with their decision, repudiated the acts of
his own nominees. Of course, the malcontent nobles were
more disgusted than ever, and they adopted a very practical
mode of manifesting their sentiments. In the vicinity of
the city of Avila, they set up a scaffold, and upon a chair of
state placed thereon, they seated an effigy of King Henry,
adorned with all the insignia of royalty. A manifesto,
showing the misconduct of the king, having been read to the
multitude, the Archbishop of Toledo tore the crown from the
head of the dummy; the Marquis of Villena deprived it of
its soeptre, the Count of Placeucia took away the sword, and
the rest of the insignia was detached by the Grand Master
cf Alcantara and the Counta of Benavente and Paredcs.
After this dismantling, the poor dummy was rolled in the
dust, and Alfonso, Henry'B younger brother, a hoy of eleven,
was placed in the vacant seat and received the homage of
the multitude. This extraordinary scene occurred in the
year 1465.
We have been thus explicit with regard to a remarkable
episode in the history of Castile, that we may prevent the
more heedless of our readers from being charmed into the
belief that Henry IV. had a wise Jewish minister, whose fall
was closely connected with his own deposition. For there
is a fascinator, named J. Wooler, who, aided by a very ex-
cellent actor, named W. Creswick, is now endeavouring with
all the force of fervid eloquence and majestic blank
verso, to make the crowds who throng the Surrey Theatre
seriously think that such was the case. Therefore, we moat
solemnly affinn, in opposition to all the teachings of the
tragic play, called the Branded Race, that Henry IV. never
had a wise Jewish minister, nor, indeed, a Jewish minister
at all — a fact deeply to be deplored, but a fact notwith-
standing. Baron Rothschild site in the House of Commons,
and we rejoice to see him there, but a sort of vague un-
easiness comes over us when we see a Jew in the cabinet of
Henry IV. of Castile. Nor is our uneasiness at all diminished
by the circumstance that the Jew keeps his creed a secret
till the end of the play. That which doth not exist cannot
put ou a disguise ; nothing weareth no breeches.
So, gentle reader, go and see tho Branded fiat*— for it is
really worth seeing, but don't be persuaded that Henry IV.
had a Jewish minister. And, reader, if yon want to know
what became of Henry IV. after the strange scene in 1463,
just look out for yourself.
Digitized by Google
October 2, 1858.]
THE MUSICAL WORLD.
633
CRYSTAL PALACE.
Tub concert given on Tuesday, in which Madlle. Piccolonrini
made her first appearance at Die Sydenham Palace, and took her
leave of the English public previous to her departure for
America, proved eminently successful. Although the terms of
admission were raised, the ordiuary charges at this period of the
year beiug changed to half-a-crowu and five shillings on the day,
according to certain contingencies, nearly 10,000 people assem-
bled, a larger number, unless our memory deceives us, than was
brought together at any of the Royal Italian Opera Concerts
during the regular season. So great a crowd furnishes un-
deniable proof that Mademoiselle Picoolomini lias lost none of
her prestige, and that she is as great a favourite as ever. Indeed,
her most ardent admirers could hardly have anticipated for
their " little pet" so warm a reception as was accorded to her on
Tuesday, the welcome on her entrance and the farewell at the
end viemg in persistence and intensity with the most frenetic
demonstrations at Her Majesty's Theatre. The occasion was
one, it mast be owned, which never fails to elicit peculiar sy ra-
ps, tines from the public An artist, who, for three years had,
almost without interruption, been endeavouring and with good
success to please them, who had earned for herself a high and
honourable name, and who was uever known in a single instance
to disappoint them, was about to depart for a distant country
and to be absent for at least six months. Uuder the circum-
stances it was no wonder that so large a concourse assembled,
and that the highest honours were paid to the lady. That
Loudon was not entirely denuded of fashionables was shown by
the brilliant appearance of the company, while the fact that
every reserved seat was secured further testified to the presence
of the "upper ten."
In combining the services of Siguor Giuglini with those of
Madlle. Piccoiomini the directors were fully warranted by his
great reputation. Moreover the names of Piccoiomini and
Giuglini have become, as it were, inseparable, like those of Grisi
and Mario, and when one appears the absence of the other is
never contemplated. Although, of course, Madlle. Piecolomini
constituted the prominent attraction of the concert, the an-
nouncement of the appearance of so renowned a singer as Mr.
Lnmley's "golden voiced" tenor could not have beeu without its
influence. With Madlle. Piccoiomini and Signor Giuglini were
joined three tullcu minort* of Her Majesty's Theatre, in the
persons of Signors Aldighieri, Rossi, and Castelli. We annex
the programme, which, it will bo seen, comprises some of the
most effective displays of the two principal singers, and is on
the whole a very attractive selection of the miscellaneous kind : —
FAST I.
Overture, "Siege of RoclieUe"
Duet, " Se fiato in corpo sveU " (II
8ignori Aldighieri and Roui ... ...
Aria, " Ah fort' i lui" (La TraTiatt), Madlle. Picco'omini...
Romania, "Spirito gentil" (La Favorite), Sig. Oiuglini ...
Duet, •• Parigi o cars" (La Trariata), Madlle. Piccoiomini
and Sig. Oiuglini
'Chi uii frens" (Lucia di Lammcrinoor), Madlle.
Signori Umglini, Aldighieri, Roisi, and
i ... ... ... ... ...
fast n.
Duet, "II mon dell' arpe sngeliehe" (I Martiri), Madlle.
Piccoiomini and Sig. Oiuglini
Romania, " Tn m' ami'' (La Zingara), Sig. Giuglini
Aria, " Vedrai carino" (Don Giotanni), Madlle. Ptccolomiui
Terzetto, "PappaUci" (L'ltaliana in Algsri), Signori
Oiuglini, Rossi, and Aldighieri
Romania, "'Convien parlir" (La Figlia del Reggimenlo),
Madue. Piccoiomini
Urindiai, "Libiamo" (U Traviata), Madlle. Piccoiomini,
Signori Oiuglini, Aldighieri, Rosii, aud Castelli
Conductors— Signor Ardili and Mr. Manni.
The readers of the .Vutieal World need not bo told how the
above morceaujr were sung. When we have affirmed that
Sig. Giuglini was i
Balfe.
Cimsrois.
Verdi.
Donizetti.
Verdi.
ti.
Donizetti.
Balfe.
Mozart.
Donizetti
Verdi.
xquisito voice, and that
very best, endeavour*
ever to Inspire the audience with her energy, pathos, and
dramatic feeling, we have said all that is required. The audience
was enchanted beyond measure, and encored nearly every piece.
The greatest effects were produced by Millie. Piccoiomini in the
farewell air of Maria in the Figlia del Reggimento — a very
apposite introduction, by the way— and in " Vedrai carino ;
and by Sig. Giuglini in the ballad from the Bohemian Girl. We
were sorry that AI d lie. Piccoiomini, instead of repeating the lovely
air from Don Giovanni, which she gave with remarkable point
and expression, should have chosen instead the English ballad,
" I dreamt that I dwelt in marble halls," which, how much
soever it may seem to have delighted the hearers, is not one of
her most striking performances.
At the termination of the popular brinditi from the Traviala,
with which the concert concluded, a burst of applause broke
from the immense audience, and, increasing in intensity as it
went on, lasted several minutes. Ladies waved their handker-
chiefs, gentlemen waved their hate, and cries of " Piccoiomini
for ever" were heard amid the din of voices and the clapping
of hands. The fair artist, although accustomed to the most
furious demonstrations, appeared overwhelmed by the enthu-
siasm of the audience, and endeavoured, in dumb show, to
convey all she felt. When she retired a final cheer was given,
and the crowd dispersing iu a brief space of time, the central
transept become comparatively deserted.
Dramatic Iwtbx.liok*ck.— The reproduction of The Rival* at
the Hatmarkbt has proved highly successful, and attracts
crowds nightly. The cast in general is good, but one or two parts
might be better supported. Mr. Braid, for instance, should
not have beeu entrusted with Sir Lucius OTrigger, of whom he
makes a very clodhopper, abogtrotter, or pig-driver, as far as the
langusgc is concerned. Nay, he violates propriety of speech,
even though Sir Lucius in reality belonged to one of the above
callings. The moat uncouth and unsophisticated Hibernian who
ever came from the bogs of Allen or the gorges of Connemarn,
would never convert " field piece" into " falde pace." Of course
allowance should be made for an Englishman undertaking an
Irish part; but surely Mr. Braid Is In the habit of dally meeting
Irish gentlemen, and he must know that his dialect and pronun-
ciation are gross caricatures. The Sir Lucius O Trigger of Mr.
James Wollack, if not eminently Irish, was eminently genteel,
and a slight touch of the brogue was all that distinguished it
from the English gentleman. Mr. Braid, who no doubt remem-
bers Mr. Wallack, should endeavour to imitate him. That
Sheridan intended the Irish baronet for a perfect gentleman of
the old school, everybody must admit who knows the play of The
Rivals; but which no one could believe who founded his opinion
on the performance of the actor at the Haymarket theatre.
Mr. Buckstone's Bob Acres is by far the best sustained character
in the comedy. The scene of the meeting in the last act is incom-
parable. Mr. W. Farren is making rapid progress. A few years
si nee we had little hope he would ever arrive at excellence. We
now willingly admit tnat he is on the high rood to that desirable
goal, and promises to reach it before lone. His performance
of Captain Absolute was admirable, and in two scenes espe-
cially— that with Sir Anthony, in which the Captain pre-
tends ignorance of the lady his father intended for him ; and
that with Mrs. Malaprop, when the old lady makes Captain
Absolute read the letter sent to Lydia by toe supposititious
Ensign Beverley— could not bo surpassed for spirit and genuine
humour by any comedian on the stage. Mr. Chippendale's Sir
Anthony Absolute is Stirling and artistio, but somewhat dry.
Mr. Howe's Fanlkland is entitled to high commendation, and
nothing could be better in its way than Mr. Rogers* David. We
think the distribution of the ladies' parts might have been im-
proved. Mrs. Wilkins, we fancy, should have taken Mrs.
Poynter'a place as Mrs. Malaprop ; and Miss Reynolds, we
are inclined to think, would have succeeded better in Julia
than in Lydia Languish. On Monday, a fair dUtutanle, in the
person of Miss Eliza Weekes, from the Brighton and Glasgow
theatres, made a decided hit as Louise In the comedietta of The
King1* Gardener. Miss Weekes is short and inclined to
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634
THE MUSICAL WORLD.
[October 2, 1858.
nance is full of smiles and life. She played the part of the
gardener's wife with great point ana vivacity, and intro-
duced two souga, which proved that, although she did
nut possess a voice of first-rate quality, she could sing a plain
song with simplicity and expression. That Miss Kliza
Weekes will constitute au acquisition to the Haymarket
company cannot bo doubted. Ucr reception on Monday night
was nattering, and the retention of the King'* Gardener in the
bills proves that her success was genuine. Mr. Compton's
Qalochard, by the way, is one of the most amusing )*r-
formances we have ween for some time. — At the Sadler's
Wells, Mr. Phelps, as a matter of course, has commenced his
season with Shakspere. The Winter's Tale has introduced a new
candidate for histrionio fame in the person of Miss Grace
Egerton, who sustains tho part of Perdita in a manner which
reflects no discredit either on her christian or Burname. A more
successful first appearance we hardly remember. Face, person,
and manner are all in favour of the lady, who, moreover, seems
young. Her talent is undeniable, and Mr. Phelps has to congra-
tulate himself on so desirable an addition to his company. Miss
( 1 nice Egerton has also appeared as Marian de I»rme in fliche/ieu
with no leas success than she did as Perdita in 8haksperc'N play.
The Surrey Theatre opened on Monday with three new
pieces— The Branded Race; or. The Fatal Secret ; Harold I/awi;
or, The Convict** Vengeance; and What'* your Garnet The first
ia a serious play of grave pretensions, with sounding blank verse,
strongly-drawn characters, and well constructed plot, from
tho pen of Mr. Wooler; the second belongs to the blue
ruin and garotte school, and could only find mercy
on the off-side of Llackfriars bridge ; the last is a farce, or modern
extravaganza. Everything succeeds at the Surrey Theatre,
especially when supported by such favorites as Messrs. Creswick,
Shepherd, and Wiaiiieomb— in Lambeth aud Borough opinions
the osau idial of tragic, melo-dramatic and farce actors, severally.
It would bo curious to inquire why the inhabitants of southern
London display such strong sympathies for that class of enter-
tainment coming under the denomination of " furioso," while
northern London adheres to the " classical." Is Pentonville more
learned and refined than Walworth i or has Mr. Phelps a happier
knack of instructing his audiences than Mr. Creswick f Is Isling-
ton conservative, and Camberwell reformative I or have the deni-
zens of King's Cross acute reasons to stand by the ancients, while
motives of pith and weight induce the occupants of the New
Cut to yield their preference to the modems f Wo pause for a
reply, confident that no one will take the trouble to answer us.
—The Strand Theatre, under tho admirable direction of
Miss Swanboroogh, ia gaining for itself a fairer reputation than
it ever could boast of before. It is now, indeed, a fashionable
resort, and is a model of a theatre for the performance of vaude-
villes and oomediettaa. Mr. Charles Selby is earning for him-
self the reputation of a Calderon or Lope do Vega. lie has
already written, we are assured, moro plays than Khaknpere
and Molivrc ; and every week beholds a new work of pre-
tension from his fertile pen. The Strand bills put forth
no other author. The first piece is by Mr. Charles Selby ;
the second piece is by Mr. Charles Selby ; the third piece ia by
Mr. Charles Selby ; and the Inst piece is by Mr. Charles Selby.
Mr. Charles Selby 'a last new piece is called Ify Aunt's Htaband.
It was produced on Monday, and met with decided success,
being a very merry and neat little farce. — In the meanwhile,
the Olympic has not reposed on its laurels. A new petite
comedy, entitled A Twice Told Tale, from the pen of Mr. Wooler,
founded on, or more properly constituting a traveetie of, the
well-known story of King Edgar and Elfrida, was produced on
Monday, and made a hit, although Mr. F. Robson was not em-
ployed in the cast Mr. Lewis Ball suatained the principal
character with great spirit.
Naples. — Thalberg has arrived here to recover from his
long and fatiguing journey in tho United States. He has refused
to play in public. He will pass the winter in the dolce far
ni«nte. Verdi is expected, some time in October, to superintend
the production of his last score, Simon Boceanegra, represented
at the Fenice at Venice. Aroldo will be given
FOUR LETTERS FROM BEETHOVEN TO
CARL CZERNY.
COMMU1UCATXD FBOM TBI ORIQUt 16, BY f. :.V 1 II.
(From I>wigkCi Journal of Music.)
That Carl Czerny, from his boyhood, to the 26th of March
1827, a day that excited universal and profound mourning,
lived on terms of uninterrupted friendship with the hero of
music, is a well-known fact. During this long period, extending
over about twenty-six years, he received a great many letters
from him. The earliest of these are, unfortunately, all lost ; of
tho latter ones, Czerny gave away the greater number to friends
of his who were desirous of possessing a specimen of the hand-
writing of the celebrated deceased, and thus, as far as I know,
he had only nineteen left. These he preserved as a precious
treasu re.
Of these nineteen letters, the following four win probably
possess a very great interest for the musical friends of Beethoven
and Czerny, for which reason I now communicate them.
The explanations which, for the better understanding of
them, 1 have thought it advisable to give, I had from Czerny 'a
own lips.
"Dear ('jerry,— I cannot sec you to-day, but I will come to yonr
home to-morrow, for Hie purpose of •peaking with you. I blurted
out »o yesterday ; I «u very »orry afterward*, but you lout forgite
so author, who would have preferred hearing his work just a* he wrote
it, however beautifully you played it in other respect*.
** I will, however, publicly atone for this, when tho violoncello soasts
i* performed. Let me assure you, that I, ai an artist, entertain the
very beat feelingt toward* you, and will always endeavour to prove it.
" Your true friend, BzrrHOViir."
Czerny received this letter the day after his performing (1 812)
in Schuppanzigh's band, the E flit major quiutet, with wind
instruments, on which occasion, out of mere youthful thought-
lessness, he had taken the liberty of introducing several altera-
tions ; of increasing the difficulties of certain passages, of
employing the higher octave, &c., 4c. For this be was imme-
diately and justly, reprimanded with great severity, by Beetho-
ven, in the presence of Schuppanzigh, Linke, and other
performers.
One alteration only — namely, the taking tho ascending triplet-
passages in the first movement in both parts, with both hands
in octaves — Beethoven subsequently approved.
The violoncello sonata, mentioned in the second paragraph, waa
the one in A major, op. SO, which Czerny, in conjunction
with Linke, played the following week to Beethoven s entire
n.
" My Dear Czerny, — Let me beg of you to treat Carl with as much
patience a* potiible ; though he may not, at present, get on as well aa
you and I could deaire, ho will, otherwise, do (till lea*, for (but he moat
not know this) his power* arc too severely taxed by the bid arrange-
ment of hi* I
" Unfortunately, this cannot be immediately altered, therefore, meet
him a* much a* po«*ible affectionately, though seriously. Thing* will
then go better, under the circumttance*, which ore really unfavourable
for Carl. With respect to hi* playing with you, may I beg you, a* soon
a* he has got a proper iy*tem of lingering, and keep* time, a* well a*
play* the note* tolerably without mistake, then first to direct hi* at-
tention to style, and when he ha* got thus far, not make him leave off
on account of ttilling faults, but to point them out to him at the end
of the piece. Although I have given few lesson*, I always followed
thi* method ; it soon forms musician?, aud this, after all, is one of the
first aim* of Art, and i* let fatiguing for master and pupil.
" In certain pottage*, tuch a* g a, f g, e f, d c, c d, b natural e, etc.,
I should like bun, at timet, to ute all the fingers, si alto in the cats of
d g, e c, d f, o g, f a, etc., g e, f e, e c, d b natural, etc., in order that
d g may be slurred. Certainly d g toundt, a* they aay, ' pearled,'
(played with a few finger*,) or resembling a pearl ; but people like, now
and then, a different kind of ornament. More another time. I hope
you will receive all thi* with the love with which I intend it to be t*id
and thought. I have been, moreover, and still renwin,
" May my sincerity terve you, as far a possible, i
future payment of the same. Your true friend,
it, your debtor,
i s pledge of the
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October 2, 1858.]
THE MUSICAL WORLD.
635
nr.
" Mr Dear Cxerny, — ricate giro this to jour parent! for my dinner
the other day ; I cannot, on any account, accept this for nothing. I do
not, either, require your lesson • for nothing, even thoie already g,ivcn
shall bo reckoned up and paid you, only let mo beg you to hnve patience
for tlio moment, since. I cannot yet oik anything from the widow, and
I hare had und still hare heavy expenses. For the present, it is so
much lent. The youngster is coining to you to- day, nod I likewise
shall do to liter. " Your friend,
" Bbktuotis.'.
Both these letters bear the date of 1815, in which Czerny
began giving lessons to Beethoven's nephew, Carl.
Czerny protested, naturally, against receiving any payment,
not on one, but on several occasions, so that Beethoven's sensi-
tiveness may have been excited ; hence the strange notion, con-
tained in Letter 111., of wishing to pay for a dinner, of which,
with hi* nephew, he had partaken at the house of Czerny's
parent (who then resided in the Hohurmarkt, near the Brciter
Stein).
Id how many instances Beethoven manifested a similar feeling
of irritability towards his best friends is already sufficiently
known.
That Beethoven's idea, contained in Letter II., concerning the
propriety of not stopping the pupil during the lesson, however
cermet on the whole, is liable to very many exceptions, since
much depends upon the natural capabilities of the pupil him-
self, and that it was not carried out by Czerny, are a mere
IV.
" My Dear Ctcrny, — I have this moment heard you are in a position
which I really nerer suspected. Only hare confidence in me, and tell
me in what wny matters may be rendered more favourable for you
(without any mean seeking for patronage on my tide).
" At soon as I can take breath again, I must speak with you. Be
aatured that I priie you, and am ready to proTe tbif, ererv intlant,
by deeds. » With true cttcetn, your frieud,
"Bksthovm."
In 1818, C'zerny was requested by Beethoven, in a letter which
the former gave, many years ago, as a present to Mr. Cocks, the
music-publisher, of London, to play, at one of his last concerts in
the Grosser Bedouten-Saal, the concerto in E flat major, Op. "3.
Czerny replied, in strict accordance with the truth, that,
having devoted himself exclusively to tuition, as a means of
livelihood, and having for many years given more than twelve
lessons a day, he had been obliged to neglect his own playing so
much that he could not venture to perform the concerto with
only a few days' notice (as Bcethovon required). Hereupon,
he immediately received the touching proof contained in the
preceding letter of the interest Beethoven took in him.
He discovered subsequently, moreover, that Beethoven had
exerted himself to procure him some permanent appointment.
ARTISTS FORMERLY AT LILLE.
(From Lf For J Sfutteal.)
MADAME STOLTZ.
At the commencemeut of November, 1853. tho manager of
the theatre produced, for the first time at Lille, the charming
opera of tho Pri-aux-Clerc>. The part of Nicette was played
by a tall, slim young person, rather pretty than otherwise, and
yet not pleasing. There was a disagreeable something about
Mr which caused pcoplo to say : " that person is a shrew." As
a singer she had a fresh voice, a shrill soprano— so shrill, that it
pierced the ears, as a cork-screw docs a oork. It was even
asserted — unjustly, perhaps — that she sang out of tune. Sharp
voices have a natural tendency to ascend. This is a sign of
strength and harshness. At any rate, it is certain that, in the
duet with Uirot : " Lea rendezvous de bonne eompagnie," the
young person tried to execute a point (Tory we, after her
own fashion, and was lost in tho clouds. The public
began laughing, which is far worse than hissing, and
every time our heroino executed a passage in the higher
notes, which were her element, alter all, tho
bered the Pri-aux-Cterc*, and a number of ill-natured "hushes,"
f rcvontcd the pit from applauding, even when sho sang well,
t was interesting, at such times, to see the irritated nctress
glance round indignantly at the subscribers' boxes. Her finely
arched eyobrows wero contracted, and covered her eyelids ; her
lips were agitated convulsively, and her cheeks grew purple
under her paint. Poor thing ! 8ho seemed to say, in her help-
less rage, " Kill mo ! but do not humiliate me !"
Do you know the name ot this by no means resigned victim
of the caprieo of a few young men ? You would never guess, so
I must tell you. Well, then, it was Hcloise Stoltz, the eminent
artist, for whom, at a subsequent period, Donizetti composed La
Ftivoritu,a.nd Halevy, Let Ileine Je Chi/pre.
It is said that, when she exercised sovereign sway at the
Oraml-Opcra in Paris, she never liked to remember having once
Thin does not astonish me. People are fond of
rccable recollections from their minds.
una
ess, and, though
uid without any
played at Lille,
dismissing disag
What rendered the position of Mad. Stoltz still more irksome
at Lille was that MaJ. Marncffc made her dibut at the
time. This lady had a voice of infinite sweetness, and, tl
without beauty, without grace, without style
experience of the stage, charmed by her very simplicity, and
possessed real talent without appearing to know it. Thus, all
the sympathy of tho public was given to the one, and all their
rigour to the other. Unfortunately, Mad. Stoltz was no greater
favourito with her comrades than with the public. Her haughty
and disdainful airs rendered her the horror of the whole com-
pany. The ladies, who are not always kindness personified,
christened her la dtufchte (the shrivelled one), on account of
her extreme thinness, and tho musicians themselves— may
heaven forgivo thotn for such a want of chanty— adopted the
same unbecoming epithet, when speaking of Mad. Stoltz.
However, it is not all annoyance in this world. Despite her
spindle arms, and her bust as flat us the plains of Flanders,
the fair artist managed to inspire a youug_ lawyer of Antwerp
with so violent a passion, that ho quitted his country, his court,
and h=s clients, to come to Lille, and share the triumphs or par-
take in tho reverses of the tender object of his flame. The two
disproved, however, the proverb, "extremes meet," for one was
not fatter than the other, a circumstance which gave rise to the
following good-natured remark :—
One evening, as the lawyer and his fair client were talking
on business matters in a dim part of tho stago behind tho scenes,
the dugaxm, who was near the spot, said, in a loud voice, to the
ingtnue, " Oood heavens, my dear, what is the matter 1 I have
just heard such a rattling of bones." " It's nothing," replied the
other kind creature ; " if s Stoltz »
other ; do not be frightened."
You may fancy what was my astonishment, when, ten or
fifteen years afterwards, 1 saw the actress, who had been so
badly received at Lille, play at Paris in La Heine de Chypre, with
that majestic 1 canty, that fulness of form, and that imposing
grace, so different to the angular conformation for which she had
been formerly celebrated. Her voice, too. had become full and
sonorous, from practising the middle and lower notes. In a
word, although her talent, thus matured and developed, could
not make the public forget Mdlle. Falcon in
assigned her, at any rate, a pla<
no one has since been able to till.
is matured ana aeveiopea, couia
llle. Falcon in dramatic parts, it
»huo among great artists; which
ilL BRUN-LAVAWXIfc
It was at Brussels, in 1832, that Madame Stolu, under the
name of Madame Ternaux, mado her first appearance on the
stage— in the chorus at the Theatre-Royal. M. Snol, who was
then conductor, perceiving her musical capabilities, gave her a
few short parts. That same year, she was eeconda dama at .Spa,
then at Antwerp, at Lille (1833), and Amsterdam (1834). She
returned to Antwerp, and, a few months subsequently, to Brus-
sels, where she was not at first much noticed. The character of
Rachel, in La Juive, was a kind of transfiguration for her ; she
proved herself in it a passionate actress and a powerful singer
(23rd December, 183ii)> It was in this part that she attracted
the attention of Adolphe Nourrtt, when the illustrious tenor,
duringhis performances at Brussels (June, 1836), played with
her. He recommended her in Paris, and, on the 2Uh August
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THE MUSICAL WORLD.
[October 2, 1858
1»37. ihe made her first appearance at tho Acad6mie Royale de
Musique. We know the rent.
Horn in Psria, tho 13th February, 1615, Madlle. Victorinc
Noel, otherwise Mad. Ternaux, otherwise Madlle. Hcloise,
otherwise Mad. Stoltz, became, on the 2nd March, 1837, before
one of the sheriffs of Brussels, the lawful wife of M. Alphonse-
Augusto Descuyer, of llouen, from whom, however, she was
afterward* separated.— (Note of the JirwueU Guide Miuieal.)
EN<*IJSII OPERA IfT NEW" YORK.
(Frum tho 2fnr York Musical World.)
About this time — at the Almauaca used to nay — expect English
Opera, or the rumour thereof. With the regularity of monster
pumpkins, and other feats of Nature, one or other is sure to
come round to us in the Fall. This year we are blessed beyond
mere promise. Thsnka to the energy of Mr. Stuart, we hare
the reality — a substantial, if not a piquant, dish of the vernacular
wedded to sweet sound.
Wallace's Theatre is a neat little place for opera. In point of
size it U not an excessive exaggeration of a drawing-room, and
every one knows that, for pure enjoyment, the music we hear in
a drawing-room surpasses all other. We have never been able
to understand why a small theatre should not prosper on music
as on the drama. There is buta small difference in the expense
of a first-class dramatic coni|>auy and a company of English
singers — at least, such a company as would suffice for a small
house. The experiment is now being made, and we trust, for the
sake of art growth, that it will succeed.
Mr. H. C. Cooper, the violinist, bt at the head of the under-
taking, and wields the bdion of conductor. So good a musician
ought certainly to have obtained a better orchestra, not only for
the sake of the enterprise, but of his own reputation. It grieves
us to begin our notice with a complaint, but as it is the only one
we hare to utter, we may as well get rid of it at once. The
orchestra, then, is bad. There are but two first violins, and an
excess of coarse wood and brass. Tho gallant two saw away with
vigour, and do the most under the stimulus of rosin, but the effect
is not pleasant ; particularly as one of them stops persistently
out of tone. For the sake of mere softness, half a dozen more
violins should be added. The chorus in sufficiently strong, aud
needs nothing but a little taming down.
Balfe's inevitable JioAemian Girt, the initiatory effort, was in-
teresting as the medium by which three new singers were made
known to our public. Miss Annie MUner has a good soprano
voice, and sings like an artist. She may be compared to Louisa
Pyne, without injustice to cither. (!) The main difference lies in
the fact, that whereas Miss Pyne was easy and lively on the stage,
Miss Milner is not quite easy, aud not nearly lively. We were
astonished at the abdity with which Miss Milner gave the music.
When she has acquired more confidence she will leavo little to
ask for. (Pupil of Mr. Howard Glover.)
Mr. Miranda, the tenor, has a fine voice, and sings from the
chest ; not perniciously from the head, like so many English
tenors. There is volume in his voice, too, and a quality which
appeals. Mr. Miranda ia young enough to make a reputation,
and it will be his own fault if he does not He created a furore.
The basso, Mr. Rudolph-:, u, is, we should suppose, a German,
lie, too, has a fine voice — ,-vna knows how to use it. Mr. and
Mrs. Ilolman were respectable. Dr. Guilmette completed the
caste, and sang the music of the Count with his usual grandi-
otity. (!) Is it wrong to say that there is something tedious in
the extreme deliberation of this artist 1
Now all these voices are fresh, and all their owners young.
Is it not a good prospect t May we not look forward to some
pleasant evenings — growing all the more pleasant as the various
members of the company become familiar with the trick of stagu
portraiture, in which, it must be confessed, they are a little
deficient at present I Mr. Stuart's company ia so much better
than any other that has preceded it, that we cannot help thinking
it destined to form the nucleus of a permanent institution.
The opera of the Academy of Music— writes the New York
tapondent of DvighCt 'Journal, September 18 — has been a
led hit, and there was an enormous house at the first apiiear-
of Sfcflani, the tenor, in Twaforc. Of course he was
successful, his powerful telling voice being peculiarly adapted
for the music of Maarico. After the " Di qoella pira," at the
dose of the third act, he was thrice called before the curtain.
The Azucena of Mies Phillippa was greatly applauded, and
Madame Gassier made a fair 1/eonora. Bernardi, in the Count,
was almost a failure. The Trovatore will be repeated to-nigbt,
and it is rumoured that William Tell will be the next opera.
Strakosch gives us, this week, a short operatic season of three
night* at Burton"* Theatre, with Madame Colson, Atnodio,
Britmoli, Laboootla, and Junea the basso. The opening o|*ra is
bATialia, to be followed by the Trariata. The English Opera
( ompany, at Niblo's, is acknowledged to be the finest English
troupe we have had lately, and the tenor with the queer name,
Mr. Miranda— who had been very absurdly and lujuiuciouely
puffed— has turned out to bo a good aingcr. lie is young, has a
fine voice, and will some day take a first rank in the pro-
fession. This evening an English -version of the Tro colore will
be produced. The part of the gipecy mother will be under-
taken by Mrs. Hoi man, a lady with a soprano voice, wholly
unfitted for the part. The Harmonic Society, hi accordance
with an invitation from a number of distinguished citizen*, gave
a grand performance, last Friday evening, at the Crystal PaWe,
repeal? the programme they performed at the Atlantic Cable
Colouration.
P*bt I.-l. Overture, " William TeU " — Iwgfi. 2.
"Achiefcd is toe glorious work" — Haydn. 3. Ode, " The Cable.'
word* by Mr»..Vnn 8.Stepheus, expres»ty for the Cable Celebration, to «b«
air " Star spangled banner." t Porter 8onr, from the opers of
" M»rth»," Carl Fonnei-Flotow. 5. Ode, " All Itsil," word* by Mr*.
8tcpucni. expre»*ly for the Cable Orfebrslion. 0. Grsnd Hallelujah
Chora*— Hsudel.
Between the Parts the Drum Con* of the 71*t Begiment will, by
permission of Col. Vo.burgh. give tl>e " Drum Polk*."
Past II.— 1. Orerture, " Frs Diurolo"— Auber. 2. Hunting Choru»,
'• St-aioa*" — H»ydn. 3. Trumpet aoug, " Me**i*li," Carl Foitom-
ITandel. 4. Choru*. " Awske the harp" (Creation). — Haydn. 5. Dnet,
" The Lord i* a Man of War" (Ursel in Egypt), C*rf Font** and
Mr. Na»h— Handel. (>. Choru*, "The Horrent are telling"— Hsydn.
In addition to the selections, Formes sang a " Ilymnof Pence,"
the words written by John Brougham, the actor, and the music
composed by Clement White, an English musictau who ha*
recently taken up his residence in this city,
five thousand people were present
La Si rem:.
■This opera, lately revived at the Theatre do la
performed for the first time in Paris, the 26th
>H in HruasRla the 18th November of the same
March, 1844, and, in Brussels, the 18th November of the
y It'would be difficult to combine a score with more intelligence,
or to make the orchestra agree better with the stage. M.
Auber knows how to keep up the interest of his audience by an
ingenious variety in his motives, and by skilful contrasts. Hi*
vocal compositions are always pure, elegant, and animated, while
his harmony ia full of good taste and spirit. The following i*
an anecdote connected with thiB piece, and proving the facility
with which the celebrated composer works.
At the last rehearsal of the Sirrne, M Auber, after listening
to the overture, tapped his forehead and exclaimed :
"That ia detestable. I will not keep music like that. It
must be changed."
"That is impossible, M. Auber," said the stage-manager.
« We have not got time. The piece is announced in ths W1U for
to-morrow."
" Pooh 1 what nonsense ! Tell the conductor, and let all the
band return at midnight"
Nine o'clock was striking-nine o'clock in the evening, be it
understood.
Installing himself in the theatre itself, M. Auber composed
a second overture, superintended the copyists, and, at midnight,
appeared with his new production complete.
f' Here," he said. " Perhaps, it will be worse than the first"
It was magnificent It is one of his best works, and is all
favourably received, not only in the theatre, but at our <
— Le Guide Miuical
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October % 1858.] THE MUSICAL WORLD.
637
TWIN ST A IIS.
(From Punch.)
"The [Kopl* than took tb« kmn from M ir moiai txr. riccaLOHiin'i arwjf,
mid li v<" 1 M»" Ac, Ac
On Ca RL'i k 4 l WiniMtx'a airivaHhe horsea were taken from Ills oarrUge, act
s drew it." Ac— /rift* Jturnalt, KrpL, ISM.
Hm, Sigtwra ! Wo It, Domino !
Who fthftll pronounce your oration ridieuloui ?
V»iu iu llie glory of gsy Ficcolomitu,
See the proud cardinal, excellent Nicholas.
Wliich his the pall it would puzzle HI direly ;
I'm.'t they ride on like a king and a ijuee'ii ?
Oh, they're «n elegant couple entirely,
Prince of Hie Church, nrvd Princess of the
Hii stocking* aro red at (lie ripest tomati,
liar ere* aro at bright aa the dew-drops OD Mov ii.iv :
She cornea representing the dear Trariata,
Aud ha as her sister, the good Scarlet Lady.
" Oh, isn't it pity," (young ladies arc saying)
" Xha portly archbishop don't wear a moustache,
Thru the dear little songstress would thing she was playii
A part with her friend, the lamented Loblachc"
Eh '. it's • glorious procession that pas*os,
Boys, shall them brutes pull that couple along ?
OtttwititthehortM.andhlu^theaaecs,
He'll pay with ■ sermon and she with a song.
Who says that the Cardinal's looking but glumly,
Not so well off at ia usual for soap ;
Doos ho think the fair preacher, scat hither by I.umley,
Is turning more liearte than the pet of the Pope.
He mustn't be jealous, she's fresh in attraction,
Whilo he'ii been well harked a* ■ popular star,
And if triumph depends upon look, voices *
The actress outshines the old actor by far.
Yes, Ah noa ginaje, in earnest simplicity,
At by oor little sonnambula tung,
It belter to hear titan llic best BentdirUt,
Growled with full force of monattical lung.
lint pull away, pull away, t
And drag the good priest
What luck for old Erin tit
attr rderoaiious,
and fair lady for
hat riral I Ultima
contend for her sbouta and her amies !
Was Joax of Arc Exkcptsd T — This investigator, while
examining the archives at Met*, in tho year 1687, found fin
entry to the effect that, on the 20th of May, 1436, " La Pucolle
Jehanne, who had been in France," came to that town ; and " on
tho same day came her two brothers, one of whom was a knight,
and called himself Messi re Picrrv, and the other Petit Jchan, an
esquire," who thought that she had been dead ; but, "as soon aa
they saw her they recognised her, as she did them." The docu-
ment goes on to state that, on the next day, they took her to
Boquefon, and procured for her a horse, a pair of leggings, a
cap, and a sword ; and the said Pucelle managed the horse very
well, and said many things to the Sieur Nicole, so that he felt
sure that this was she who had been in France ; and she was
identified by many signs aa La Pucelle Jchan dc France, who
had consecrated Charles at Rheinia." After going to Cologne
and many other places, where she was looked upon as the genuine
Maid, she reached £r!on, where " she was married to Monsieur
tie Ifermoise, a knight;" and soon after this " the said Sieur de
Hermoise and his wife La Pucelle came and lived in Mete, in
the house which belonged to the said Sieur." Tho Pore Vigier
did not set much value on this record (and we cannot blame his
scepticism) until the next year 10K3, when hn happened to dine
with a Monsienr des Armoises, who
rho, after the entertainment,
gave him the keys of the family library, where, to his surprise
and delight, ho stumblod on a marriage contract between
•* Robert des Armoiscs, knight, and Jeanne d'Arcy, called Maid
of Orleans." This confirmation of the Metz record satisfied him.
Monsienr Delepierre then refers to some documents found at
Orleans in 1740, which contains charges under the years 1435
and 1438, for money given to a messenger, who " brought letters
from Jehanne La Pucelle," and to Jehan de Lais (that being the
title by which her brothers had been ennobled), " to help him in
returning to his sister." There is a third entry: "To Jehanne
Darmoiscs, as a present, made to her on the 1st of August, 1439,
after the deliberation of the council of this city, for the services
rendered bv her at its siege, 210 livres." As a last documentary
evidence, there is a petition from her brother, previous to his
being ennobled in 1444— a date contradicted by the Orleans
charge, which was made in 1 430. This petition represents that
"he had left hit native place to join the King's service in com-
pany with his sister, Jeanne la Pucelle, with whom, np to the
time of her absence, and since then till the present, he had risked
his life," M. Delepierre also urges that at the time of Joan's
reputed execution, in the year 1481, there was a common talk
that she was not dead, but that the English had put another
victim in her place. Thus the Chronicler of Meti, after relating
the story of her imprisonment, trial, and burning, concludes :
-ainti qu'on It raconte, ear dupitit le contrail* a Hi prow*."
(As they relate, for the contrary has since been proved.)—
Dicleiu't HovKtltotd Word*.
Advice to the Crtstal Palace CoMpaitt. — Wo cannot
close this notice without one or two earnest words to the mana-
gers of the Crystal Palace Railway regarding the great defi-
ciency of railway accommodation provided for the public on
leaving the Palace. So few and far between are tne trains,
that till a late hour in the evening accumulations of weary and
worn-out visitors constantly encumber tho station, and when,
after long waiting, a train appears, the rush and crowding which
ensue preclude all but stalwart men and sinewy matrons from
availing themselves of the occasion; the frail, the tender, and
the courteous, whatever their just claims may tie, aooording to
tho good old maxim, " First come, first served, being Invariably
retarded until they have become reduced to a scanty residuum.
Such disregard of tho public convenience cannot but in the end
tell fatally against the interests of the Crystal Palace. — Morning
Herald. '
Manchester. — On Wednesday, the 22nd ult, M. Charles
Hallo's second orchestral concert took place in the Free Trade
Hull. Madame Clara Novcllo was tho vocalist. Haydn's
symphony in B flat, the overtures to Athalie and the Syrine were
performed by the orchestra. M. Halle played Weber's " Concert-
stuck" and some Hungarian Airs in his accustomed finished
manner.
Bolton. — A " Limited Liability Company" has bean formed
for the purpose of building a Music HalL A board of directors
has been appointed. Mr. Stewart is to be the secretary.
Worcester. — The Harmonic Society's last concert was very
successful. Miss Louisa Vinning, Mr. Sims Reeves, and Mr.
Thomas were the vocalists. Mr. Davis (harp), and Mr. Mathews
(flut?), the solo instrumentalists. The band played a symphony
by Haydn (No. 6). Mr. D'Egville was the leader Mr. Turbutt
presided at the org
pianoforte.
Rio.— A great deal has been said of the <
Laborde's engagement. The management paid this lady 30,000
francs and gave her a clear benefit to annul it.
Cobleste.— M. Hens lately gave a very fine e
Haynes and Jones at the
benefit of the poor, in the
he made bis dtbul,
when seven yearn of age. He had never played at Coblentz
He will return t* Paris about the end of the
his class at tho Conservatoire Imperial de
since that time,
month, to reaurt
Musique.
Paris.— The management of the Thatre-Italien has iuxt
engaged Mr. A. Hams, the stage manager of the Roval Italian
Opera, Covent Garden, to superintend tho miw-tn-tcini of Verdi's
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668
THE MUSICAL WORLD.
[October 2, 1858.
MESSRS. DUNCAN DAVISON AND CO.'S
PUBLICATIONS.
PIANO
«. d.
"Thou art so near and yet to tar," Rlverfc on RehharJt'a
popular Iaod SO
A Q 0 1 U R f Ex » * i' «x) " 8un*et vlow '* 3 0
"BACIIIANA," select piece* (Prelude* mid Fitjni**) from the Pianoforte
Korku of John 8cbo*tian Bach, not roctndad lu the forty-eight Prelude^
and Fugue.
No. 1. "Fuira Schcrzai: In," in A minor . .,2 0
2. Prelude and Fujrue on the name Bach . . ■ . ..SO
Both Ui« above have bten played In public by Miaa Arabella Goddard.
DR18SAC (Jpu») "Bella Figlla,rUbc quartet from RIBoUitto> .. .. S 8
"Onando le Mr*'' and "Ah! fu tiuato Ifrom IjuUa
Millar) 3 0
RUR0MUIXKR<F ) "Bbujche." Polka Maaurk* SO
FUMAOALl.I (A.) "CLARICE," the only correct odilion, a» uUyoJ by
Miw Arabella Grddard 4 0
OOMIONrK A.) "Eluo," Romance 3 0
HAIKIITTfC J)T»iwUedcrolujc.wnT!o SO
y^l?A^.i^_'|^P^1^^^m^(°t^^l15^^^JP'J'ar Bohemian melody. . 4 o
FORTE.
GREVILLE (The Hon. Mm.):
Grand March, with Introduction and Quick Slop, dedicated to
lilt U. the Duke of Cum bridge
Id&s Fugitives (in 3 boukai :
Book I , dedicated to the Rt Tloo Countess Kinnorill
Book V, dedicated to llor Excellency the Rt Hon Countess Cowley
Bo.k 3. ddleated to the lit. Hon. Lady Croiiuc Murray
L Amicuia. Notturuo, dedicated to the Hon. Mra. Kdm'ind Phippa
I a Costanza, Nottiinio, dedicated to the RL Hon Lady do Roa
FeuillM rt'Aiitouine. Valaea, dedicated to Mtas Ci<cilia EUiee
Le Bien Vcuu, Valae Variee, dedicated to Mra.
The Caroline, Polka*, dedicated to Mra. Hones
Tlw IIatn|.tou Court. Polka*, dedicated to tuo
Tlir« Waltae., and a Galup
Set of Quadrilloa, dedicated to Lady William Hirvey
M'KORKELL (C ) Souvenir do Ghtek (Armidc)
,. "La Joyous*. ' t>a]votur da "
OSBORNE (Q. A ) -ftnliiKv" Nocturne ..
». a.
s •
3 »
J 0
1. "Tromh-al
S "Rove d un
3. " Lett deux
A. "Los deux
REPERTOIRE DES BOUFFE S PARISIENS,
A lOt-LXCTJOlC or
QUADRILLES, WALTZES, POLKAS, &c. &c,
>«om TUB
rnroBKBP at
THE THEATRE DES BOUFFES PARISIENS, PARIS.
*. d.
s e
«ix»r." Walts
c nutt d^teV' W;dta
pcehcura," Waltz
avoujttea," Walta
1 0
2 «
S «
5. " Lo Vlolonmi," Polks
6. "Une nuil blanche," ^undriilo
7. " Vent du soar, " QtiadnU*
U. "Le Vlo!onoux,"IJuadrilIo ,.
a d.
t 0
s •
s 0
3 *
PIANOFORTE DUET.
i," introducing the oekl-raled Serenade " Com' e gtutil"
la one of tho moat e&ctive duet* that wc hare ever listened to."— iinnyooi Hail.
LISTER (Rtt UiBo). " Pod Paaquale," introducing Uie_ celebrated Serenade *' Com' e gtuitil "
TWO FLUTES AND PIANOFORTE.
NINAbI (Aktokio). " Venice," duo on tho ".Carnival of Venloa," dedicoted to Walter Stewart Broodwood. Edq.
d.
0 0
a. d.
i »
VOCAL.
ADKLAIDA. "Tho Cucko'*("llall, beau Iran stranger of the oro7o"> .. 3
„ "Sunshine" ("I Into the sunshine everywhere" — Maby
UnwiTT) 1
BAI.FE (M. W.) " I'm not in love, remember," sung with the greatest eclat
by Mdlle. Victoire Balfe a* well a> by Mr. Cbarlea Brabain S
n " Oh, take me to (by heart again T' S
" One of the moot eharmlng inolodlea Mr. luirc. haa over compoeed."—
RRAIIAM (Cnarixh) "Persevere, or the Career of Havclock'' .. .. 3
BRUCE (Kwbt). ■• When I >w young." rang by Mdllo Jetty de Trefli . . 2
u "When flnl you ahone before nve," mug by Madame
Borchardt S
CRUWELL (aoTTUDi), " Mournfully, alns moitrnftilly," with violin or flute
accompaniment . . ., 3
>• " Where fa tlie aca," with violoncello or tenor aecoui-
paniment S
Df>SAUElt (J.) "Quick arise, maiden mine," sung by Mdlle. Jetty dcTreflr. S
BXDEIt8S0UN(M.) "Sweet little Jenny ' g
I OS T L'H I Alh c). " Mernly, me rrfly ahiM.- the mom.' The akVlark'. aon^
0R0HVF.N0R fS ) " 1 wiU go furth in the atrcn^h of the Lord Cod, ■ Thanka-
jctvliiff Antncm for voioea and organ
IIALEVY (F.) " Lord boar ua wo Implore the*,"' Prayer from La Julve
" Be will be her* " (II ra vcnlr)
HAK01TT (C. Ci.) "To marrow'' ("Oh lniglit and Jovcus were tlie day* of
chlldb'md ")
MACFARREN (O. A.) " Faquita (" I love when the eun has set") *ung by
MEYEHBEER. "This house to iov* Uholy.'" Serenade for S sopranos,' *3 altoil
S tenor*, and 2 baaaea, without aooom paniment In vocal scon ..
^patatc vocal parte each ., ..
„ The Lord's Prayer (Enclish and Latin words') lor soprano]
alto, tenor, and baa*, organ ad. lib. In score
Separate vocal parte each
ft d.
3 0
1 •
S 0
5 6
S 6
4 *
o c
■ting by Madame Ituderttdorfl %
CRBVILLfe (Tbo How. Mna.) "Oh, I would wend with thro, love"
Ditt
OROSVENOR'fS ) "At early
..If
Itto aa a duut Tor barytono and soprano ..30
"Quand on me donuerait," duct iov soprano
and tenor SO
Ditto aa a Solo, with tiuitar accompaniment ..10
English War Song. "Who fear* to dler Tbo
words by Alfred Tennyson 3 0
National Song. "Now to Anna" IS
• MarvO Shane. "lUlLad dndlcited to MiaaRowlaud 3 «
.. 2 e
MONK (E.G.)
MOZART. "The vt
FKCH (Dr. Jams*)
RE1CHARDT(A.)
' Here,
clarion
Violence]
" Near to
U
t obblinto
r> or violin to t'
xuntaln," SliephcnVa sotig, with
c above
•luncello
4 0
IT '
Wcx^l* and uowerV '
'Thou art so near and yet so far" (one or the
lvrmlur song* of tlie day)
8T. LEG Eli (8, O.) "The old willow tree
VIVIER(Et.untr,i.
' The G uot herd " (Lecbcvrlei)
"The Exile "(L'ExilO.,
Tlie Fisherman's Song" (Chans-in du r<kh«urj
When o'er the meadow* (men" (with Horn a
paniment), stin« by Madame Viardot ..
Violonool o port J ditt?
TARNOLD (Looisa). "
3 (•
J «
S C
S 0
s »
3 *
0 6
: o
LONDON:
DUNCAN DAVISON AND CO.,
MrOT GfiNfiRAL DE LA MAISON HBANDUS, DE PARIS,
244, REGENT-STREET, CORNER OF LITTLE ARGYLL-STREET.
October 2, 185a]
THE MUSICAL WORLD.
639
MUSIC FOR FLUTE AND PIANO.
BOOSEY'S REPERTOIRE FOR FLUTE AND
PIANO:
Containing Soloctiooi from tlx BB8T OPERAS .tad other MODERN MU8IC,
ARRAKOKD lit J. CLIHTON, W. FOUDK, ETC ,
1. Hnt Meaaiquo on Uie New 0|<ra .. Rlgoletto .. Vordl 4 'o
2. Second ditto cm dllto .. ditto 4 0
8. Halntl Cttto popular" TawnacGordigiiinl 2 0
4. Tralala ditto .. ditto 5 ...
a. BMt hollo ditto .. ditto s o
«. I.'litamuiaU ditto .. ditto S 0
7 (J 1 occhl oeri ditto .. ditto i 0
8. lo tonu aUto ditto . . ditto S 0
V. Oonae per mc sereno. . ,, ., .. La Bonnanibiila. -llellinl 3 0
10. VIniTTtoo ditto .. ditto » 0
11. Tutto < Mlolto ditto .. ditto I 0
U 1'ra.U 1' mel ditto .. ditto S 0
13. Ahioocoacki — Ab ana plunge ditto .. ditto S 0
14. rJou (*Iom— Tutto • gioik ditto .. ditto 4 0
15. Qn laoghl— O luce di quest' enima .. Linda .. Doulactti 3 0
18 K U toco— Ah cor.miliurml <litto .. ditto I 0
17. Ah I boldestiu— Di In ivtis ditto .. ditto 8 0
18 Mnuwi, Kro&ni, inrolaml ,. .. .. Knuuii .. Vordl 8 I
19. Hollogo cmujto— lufclico— Viv» Augiuto. t ; . . ditto . . ditto 8 0
59. C»«ne ruglad* al cesplte ditto .. d.U . S 0
HI. Koon and Jull<t Cipulctl .. Bellini I 0
•J'i. Electric a»top-K<mlfr.bur« PoIV.i Oollmlek 8 0
23- Old la voce nu eoare— Vleu dlletto • In cl«l .. I Puritan! .. Itolliui 1 0
14. 11 rival salver tuDui— Sounl In troroba.. ditto .. diilo 3 0
li. A tc, O aura amor, Tolora— Son vergin rouoia ditto ditto 3 0
Booner'n RcrtaTotar..— "These arrangements are excellently done ; familiar, yet
np.it kJiug and brilliant, so tli.it auy flute p ayor or moderate ability may
attempt tbem, and bare at tho aome time the credit of playing ••••mewhat
difficult pieces. Thla li the truo art of arrainjing music, and If tbe Flute baa
ooUoot all 1U |»pu^ty through the absurd cka-jge* In tbe fingering, they
>Atfe* */ |A< IFerM,
R. S. PRATTEN'S
RECREATIONS
!•
A Ollectltm or POPULAR OPERATIC MELODIES for FLUTE i
ARRANOED SYR. S. FRATTEN.
FOR
RAW).
No I,
J.
4.
«!
7.
S.
9,
i X
II.
13.
13
M,
IS.
111.
IT
I*.
1.1.
■.«.
SI.
.:
Uoborl, t< 1 <pse /ainio Robot lo Diablo
(jtiand jo ipiutai ditto
Kobil signer HugiiouoU
No cobo eg.ial .. .. ditto
Va penosoro Nabuocn
Eruoiii iorotaml Emani
Tutto e sprezao .. .. .. .. .. ditto
\a mia let I Ma .. LonibaixH
mobile *■ mm .. .. .. Rigolctto
E II aid dell' anima ditto
Questa o quella ditto
Bella figHn , ditto
lli'-|..|l.i-t|..|! ;ll,|] l.inl' |. ltijrilc.l.i .. .. Utfel
Miaurvre— Ab I cbo U mortc TroTatnro
11 balen del sua
Si la staucliouu
Mead, juenea omiea Lea V.
Ami le ciour d' Helena
Jour U'iTrcM
Llbiamo, lirlodM Trivial*
l\irl«< o caru ditto
DI protclua ditto
Ah, for. e hil ditto
KUFFNE R'S POTPOURRIS
1. Weber's Freisebula
4. Weber's Precioaa
6. Webw's Euryuiitho .
6. Original
8. Boieldieu . I
11. Ditto ..
IS. Ditto .. ,.
18. Herold's Mario
Id. LeC
17.
50. Oillllaunie Tell
51. Ditto ..
2S. Aiiber'e Fiancee
33. Carafa's Vkiletto
34. Fra Dutvolo ..
Si. La Bayadere ..
!M. AubeVa Philtre
27. Herold'a Kimpii
2a. RolKirt lo DUblo
OT l^SeriiKlit ..
IMPORTED BY BOOSEY AND SONS.
81. U Pit
A'lber'a On»t«T0
Ditto
Priam dUdlmbotug, Cara/a
Lea Hugiienota
Auber'a Lcatoii|
Le Cheval de Bronxe
Auber'a Aotdon
Adam's Pi#:lllon ..
Lcs Cliai ermia Illiinca ..
Lea Soirfao de Roaahii . .
L'Amboaiaditco ..
Lo Hemupilfr de In 1
Le I*
:.
31.
31
M.
37.
3S.
S».
40.
II.
t : 5.
44.
4«-7.
62.
n,
it
H
60-
«.
«3.
67. Le Due d Olonne
70. r'
Iji rtcgiLe d'Ji
1a\ Raiuo d'unjour
D.nJaau
Spontiiii'a VcstaJe..
Dcttbofcn s Fidello
Auber'a Zonotu
I » • •
• • • *
• • •«
■ d.
THE VIOLONCELLO.
IN ONE LABOE VOLUKJ?, BOARDS, PORTRAIT AND PLATES, PRICE THIRTY SHILLINGS,
ROMBERG'S
¥I©L©MC!1L1L(D S€M(0)
Tliroretica] and Practi.
cnl Scltool for that Iiiitrnmmt ; in Two Part* ; illtittrated bj \
the Violoncello should be held and pUved. ikoml Edition.
•in whkh
BOOSET and SONS' Musical Library, 24 and 28, HoUea-street, Oxford-street
640
THE MUSICAL WORLD.
[October 2, 1858.
TO BE PUBLISHED ON MONDAY NEXT,
Price 2*
"DAYBREAK,
NEW SONG,
BV
LONGFELLOW,
SET TO MUSIC HY
M. W. B AL F E.
A wind came up out of the sea,
And said: " O mists! make room for me."
It hailed the ships, and cried : " Sail on,
" Ye mariners, the night is gone."
And hurried landward far away,
Crying: "Awake! it is the day."
It said unto the forest : " Shout !
Hang all your leafy banners out !"
It touched the wood-bird's folded whig,
And said : " 0 bird, awake and sing!"
And o'er the farms : " O chanticleer !
Your clarion blow, the day is near."
It whispered to the fields of corn :
" Bow down, and hail the coming morn."
It shouted through the belfry-tower :
" Awake, O bell ! proclaim the hour."
It crossed the churchyard with a sigh,
And said : " Not yet ! in quiet lie !"
BOOSEY AND SONS'
Musical Library, 24 and 28, HoUes-street,
GLENFIELD PATENT STAKCH,
USED IN THE ROYAL LAUNDRY,
Attv WHougcxn ■» HER MAJESTY'S LAUNDRESS, to ba
THE FINEST STARCH SHE EVER USED.
Sold by alt Chandlery Grocer*, «c„ Ice
FREDERICK DENT,
Chronometer, Watcb, and Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
SnU iflakn of tfjt 0rt»t dor* tot ttjt po\x$ts of ^ulumnt,
.alien's Illustrattti Catalogue
nntcaiu, IK»|»
me opening*. *
i'S f'ATKVr
Of rortmnnti
with square I
ALLEN'S
parUnenta.
ALLEN'S PATENT DESPATCH BOX, with and without I
ALLKNS PATENT THAVELLI NU BAO, I
arc the beat o* the kind yet invented.
J W and T. ALLEN, Manufacturers of 1
Military Outfitters (kc Mparab; CataioKueK 18 «
G
KEY HAIR RESTORED TO ITS ORIGINAL
COLOUR — Neuralgia. Nervous Headache. Rheumatism,' and SUff Joints
by F. M. HERRING'S PATENT MAGNETIC COMBS. HAIR AND FLKSH
HRUoTiKS. They require no preparation, arc always ready for use, and caaaot
pit out of order. Bmshe*, 10*. au<l 16a ; Combe from 2a Bd. to s.'~ (ircj tui:
i udJueM | revolted by F. M. II '« Patent Prevaiitm Bruah, i rice la n el ■
Offices, IS. liiauighnll-atroet, London. Illustrated pamphlets "Why Hair
or by put for ton Haifa. Bold by all
Aj EW MUSIC for violin, flute, cornet, concertina, tiar-
i. 1 roonlnm, and "trine, brass, and reed hand*. A oatalo/ue lr> 1« had gratis
on application to Booacy and S"ns 24 and ?S, Hullos-etrcit
N
EVV ITALIAN SONGS. — " II Mattino" and " La rnia
|»1et*," by OitgUeimo. pries U each. -Triateaaa." by Campana, Sa. A
cheap edition of Oo
Bcoscy and Sons', II
ugtani-a filly
lies-street.
NORDMANN'S TOWEU SCENE from " II Trovatons"
for the pianoforte. Including "Ah die la mortc,- and the "Miserere.-
Fourth edition, price Sa.— Booecy and Soon, UoUce-atrcct.
ORDMANN'S " M* apparri tutf amor," a brillant and
anient of Mario's celebrated song
i.— Booaey and Sons Hoilc* stmt
N
the
in Martha, as a piece tor
OS., in-
BALFE'S NEW SINGING METHOD, price 5*
eluding sixteen original ballade iiud eouge, with a large selection of va rashes
exercise* farmingthc most attractive elementary work eTerc
" A toon to all students In the divine art." — Lirrrpool Mrtt. The best wort I ■
English." — IFefsumt f?Msf. Booaey and Sons, Hollea-sUcoL
RS. PRATTEN'S 100 operatic airs for the flute, price
• la. dd R.8 Pra. Len s rtcreatiou* tor the fluto and piano, eontain.ng tb^
most favourite airs from Verdi's operas, be , 14 Nos , la each — Boosoy and Saw,
Uotk *«ti«ct-
" At R. QOLLMICK L.t.s produced a m
J.V-L |«ieoca, whlce will be found Idgfily attrnctiva, not t
set of Pianoforte
igtily attractive, not only from the bcactrpf
the airs, but from the laate and skill with which be has treated them." The abort
is extracted from a critique In the IKuMntioi Lu ton AV<«, on the Twelve Gerauu
Volkaltoder, adapted aa popular pieces for the planofvft* by Adolph Ooilralet.
Price ?a. Od. each. Booary and Bona, Uoltos-auwet.
MADAME OTJRY'S MARTHA,Ww Grand Fantaigic
for the Pianoforte, price uniform with the celebrated mtatAtal.~< na
Trovafore, Trnviata. ati'l Rlg'ktlo, by the same cooipoaer. Also, just publiali"!.
by Mvlatue (hiry, The Bohemian Olrl, -Js. ; Oberon. Polka de Salon, 3s ; Room
M que j'alme, 4a ; Chorus, Ut:-.% Miller. 3a. Hoc* y and Sons, Hullo-atrect.
Published by .Ionic Boosrr. of OaaUcbar-ldl). in the pariah of ZalinK. in the
Co-ioty of Mid ll«*x, M the odiee of Boo*, r & Poxn 28, HoUes-stteeL Sold
alao by Rero, li. Job o street. Great Portland strrwt; Atxnr, Wailll-
buie; Vkxtrs. llotywell-atrwt : Knrn, F«ow«c * Co., 4*. Cbeapaklr ,
O. bcievioiairx. 84, Newgate-si net ; Job* Summo. Newgate-exrvt .
Uaaar Mar, 11, Holl«rn-bnra. Ageuta for Scotland, PaTtwoa- * So««.
rldtnburgh and Olaagow ; for Ireland, II. Bfasat-U Dublin ; and all Mbsk-
rrintcd by W.uuu Srrncnt Jonraoii, " Naaaau Steam Freaa," 60. St. Martln't
^{^I^TJfV^^^ ■ th. County
Uigitizeci Dy VjOO
"Tni
0» AjtT AFTKAHS MOST
Si DECCCTKD. It 18 WHOLLY
HO MATBBIAL, SO SCBJECT-KATTaB, WHOSS BBFECT
AN: B»50»LE» WiuiRVBH IT BXfBBMES." — OHefhe.
SUBSCRIPTION — Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Poit Office Order,
to B00SET A SONS. 28, Holies Street, Cavendish Square,
VOL. 36.— No. 41.
SATURDAY, OCTOBER 9, 1858.
( PRICE 4 a.
\ STAMPED 5d.
A 8 GOVERN ESS. — A lad
IB. mm above. At
referred . Adlreaa. M. A B..
evesd aj-aquare, W
requires n daily engagement
aefc. ml Muatc Toung chddnru
and Son*, and ?8, Hollo, a-.reet.
THE WELLINGTON HALL, LEEDS— The most
appropriate nod eloc,-int room in Ixxdi for_Cbamber Cohcerta, Drawing
Rom Entertainment*. R> *dii's-ii, *<
wtlh the
,7 Oct, ISM.
Ac . >» the Wellington Halt, in connection
apply lo Hr.
CONCERT AGENCY, 14, Ponton-street, Haymarket —
Mr. SHEE mpectAillr intimate, to maxicil ari»tes who imrpoee (rtriag
autumn vt winter CVuiccrte thnt be bits remoTtd to the above adarcML where be
couUtiuee the aienftfrmeiit of tbc udm, ..utile or private, it bin usual moderate
PROFESSOR WILJAJ.BA FRIKELL— NEW
TRIOKA— last mk but Two pnrrlnn. to Profeaeor Prikeli '» departure on a
provincial U-iir. Po'ygr.iphlc Hail. King TVIilUro-atreet, Cbaring-croM — TWO
HOURS OP ILLUSIONS Every evening at 8; SuUmlay afWruoou* at S. Private
, oneguiiicv:b..x*tall., 3* ; ervhertia ital... 3a. ; area, la. ; ampWiUMatre, la
i roar be necurcd at I be Polygraph* Hal), and at JT
ONE OP THE FINEST 0RGAH8 IV THE WOULD
TO BE SOLD,
(rrraBLC ro» a
CHURCH, CATHEDRAL, OR GRAND MUSIC MAI .1 .,
Appljr to the PuhUebeni of tbc "Muaient Worlil'*
MENDELSSOHNS LIEDER OHNE WORTE (Songs
without Word.), for Piano, in Six Hooka, each 4a. ; or, oomnlet* in one
volume, el' th back, wot pottage free, only 12a. "T1)U haiideome odiliun of
MeodetaaoluVl lieder, fingered and revuved by John Ulaliop, of Cheltenham, i»
ooneidorcd by profeMora to be unequalled, and rcn>lera Uiaee b.aiitlful works
available for all p-ar.ofc.rte player*."— London : ROBBRT COCKS and CO., New
PIANOFORTES. — DEWRANCE'S COMPENSATING
PIANO may now be teen at the itep.lt, 83, Soho-eqnu*. By the application
of ihiB i rincipal a heavier »trtnu em bo u»*d, tli« reautt ..I wlilcli i«. that tti-j rull
lower . f a fr.n l U ot'tainvd ttvui a <x>ll*gv uMtnunent, at the am tune the
wire* and the frame uu which they are atrung cipand and ci.tnu.-t with change
of temperature equally and together. > that the nccouttv tor frequent tuuluir. a*
in the rr-linary inatrumenl, i* entirely obviated. Per fu neat and roun lucaa of
lone, wltli «ti-..ordtniiry p.vcn u[ m."JulnUMi. theae iiiatrumciit* are qulie un-
equalled, at the «amc time the price la no higher than thM of a:, ct'linary j iar.n
MUSIC STRINGS.
SALE WAREHOUSE — THE CHEAPEST HOUSE IN LONDON.
14, EAST PLACE, KENNINGTON ROAD.
A/TONSIETJR ALPHONSE VILLIN (de Paris) Importer
lU uf lutai. Prooch. and German .String* lor all Io.Uumenla. Uatofpnoc.
awl aaiS|>lw t.,r-» aroci (frve ) en apptieatoou.
Toe oairhraud ACK1BKLES. now nnivereaily adopted brail ViniuiUt*. oeanot
wi had GENUINE butat tbo above eddrew of MonaicurA TOlin, eaieanducluatni
Wuot.aale AK-,nt for th« United Kingdom.
SOMAN AND NAPLES STRINGS (not to be aarpeaVad) ara loid by Ifonakur
V Mm loTy 13 per onit cheaper than any Mhei h-uw iu Oiu trade iu Br\gL.nd.
41
"\fR. GOLLMICK ban piwluced a wt of Pianoforte
1»A piece*, which will be found i.lg 'ly .attractive, w t .inly from the beauty of
the in, but from th" taate a id akill with which lie ha* treated thorn." Thoabove
ia catr icted from a critique in the liwjtraitd London -Yen, on I tie Twelve German
Volkalicder, adaplod «. popular p.ec«< f .r the p1,n..f rte by Adoipb i~-
Price U. Od
MADAME OURY 3 MARTHA, New Grand Fantaiwe
for the Pianoforte, prtoo 4*.. uniionn with the celebrated ttuuieiett on
TroTatore. TraTLtia, tuul Ki^ukttti, by the same comp"Mr. Aleo, Juat ,nil»it«ho>i,
bv MvUidb Oory, The Dobemisja Oiri, 2U. ; Obenon. rolka de frOon. 3a . Kobert
toi que j aioie* 4«. ; Cborus, Lut-n MLUer. 34. "
Ti
call* at
■libjr
from
E IMPROVED HARMONIUM — Mr. W. E.
i A^H, luveutor of the Ki«gllah Barmcailum(«xlilbltad in lon.h.q In 1S*«X
tcntion t.i the Improvemei.U he ha> lately made In thl* Inatrv
i totUmonial from Mr. Alfred Mellon U one of the many be I
t profeaeor* . —
i TBI Vale. Knto'a Roao, (
March iJth, 1*11
, W. B. Evai
81, Norto.k atroet, rUieflWd
iaittn's Sllusuattlt <£,italoaue
Dr.pntch Boiea. Writlutt and Drvaeiug Cue*, Tr*v*llini
»ga. and J*0 other article* for lrav»llh^, by po.t for
PORTMANTEAU.
Of
with
ALLEN'S PATENT SOLID
purtmenU.
AlaUWV PATENT DESPATCH
ALLEN'S PATENT TRAVELLING
are the heat of the kind yet invented.
J. W and T. ALLEN. Mauufactiirer* of Portable Ban
Military outfitter, (a** .eparatu OaUlogna), 18 and M, "
.Em
uanra nir. ratiujxaui OF
THE ROYAL PAM1LT.
MUSICAL ENTERTAINMENT,
DR. MARK AND HIS LITTLE MEN,
lumbering upward* or thirty InatrameutaUtta, awl a moat eSectiv
whole forming a mostcomploto and unique
JUVENILE ORCHESTRA,
LitU-, Engll-h. Iriah, nud Sc^th b-.y*. fn.m five to alxteen year* or «rt.,v»hoiL»T
opt iatlc Milection.. Miloa, duel*, quart. l«. qiHidrillea, niarch.a, and i^kst\ j ana
Hinir * njr*. tiionimN». Ac, m im-u eff-jctim miuincr. aud tejw^OiV
j,T.t'Ulto.ia k*vli»-.i.) mid lnu*l«il rrlnwUloi. m frdrr to illun .UeJl'M t^hV
•yatem of mmuul cdu.a' ion, and with whom l.e travel* ..lit. it Ua>
el cilo an ixit*rvat tor and help to tetabiuh murcui in.tiu^eaa ttJkv'P
•crvattaxc. . f Mualc" for Utt'c chlidren in every town. 111^ Tffifer
i-T'.it empire ^a. mmm r*
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La MnUdi Portia
Beatrice dl Taw
ICa|iule4iedi]
Norma
II Pint* . . .. • .
I Puritan!
La SonnamhuU ..
lik Straniura
Anna Bolena »•
Rel rarlo
Belly
Don l'naquule . . ■ ■
L' Kliaire d' Amoro
!.. l i d I Ii.,;.::ni;i-''.'
Linda dl Chomounix . .
Lucia dl Lammcnnoor. .
Lncrexla Borgia . , . .
Mirtadl Rohan ..
Maria Pndilla
Marino Falieru M
Parlaiua
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DONIZETTI.
Roberto Dcvereux ..
It Br»To IS
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MEYERBEER
»»
MOZART.
BICCI (FED.)
RICCl"(LUlQI).
ROSSINI.
Elena da Feltia
KUaa o Claudio
II Giuramcoto .. ..
I* Veatalo
11 Crociato in Egilto..
Tl rrofcU
Roberto 11 ]
10
1 1
IS
IS
IS
0
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■ i
0
0
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Hui
II Flam* Magico .. 28 0
Cnrradod' AlUmnra.. .. 18 0
I* Prigioni d' Ediinburgo .. IS 0
Un A v vent ira di ScorarmicJa 18 0
Chlara dl Roacnburg.. .. 18 0
Armida IS 0
11 Barbiere dl Sirlglla (miova
odlalooe) 18 0
Cciktt ntolu . . . . . . ISO
II Onto Ory 14 0
La Donna del Lago . . 14 0
Lu Ga^xa Ladra .. 1$ 0
ROAM XL
nasi
Guglielmo Toll
Mo*i In EgitW(tn 4 i
Olello ..
Ruber!" 11m co
.11
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L'J
I Dim!
Errant
QeruaaleanM
Gloianna di Gunman
I Lombardl alia Prima C-nciata
l.ui-a Miliar
M icbeth
S abucodouoaor
Oberto Oouto ill H. Bonifacio
Rlr-lctto .. ..
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La TravlutA
II Traiatorc
u
IS
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34
10
IS
IS
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28 0
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Auuu B.iU-ua
B»ti»rio
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I.' K »;r. .,• An, ,x-
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I Due Foecaxi
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i:
-
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Gi ivannadl GUI
11 Giuraujeoto..
'."■
'J
t.
I Lombordi alia
UVcaUla .. ..
33
1
Bf
LnJai Milter
11 Profeta
15
'
M
Macbeth ..
Nabucodonoaor
RoUrt- II DUrolo ..
f
Iv.nlioo
2i
0
■■
RW 1 tto ..
a>Ho ..
2(1
0
Stiffv lo
11 ilaxbicrc dl M. v iglia
L* Au..lio dl Arlutoj. .
■ i
1
•■
la TrarUta
: i
0
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ad,
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28 0
S3 0
38 S
SS s
31 S
3S S
32
ao o
so o
BOOSEY AND SONS' Musical Library, 24 and 28, Hollewtreet,
Digitized by doo
October 9, 1858.] THE MUSICAL WORLD.
643
ISUOARD ORESTE PRAEGER.
2Tb the Editor of the Mvicnl World.
Sir, — I am only sorry that my name u always spelt wrong.
The printer does not spell my name right. I. 0. Praeger, but
not G. Praeger. I should have like to sent the musical paper
to my father, on the Continent. I pray yon, my dear Sir, excuse
my troubling, but I with the printer will not forget that my
Christian name is lsuoard Orette Praeger or /. 0. Praeger.
Will you allow me to ask you a question! What i9 the reason
that Professor W. a Bennett was not the conductor of the late
Festival in Birmingham t I can assure I worship the name of
Sterndalo Bennett. I should not care to do anything in favour
for that great genius, or tha*, great musician, for thxs reason I
take the liberty to act you that question. ■
Yours H. servant,
Nottingham. I. 0. Praegkr.
t be rather ill-supplied
matters not to be aware that Mr.
Costa has directed the Birmingham Festival since 1849. —
Ed. M. W.]
[Our Nottingham Correspondent
with information on musical matter
A FAIR PROPOSITION.
To the Editor of the Murieal World.
Sir,— Having read your advertisement of an organ for sale
on the title of the last number of the liusical World, you will
oblige by informing me where the instrument is to be seen; aud
an I have been an organist thirty years, I shall be happy to play
a few choruses, fugues, or a portion of my own concerto for the
organ (thirty pages long, with a solo for every soft stop and last
movement, for the full organ and pedal boss, all through; published
in 1831), if this offer suites your purpose. Trust to hear from
you, I beg to ascribe myself, yours respectfully,
H. Wilson.
(The advertisement is not ours, and we know nothing of the
whereabouts of the organ.— Ed. M. W.]
THE LATE BIRMINGHAM FESTIVAL
To the Editor of the Musical World.
Sir,— In the article from the -Birmingham Journal quoted in your
journal of the week before last, it is stated t " In time* gone by, mana-
egm of concerts, end committee* of fettirab, were somewhat tardy in
bringing out new work* of English composers, but this feeling is hap-
y dying sway, snd the elTort now seems to be as to who can get t-io
it new thing to bring out. This is a step in the right direction. It is an
inducement snd encouragement for those who can write to do >o, ond
will, doubtless, ultimately lead to a school of English srt." This, no
doubt, sounds very Dm, but, unfortunately for the credit of the Sir-
■ningham Journal, it is not true. As sn instance, I may state that two
or three oratorio* were offered to tho Festival Committee at the com-
mencement of the present year, but as yet the Fcstirsl Committee have
declined to scknowledge tho receipt of tho letters containing tho ssid
offer*. I beg to remain, yours truly,
TttUTil.
- — ■ a=a
B r isto v—(From a Correspondent). — A grand concert was
given, at Clifton, last Monday week, when Signor Giuglini made
his first appearance in Clifton. Tho programme included the
Stabnt Mater of Rossini, the overture to Oberon, and selections
from the sacred writings of Mozart, Mendelssohn, &c. >ignor
Giuglini was lottdlv eucored in the " Cujus nnimaui," but spoilt
Mozart's beautiful " A te fra tanti " by his cni eleaaness — a fault
unusual with him. The other encores were the solo aud chorus,
" Iuflamtuatus " (Mrs. Weiss) the quartet, * Quando corpus,"
and the air, " Pro peccatis " (taken by the bye, much too slow),
which last was duo to tho national feeling of Bristol, as Mr.
Merrick certainly did not deseive such rapturous applause.
The band, nnder the direction of Mr. Curtis, were efficient,
though they sometimes accompanied mach too loud.
HuDDiths field. — The organ of St Paul's is vacant. Mr.
Walter Parratt, who held it, has resigned, having received an
appointment at Brighton.
GRAND MUSICAL FESTIVAL IN NEWCASTLE.
OPENING OF THE NEW TOWN HALL.
(Abridged from the A'eveaitle Journal of Sept. 4.)
For one of the grandest musical festivals ever afforded in
Newcastle, wo have, this week, been indebted to the Newcastle-
upon-Tyne and Gateshead Sacred Harmonic and Choral Society,
aud their accomplished and respected conductor, Mr. Webbe.
Tho occasion of this musical treat was the public opening of the
New Town Hall or suite of corporate buildings in St. Nicholas-
square, on Wednesday last. About this time last year, the
subject of preparations for this opening came before the Town
Council, on the receipt of a letter from the Sacred Harmonic and
Choral Society, proposing to mark the inauguration by a musical
festival, to (rive an additional idat to which, it was proposed t
invite the Prince Consort, and thns superadd the presence of
royalty to the intrinsic attractions of the harmonic ceremonial.
The Corporation responded to tho offer ; and since then, simul-
taneously with the carrying forward of the buildingto completion,
the Harmonic and Choral Society have kept in view and been
making arrangements for inaugurating it with, if possible, un-
rivalled musicsl honours. Meanwhile, althoughUhe project of
appears to have been given np,
it must be said that neither was the opening of a similar hall i
Liverpool some time ago, not to mention Leeds, more Worthy of
a royal visit than was the opening of our Town Hall in St.
Nicholas-square ; and, whether as regards the beauty of the hall
or the magnificent fete with which it was honoured, we venture
to say that nothing would have more rewarded the royal visit,
had it been made- As in the case of the wonderful bridge which
spans the Tyne, the docks which form the marvel of the Tyne
and the Wear, the commencement with onr gigantic piers, nnd
kindred works, our Town Hall has been destined to be opened
and our musical festivals to be given without the auspices of
either Queen or Prince. We notice the fact without in any
respect regretting it ; for much indeed do we fear that, amidst
the paraphernalia of royalty, had it been present, the occasion of
the meeting might have beeu less regarded, and the festival, for
its own sake, less thoroughly enjoyed.
First, of the suite of buildings, the completion and formal
opening of which was the occasion of the present festival. It is
difficult to say whether it is most characterised by architectural
beauty and artistic finish, or for adaptation to purposes of com-
mercial and general convenience, characteristics which are the
more conspicuous when viewed with a remembrance of the un-
sightly and unfinished erection which formerly disfigured the
site. Now, the Corn Market has been reconstructed with addi-
tional conveniences nnd comfort, fronted at the southern end by
a magnificent pile adapted for purposes of trade and business
meetings, and having overhead, along its whole extent, this
capacious and elegant Town Hall, which will afford facilities for
holding concerts and public meetings to which almost any
number may obtain admittance. In architectural outline, the
shop story, in front elevation, may be denominated Doric; the
K'ucipal story, Corinthian; and the attic, composite. The
isic Hall is 1-12 feet long, 00 feet broad on an average, and
46 feet 6 inches high. Along the sides are raised benches or
galleries which tend to render the appearance of the hall more
elegant and light; and at the north end, opposite the organ, is
an elevated gallery, calculated to seat some five or six hundred
people. From this recital of the dimensions it will ut once be
sepn that the hall is capacious and lofty. Add to this that it is
admirably lighted during the day by a row of ten lofty Venetian
windows along each Bide; that during the night twelve bosses of
gas jets, placed in two rows at intervals along the ceiling, diffusa
a steady and powerful yet mild and equable light to every part
of the hall in a most marvellous manner, without sensibly in-
creasing the temperature ; that the ventilation is complete with-
out discomfort, and we have the requisites of a large and com-
fortable place of meeting. But over and above ad these the ball
possesses a beauty and a charm, which may be said to be all its
own, in that proportion of dimensions and adaption of parts, in
that well-diffused but not elaborate ornamentation, and in the
light chaste colouring, set off with pencilling* of light buff, and
Digitized by Google
644
THE MUSICAL WORLD.
[October 9, 1858.
the introduction of scarlet and bluo in the decorations, the
happy union of all which together tills the spectator with a
sense of the chaste and the beautiful from whatever point the
hall may be viewed. Under the organ and orchestra are retiring
rooms for the performers ; adjoining the hall, and at each end of
it, there are retiring and cloak rooms, and at the south end there
is ready access to a most commodious and well-fitted-up hotel.
By a convenient arrangement there are four entrances to the
Music Hall, with six doors of admission from the street, so that
the greatness of the throng will not be productive of any incon-
venience. The building contains also the Council Chamber, the
rooms of the River Tyne Commissioner*, offices for the Town
Clerk, the Farmers' Club Boom, and other places, which it is
unnecessary more particularly to enumerate, all tending to make
the suite of buildings most elaborate, elegant, and complete.
Mr. Johnstone is the architect; and the fact that his designs
ber of competing plans at once stamps
i was the
r; and under him Mr. Beck was the slater, Mr. Hen-
derson the plumber, and Mr. Grieves the painter, glazier, and
gilder ; Mr. Scott did the carving work, and Mr. Sopwith supplied
the upholsterer's work ; the iron girders and roof were manu-
factured by Messrs. Hawks, Crawshay, and Sons, of Gateshead;
the iron railings in frout of the galleries were executed by Mr.
Donkin, of High Friar-street ; and the plaster work, which is
extremely beautiful, is due to Mr. Aid. Dodds, who transferred
his men to Mr. Robson to do the work in this very important
department, since he, as a member of the corporation, was pre-
cluded from undertaking the contract. The foundation stone
was laid by the then Mayor, I. L. Bell, Esq., on the 29th of
August, 1805, so that up to this time it has occupied three years
in the construction. The extremo length of the buildings is
300 feet ; the , exti emc breadth, being that of the front in St.
Nicholns'-sguare, 100 feet, tapering backwards to a breadth of
45 feet, in order to preserve a certain prescribed width of street
on each side. The entire cost is expected to be about £30,000,
against which may be placed the rental which is put down at
about £3,000. To each and all engaged in the erection credit is
due for the successful result — to the architect more especially, to
whom it must be satisfactory that in this work he has achieved
the nil but impossible task of pleasing every one, and reared a
memorial of his architectural abilities which will cause them
not soon to be forgotten.
One of the main purposes for which the great hall of this
noble building was constructed, was to supply a place where
first-class concert*, to which vast numbers would naturally be
attracted, might be held. It was therefore with peculiar fitness
that it should be opened by a musical festival, for attending
which, it may be here remarked, the proclamation by the Mayor
of a holiday, and its general observance, afforded additional
facilities. The day was highly favourable as to weatlier, Saint
Nicholas Church bells rung merry peals to usher in the cere-
mony, and, as the hour of opening approached, considerable
crowds thronged about the building About one o'clock, the
Mayor and Corporation, who had come in procession from the
Council Chamber, entered the hall, and were greeted with some
rounds of cheering by the audienco which already filled it All
classes were represented there. The galleries were crowded by
an audience, of which a vast proportion, were ordinary working
people; the body of the hall, the side galleries, and the reserved
seats, were filled by a highly respectable and fashionable assem-
blage, and, when thus filled with the beauty and fashion of
the neighbourhood, the ball, beautiful before, had now a most
gorgeous appearance. The festival was arranged to open with
Mendelssohn's oratorio, Elijah, to be followed by a miscella-
neous concert in the evening, and close with Handel's oratorio,
MtuiaJi, on Thursday evening. In the performance of this
programme, the Sacred Harmonic and Choral Society supplied
the chorus, vocal and instrumental ; and for the performance
of tho solos, the services, as vocalists, had been secured of
Mad. Rudensdorff, Miss B. C. Whitham, Miss Kmma Hoywood,
Mr. Wilbyo Cooper, Mr. Brandon, and Mr. L. W. Thomas,
rhe principal instrumentalists were M. Kettenus and Mr.
Ainsworth (principal violins); Herr Haustnann and Mr. G. H.
Weddell (principal violoncellos); Mr. J. T. M. Harrison, viola ;
Mr. Clinton, first clarionette ; Mr. Kirkpatrick, second ditto ;
Mr. Smith, bassoon ; Mr. Mann, first horn ; Mr. Hooper, second
horn ; Mr. T. S. Watson, trumpet ; Mr. Horton, brass trombone ;
Mr. W. Healey, alto trombone ; Mr. Jennings, oboe ; &c, ite.
Of these M. Kettenus and Herr Hausmann were the principal
performers obtained from a distance. The instrumental portion
of the chorus was arranged in front and the vocal on each side
of the organ ; the principal singers being placed, of course, in
front of the instrumentalists. The chorus numbered about two
hundred, almost all of whom belong to the society ; and the
pitch of excellence which their performances in these concerts
show they have attained is quite remarkable. Mr. Redshaw
ably presided at the organ, which is a temporary one, erected by
Mr. Nicholson, of this town, intended to be replaced by a larger
organ, from the celebrated establishment of Gray and Davidson,
of London, at the cost of £2,000. Mr. Penman
The performers having taken their places, Mr. Webbe, the
conductor, took his stand in front of the orchestra, and, waving
his 6dto», the entire body of performers, vocal and instrumental,
rose and gave the Hundredth Psalm in a manner which thrilled
the audience, who stood the while, and prepared them for what
followed, in the performance of Mendelssohn's oratorio.
Of the recitatives, that sung by Madame Budersdorff, as the
widow, " Help me man of God, my son is dead," gave a tone to
the whole performance; from that time, the performers, both
singers and chorus, proceeded with augmented confidence, and
the remainder of the oratorio was given with increased effect
The manner in which Mr. Thomas, who has a fine capacious bass
voice, performed bis part, especially in his altar denunciation of
the priests of Baal, ts entitled to particular notice, as full of
sustained strength, energy, and expression. Miss Heywood and
Miss Whitham ably acquitted themselves in the parts allotted
to them, and both are artists of great promise. The perform-
ance of Madame Rudersdorff especially called forth marked
commendation ; and the admirable manner in which she wrought
up her part in the quartet, " Cast thy burden upon the lord,"
was particularly conspicuous. Mr. Wilbye Cooper, who has a
fine tenor voice, also merited due praise. No department of the
oratorio was, however, more ably performed than the choruses,
which were given with remarkable precision, and varied from
forte to piano, through all the intermediate stages, in a manner
which snowed careful training and appreciation of the
The society and their conductor have, by this
merited the highest commendation.
In the second part tho trio by Madame Rndersdorfl; Miss
Whitham, and Miss Heywood. "Lift up thine eyes," was
encored, as was also the air, by Miss Heywood, "Rest in the
Lord." The quartet and chorus, " Holy, holy, holy," sung by
the same ladiea and Mr. Hadock, and answered by the chorus,
were effective in the extromc. The air by Mr. Cooper, * Then
shall the righteous," was beautifully sung. The same obser-
vations will apply to the performance of this part as to the first,
and in every respect this performance of Elijah in Newcastle
has been a great success.
The evening was devoted to the performance of a well-selected
miscellaneous concert. The ball was even better filled than in
the morning, and now, lighted up, aud set off with the beauty
and fashion of the town and neighbourhood, had a meet magni-
ficent appearance. Mr. Webbe, on taking his place in front of
the orchestra, was welcomed by a hearty cheer from the audience,
and at once commenced the following programme: —
PlBT I.— Overture (La Gszis Lsdrs)— Ko«iini. Song. Miss Hey-
wood, "Mio fi«lio" (Le Prophete)— Meyerbeer. Duet, Mr. Wilbje
Cooper and Mr. Tbomss, "Flow, . r.tle Devs"— Parry. Song, Miss
Whitham, "Softly sighs" (Der Frsischiiti) —Weber. Buffo Soot
Mr. Thomas, " Che mi dsn" (Msrths)— Flotow. Grand Trio in I>
major (Op. 70), Mr. Webbe, Moid. Kettenus, and Herr HausmanB,
pianoforte, violin, and violoncello — Beethoven. Cavstins, Mdme.
Rudergdorff, "Robert, toi que j'aimo" (Robert le Diable)— Meyerbeer.
Quartet, Canon, Mdme. Rodersdorff, Miss WUithsm, Mr. Wilbye
Cooper, sod Mr. Thomas, "II cor e Is mis it" (FideUo)— Beethoven.
Digitized by Google
October 9, 185a]
THE MUSICAL WORLD.
645
Am, Mr. Wilbye Cooper, "II mio teaoro" (Don Giovanni)— Mozart.
Fantasia, violin, sur I'Opera, Mont. Ketteans, " I promessi spossi" —
Kettenus, Aria and Finale, from " II TrOTatore" — Verdi. Aria,
" IV a mo re null' all roaee," Mdme. Rudcmdorff. Finale, " Miserere,"
Mdmc. Rudcrsdorff, Mr. WUbye Cooper, and Chora*.
PAST 1 1.— .Symphony — Mozart. Trio, Miaa Hejrwood, Miai Whit'
ham, and Mr. Wilbye Cooper, " Addio" — Curacbmann. Song, Mr.
Wilbye Cooper, " Pilgrim of Lore" — Bishop. Yalae, Mdme. Kuders-
dorff, " Guards o cere — Randcgger. Solo, violonoello, Herr Uausmann,
Fantasia on .Scottish Airi— Uausmann. Song, Miaa Hey wood, " Katey'a
Letter"— Lady Duffcrin. Duet— Mdme. Rudersdorff and Mr. Thomas,
"Se vederia a roe non lice" (Betiiario)— Donizetti. Part Song, " The
dawn of day"— S. Reay. Song, Mr. Thomas, " The three agea of
Lore"— Loder. B»U«d, MHme. RnderadorflT, "She wore a wreath of
rosea"— Knight. Septet, Mdme. Rudendurfl", Miss Haywood, Miss
Whithani, Mr. Wilbye Cooper, Mr. Thomas, and Mr. Brandon, "Slay,
prithee, stay" — Bishop. Finale, "God aare the Queen,"
This programme brought the full powers of the instrumen-
talists into play. Nothing could exceed the vigour and precision
with which Rossini's overture was rendered, and the close
elicited a bum of applause. The song of Miss Hcywood, from
the Prophite, commcuced the vocal efforts of the evening. The
duet, " Flow, gentle Deva," by Mr. Cooper and Mr. Thomas —
tenor and bass, was well sung. Iu the soug from Der Freitchuti
Miss Whitham received an encore, and then sung, " What's a'
the steer kimmer," accompanying herself on the piano. The
buffo song, by Mr. Thomas, was followed by the Grand Trio in
D Major, one of the most exquisite pieces of Beethoven, and in
the hands of Mr. Webbe, Mons. Kettenus, and Herr Uausmann
it assuredly did not suffer. The cavatina by Madame Ruders-
dorff was sung with exceeding taste aud brilliancy. An enthu-
siastic encore was the consequence, when the lady sung a different
composition, requiring rapid, difficult, and occasionally grotesque
transitions, which was also received with the utmost favour.
The uext remarkable performance was the fantasia by Mous.
Kettenus on the violin. The audience applauded at every
pause. The evening being far advanced, the performance was
commendably shortened by the omission of part of what re-
mained. Miss Ueywood'B song of "Katey's letter" produced
an encore, and she substituted "Terence's farewell.'' "Tho
thtve ages of Love" was sung by Mr. Thomas with just-
ness and expression. The part-song was beautifully rendered.
Mr. Reay, the author of it, a native of this town, was formerly
of St Andrew's and St. Thomas's Churches. lie is now organist
at one of the metropolitan churches. We are not surprised at
the selection of this piece for performance at the opening of the
New Town Hall, for it has recently been moat enthusiastically
received when sung by the Bradford choir, and at Buckingham
Palace, before Her Majesty. It has also been performed at the
Crystal Palace Concerts. It was noticed when performed by
Leslie's Choir at St. Martin's Hall, London. The Ertning Star
pronounced it to be the gem of the evening. The ballad, " She
wore a wreath of roses," was finely suns by Mad. Rudcrsdorff,
and the performance closed with the National Anthem, per-
formed in a manner probably never before heard in Newcastle.
Mr. Webbe presided at the pianoforte, with tho same skill and
taste which he displayed as conductor, and the entire perform-
ance went off with a spirit and enthusiasm which could not be
exceeded.
Handel's oratorio, The Mtttiah, performed on Thursday
evening to a yet more crowded audience, crowned the Festival
with unbounded success. This well-known sacred effusion was
performed in all its ports with spirit and excellence. The
recitatives and airs were given by the solo singers with great
success, and the magnificent choruses were delivered with
extraordinary precision and effect. The chorus, " For unto us a
child is born," was enthusiastically ei cored; and the Hallelujah
Chorus wound op the second part amidst a burst of applause.
The third part was opened by Madame. Bodersdorff with the
air. " I know that my Redeemer liveth." The air by Miss
Whitham, in the second part, " But thou didst not leave," was
encored; and the air by Miss Hey wood, "He was despised,"
applauded. Tho great feature of the third part, after the open-
ing aong, was the air, " The trumpet shall soundL" sung by Mr.
Thomas, with trumpet obbligato by Mr. J. S. WaUon, which
elicited an encore. It being late, the intervening parts were
omitted, and the performance came to a close with the final
chorus, amidst the unbounded applause of the audience, who
called for and accorded a round of cheering to Mr. Webbe, in
compliment to his exertions.
Thus has closed an inaugural Festival which has in every re-
spect been attended with extraordinary success. Similar festi-
vals have been, within the last few days, held at Birmingham
aud Hereford, for wltich the greatest singers of the day have
been engaged, Mr. Costa has been brought down as conductor,
and the performances have almost been regarded as national
events. We question, however, whether, take our own Festival
all in all, it has been exceeded by either of the festivals to which
we refer. The MeMiah was well known, though never probably
performed in this town in the Bame style in which it was per-
formed on Thursday night ; but the production of Elijah in so
superior a manner was quit* a feat. To Mr. Webbe, the able
aud accomplished conductor, this success is universally and
justly attributable.
On Friday evening an entertainment, under the title of a
" People's Concert," was given at reduced prices, to enable the
poorer classes to see the New Hall, and to afford them a treat
without putting them to extra expense. The prices wero two
shillings, one shilling, and sixpence. The same artists assisted
as on Wednesday and Thursday, and the selection, of course,
embraced most of the popular morceaux of the day. This
concert was not less successful than those of higher pretensions
which preceded, and its result cannot fail to suggest, to the
diroctora the policy of providing an entertainment of the same
kind frequently, after the manner of the " Peoplo's Concerts," at
Manchester and elsewhere. A new seam, in fact, has been dis-
covered, and it behoves the proprietors to see that it be worked
with advantage.
|The paper which was sent us, containing the above article,
was mislaid, and only came to light this week. The importance
attached to the opening of a new music hall, however, together
with the merits of tho inaugurating Festival, justify us iu giving
the rt/^art insertion, although nearly a month behind time.—
Nbw York.—" The performance of Opera in English," says a
correspondent of D wight, " with a new company, is an event
fitted to excite much musical attention. The troupe at Wallack's
now is composed of Annie Milner, prima dom\a; Mr. Miranda,
tenor; Mr. Guilmette, baritone; Mr. Rudolphson, bass. The
opera presented on Thursday evening, Bellini's Sontmmbula,
gave prominent employment to the tnree first-named artists."
Of Misa Milner the writer speaks as follows : — " Annie Milner
has hitherto been known only in tho concert-room, but during
some months she has been studying hard for the stage, and now
we have the fruits. The lady has very great aptitude for
the theatre, else she would not have achieved so much in so
short a time. She is generally easy in her action and gesticula-
tion, and a little more time will certainly show improvement.
Her voice is a fresh, beautiful soprano, with great facility in
the upper notes, much flexibility, and capabilities for a sus-
tained slow movement equally with rapid, florid passages. She
is prodigal, too, of the trill, so often eschewed fur its difficulty
by artists. In appearance she is intensely Saxon; fair com-
plexion, light hair, and sweet expression. She looks Amino,
supposing what sometimes happens — that the Italian contadina
has these light-toned characteristics."
Liverpool.— Tho last of Mr. Reynold's " People's Concerts "
was well attended. The artists were Miss Louisa Vinning,
Madlle. Finoli, Messrs. Cooper and Winn, as vocalists; and
Miss Freeth (a talented pupil of M. Alexandre Billet), the
pianist, and Herr Wilhelm Qanz, the accompanist at the piano.
Lkkdb — (From our Correspondent).— The Town Council have
advertised three successive evening concerts, to take place in
the new Town hall on the 21st, 22nd, and 23rd inst., the profits
arising from which are to be devoted to the funds of the Ixseds
Dispensary. It is currently reported here that the new Dean of
York intends to revive musical festivals in the noble York
Minster, and that next year they will bo commenced.
Digitized by Google
646
THE MUSICAL WORLD.
[October 9, 1858.
ORGAN-GRINDERS.
(From The Jiew York Evening Pwr.)
" Semper eg i auditor tsntum ? Nanqnsm ne reponsm ? * — Jrr. I. 2.
The origin of orjan-grinders justifies their extinction, iu does
also the a om with which they are threatened. This race is
derived fr m Jubel, the sixth in descent from Cain, who was
" the father of all them that handle the harp ami organ;" (here
note the s.ecuracy of description in the word hana/e.) The seed
of Caiu, who destroyed his own brother, may with justice be
destroyed in turn.
Later in history a trace of the race is detected in the patri-
arch's pathetic outcry against the "instrument* of cruelty" in
his snus* tents. In Egypt, and in Pharaoh's time, they seem to
have been swept away. Egypt was a wi*e!y-governe i country.
Had they existed, Pharaoh' might havu been spared nine of the
plagues, since an hour's infliction of this one must have softened
the rook of his hard heart, and forced him to send the tribes
trooping forth to the desert, with their minstrel* at the head,
playing the rogue's march of the period. Iu that age, surely,
organ-grinding was one of the lost arts. There is hope, then,
that it may again become so strengthened by the cheerful pre-
diction, that in the latter days " the sonud of the grinders shall
wax low." The law permits the destruction of a nuisance.
Organ-grinders are a nuisance. It is, therefore, lawful to kill
thm.-[Vide Judge Shaw's Decision ad Jin.]
Public policy requires their extinction The race consists
chiefly of Italian refugees, banished for turbulence from their
own country, making a trade of revolutions here, and revenging
themselves by the murder of music, fur their inability to destroy
order It is, therefore, courteous and pulitu iu us, as a nation,
to kill them.
Humanity pleads for their abolition. They are a wretched
people, born out of time, who rear a wretched progeny. It is,
then, generous and merciful to themselves to kill them.
Political economy demands that they Bhould perish. They are
wholly useless, never doing a baud's turn of work, though many
a hand's turn of play. It is, therefore, prudent for society to
kill them.
Upon this foundation of reasoning may be built a strong
tower of authorities iu favour of their extirpation. That rigid
and moral generation, the Puritans, regarded the organ with
horror, as the Devil's box of pipes, even when used for sacred
s.-r vices. How much more would they have been moved with
holy zeal for the destruction of his wandering emissaries, who
bear the abominations from door to door.
Shakspcre makes the practical geuius of Othello speak with
contempt of hearing "a brawn ean'slick turned," in evident
alluaiou to grinding organs.
It is true that Lord Bacon composed a work known to scho-
lars as the Xcvvm Organnm, or New Organ. But this only
proves the hatred of that great and wise man for old organs.
The French style them "orguee de barbarie" or barbarian
orgaus. To banish them and their barbarian supporters is oue
of the first duties of a civilised people.
Having settled the lawfulness, humanity, nnd prudence of
ridding the world of urg.ii.-grii.deis, it «hould be considered how
this may best be done.
Not, perhaps, by individual efforts. The remembrance of
suffering might darken nn act of justice into revenge. Nor
would it suffice merely for the State to put a stop to organs,
Rceiug that the addition of a stop to those they have already,
would but increase their power of mischief. There are wiser
plans, too, than that of execution upon the scaffold, which might
create a morbid sympathy. For example, make them the in-
struments of their owu destruction, by setting them, in some
secluded place, to play each other to death. Or they might
simply be exiled to Tunis.
The public ear is large and patient ; the need of this reform
once forced into it, a proper plan will not be wanting. Then
will discord I be driven from the land, and peace aud quietness
return; while the giinding-ovgitislinll decorate museums, and be
wondered at by our descendants as the last nud most cruel of the
instruments of torture that disgraced an age calling itself re6ned.
THE THEATRE IN SANS-S0UC1.
(From the Berlin Echo.)
Seen is the title of a highly interesting? paper by Hcrr L.
Schucider, in No. 2 of tho Aeues Deuttchu i Theater-. Arthiv, from
which we select tho two following very remarkable cabinet
orders of Frederick the Great. For the reception of the Russian
Grand Prince, afterwards the Czar Paul, at the Prussian court,
in July, 1776, all kinds of festivities were projected, and the king
busied' himself with the roost trifling details connected with
them. All sorts of interesting documents relating to the dramatic
performances to be given are still preserved, in the Roval Secret
Archives. As early as the 2<Kh of June, Herr Reicnardt, the
cape/lmeieter, had to go to Sanr-Souci, and compose an allegorical
prologue to the opera of Angelica e Medora, for Porporiuo and
Tosoni, aa well as an aria for Mad. Mara. The latter's husband,
a personal enemy ol Keichardt, succeeded in prevailing on her
to write and tell the king, ■« She could not sing such music."
The result was an order to the Baron von Arnim, which affords
us a glance at the manner in which the great king ruled the
little kingdom of his theatre at Sans-Souci :—
" \ om pourrez dire .\ la chanteu.e M»r» tn reponae a la lettre,
quXle vicnt de M'adresser que Je 1» pnyoU pour chanter et noil pour
ecrir que les sirs etatcnt (res-bien, trls qu'ils etaient ct qu'elle demit
t'en accomoder, tana lant de verbiage et difficult*. Sur ce ete. etc.
" i rot,dsm le 30 de Juin 1776." " Fafcntmc.
("You may tell the singer Mars, in answer to the lel'er she has
just sent me, that I paid her tu sing and not to write ; that the air?
wore very well, as they were, and that »he ought to be contented with
ihcm without hi much idle talk and fuss. In coniequsnee, ete. etc.
" Potsdam, the 30th June, 1776.") " Kksdseick.
Underneath there was a note in the king's own handwriting :
- Eil* sat payee pour cliar.ter ct non pour ecrire."
(*' She u paid to ting and not to write.")
At the same time, the above-mentioned individual, Mara, who
was ouo of the royal private band, was sent to Spandau. Thin ,
reduced the Itaron von Arniro, who dreaded some hitch in the
operatic representations, to a state of despair. His remon-
strance on the subject to the king was followed by the remark-
able order, written in German — an exception iu theatrical
matters— of which there are several copies still extant, instead
of running thu* : " The Mara shall aing," are as follows : "The
shall sing."
" My best, and very dear faithful Aroint ! I perceive from your ob-
•ervaiion* ot the 4tli inst., that you are very tender-hearted, and a
rery great friend of the Mara and her husband, because you e»ptn*e
their cause so warmly, and ?pcnk up lor them. I mutt, howerer, tell
you that your tenderheartedness la very badly applied in the present
instance, and that you would act much more sensibly, if you did what
I order yon, and did not accustom yourself to argue' the matter ; foe I
will by no meant suffer this, and you mutt not let aueli things entsr
your head. The Mara shall ting the air, aa I require her to do, and
not be obstinate, unless ahe wanta to be served just like her husband,
and he shall stop in prtion till further orders; to that he may makeup
his mind. For your part, you must not fancy yon are my privy
counsellor. I did not take you into my service for that, so you had
better busy yourself witli rendering parition to my orders, if you wish
me to continue your uracious king.
" l'otadam, tho Sth July. 1776." " FbkdsuCK.
York Mcsic Msirnso. — The success of the Leeds Festival i»
already bearing fruit York, once at the head of English musical
Kroviucial towns, is about to revive its music meetings, which
ave been abandoned tor more than a quarter of a century.
The Dean has relented ; the Cathedral will be acceded ; and a
York Musical Festival, if report errs not, be once more held iu
1SS9. — Literary Gazette.
[If this uc correct, Yorkshire will henceforth, bold mnsiosJ
festivals annually— one year at York, the next »t Bradford,
and the next at Leeds. It is to be hoped tho two manu-
facturing towns will lend the old cathedral city tbeir earnest
and hearty co-operation.— Ed. M. fr'.]
Digitized by Google
[October 9, 1858.] THE MUSICAL WORLD. 647
FRANKFORT-ON-THE-MAINE.
(From the Sietlerrheiniscke M<uik-Ztii*9g.)
There wsb an overflowing house on GOthe's birthday, to
witneM the second part of Faust, with music by Hugo Pierson.
The version chosen was the excellent one adapted for the stage
by Wollheim. The performance was highly successful, for the
representatives of the principal characters, and the chief
■tage-managor, Herr Vol truer, were tumultuonsly called on
several times.
No theatrical work has been regarded with so much suspicion
as the second part of Faxut. Even after the great success it
had in Hamburgh, people in other places still continued to
think it was unintelligible. Here and there, too, those who
wield the pen would not confess it had been successful, because
thsy were not the persons who had been fortunate enough to
produce a good stage version. With regard to the music, also,
it is true that both critics and public in Hamburgh pronounced
it original, beautiful, and worthy of the poem ; but then Pierson
is a man who belongs neither to the party of the Musicians of
the Future, nor to any other. For years past, ever since ho
resigned his office as Professor of Music at the University of
Edinburgh, he has kept aloof from taking part publicly iu
musical matters, and busied himself only with composition, to
which fact, his grand oratorio, Jerxualem, his songs and other
small pieces, ss well as tho opera he has just completed, bear
honourable testimony.
But, however this may be, the second part of Fa ml, according
to Wollheim's stago version, and with Pierson'a music, has
triumphed, here in Frankfort, over prejudice and envy. This
is a fact which can no longer be disputed.
The music was very well performed, under tho direction of
the excellent Capdlmeinttr, Herr George Goltermann. The
audience welcomed each member with the greatest interest,
evinced either by devotional silence, as, for instance, in the
case of the magnificent introductions to the fourth and fifth
acts, or by loud applause, in which thev indulged after the
chorus: " Heilige Poesie," tho concluding chorus, the " Te
Deura," etc.
That portion of the music which is omitted, because it is
impossible to extend the time of representation, which is already
very long, in tho case of this drama, is to be found in the piano-
forte edition published by Schott's sous in Maycnce. Herr
Goltermann has, however, publicly stated that he will shortly
give the the wholu of the music at a concert. This will be a
great boon to the numerous admirers of Pierson's compositions.
Mr. Miranda. — The Now York Timet says of the new tenor
in Mr. Cooper's English Opcrafrowpe, Mr. Miranda (pnpil of Mr.
Howard Glover) : — " We have bad no such voice iu this city for
very many years. Compared with the ordinary ran of English
tenors, he is as Tamberlik to the three cent paper man. His
voice is manly, clear, sympathetic, and of unusual power. In this
opera he knows how to use it to advantage, not only in the solos,
but in tho concerted pieces. His success was unequivocal and
deserved."
Tn« Atlaktic Tklbqrafh. — Hon. Robert C. Winthrop onco
ke of the Atlantic Telegraph as the grand ocean harp,
i thus writes : —
" Oh grandest miracle of Time
What mighty joj will iprin|
When men of diverse toiurtie and
Bhsll listen to tho heavenly chime
That sounds tho atraint
Upon s single atriug."
Old Roger, on reading the above, asked the Professor if he
knew the key-note upon which that string was tuned. He
allowed that he did not. ,: Why, it is very plain," said the jolly
old fellow, " that it must bo on the lower C." As this joke is
about fifteen hundred feet deep, all are not expected to fathom
it — Dieiqkt't Bctton Journal,
A Fise Bass Fiddel.— They say Mou*. A plays a tine
Basfiddel, but wc dont know, as we never heard anybody try it
PHRENOLOGICAL OPINION BY DR. 8. T. HALL
(From tho Derby Reporter).
That " there is in souls a sympathy with sounds" ha> this week h id
one of the moat forcible and beautiful illustrations ever given in
the town of Derby. The popular outline of a biography of the Urousil
Family, recently published in all the paper*, i* too familiar lo ou
resdera to new! repetition now ; but the snlicipstioni il inspired har
been more than rraliacd on their vi«it, and we do not wonder thit
empresses, princesses, and poets, as well a« musical artiata themselves
of high celebrity, should on various occasion* have expressed tho
greatest delight in their wondrous genius and skill, their power
to thrill every chord of human feeling — nay, all the chords at once, — by
their consummate performance on the violin, viola, violoncello, and
pianoforte. But tho sight of the family is of itself a great treat : to
say nothing of their power to charm the ear. Viewed in relation to
phrenology, phvsiognomy and expression, they furnish s most interesting
study. T'hry look music, a* well as perform it, ond that without the
slightest affectation or effort. Tlic head of Bertha is one striking de-
velopment of tune, time, method, motion, momentum, ideality, wonder,
imitation, and aspiration ; and hence it is that her violin lsughs, waits,
moans, shrieks, whistles, shouts, whispers, or warble*, by tho most
rapid and marvellous transitions. Hence, too, it is that the whole
family, organised and trained more or less in harmony with her, chord
so rapturously with tho key-note she strikes, and excites every po*«iblc
emotion, from the most mirthful to the most tender, in all who hear them.
Tho least boy, Aloys, is a master in miniature, lie is at home and at
ease in ull he does, not from assumption, but because it is as natural
for him to play with perfect accuracy, taste, and feeling, as it is
for a bird in tho bower to chant in concert with I lie varunl
quire. Viewed either way he is a prodigy: if what he accom-
plishes with bis little instrument be the result of art, it is wonder-
ful ; snd if without art, it is equally so. Tho child evidently, too.
enjiys tho pleasure lie is giving to others, and that ho doe* it without
the slightest air of vanity only makes it more charming. His organs
of causality, order, and time, are, if possible, more developed and
active than his tune, which gives bi n a power of inference, apprehen-
sion, arrangement, snd adaptation. Out may in some degree account
for his innocent self-possession— his mind being tfver a little in
advance of his part. We hhould be grieved, howcrer, to appear
invidious snd unappreciatory of the rest of the group, while thus
making specific mention of these two. Little Ceedia is a worthy sister
of such a brothrr as Aloys, as he is worthy of her. And though
Albin, with hi* violoncello, from being of fuller growth, may bo
less of an orchestral novelty, and Adulphc, by the less conspicuous
though not less effective port* he takes, be thrown a liitlo into the
shade, there i* not ouo of them who, were the other* away, could
fail to excite tho wonder and win the approbation of the most
tasteful mind*, while tho occasional piano accompaniment* by their
elder fitter are deiorving of all that has been published in their
praise.
[Wc quote the above as a curiosty.— Ed. JA U'.]
Lady Organists' Association — (ComMunicutcJ). — We Irani
that a Society is in course of formation, having for its object
the bringing more prominently before the public the position
and claims of ladies qualified for situations as parochial organist s,
who are too much in tho habit of having their applications
disregarded, and their qualifications depreciated, when applying
for public appointments of this kind. The Society will no't be
:~'ly pro-
The Society i
limited to lady members, but gentlemen, nnd especially .
fcseional men, will be invited to join ; and as the opinion of
first-class organists lias been frequently given in favour of the
claims of ladies, it il hoped and believed that this subject will
receive the attention of many of the influential of both sexes who
take interest in the advancement of public opinion respecting
female occupation. Few spheres of occupation stem more appro-
priate to the gentler sex than that of the miiHic.il profession, and it
is believed that this association will do tntie'j to tUcBCS the paltry
rivalry and clamour which is now obviously rife at nio.«t
organist elections — a rivalry in great measure confined to
amateurs — as well as to raise the character of teniule perform-
ance upon the noble inHtrument in question. Any information
respecting the Lady Organists' Association cau be obtained from
Miss G. Couves, 3$, Stanley-street, Chelsea, or Miss Boughey,
5, Palatine- place, Stoke ."
Digitized by Google
(548
THE MUSICAL WORLD.
[October 9, 1858.
THEATRE ROYAL, DRTJRY LANE.
Under tie Management of Hill Louisa Pyne and Mr. W. Harrison,
PRODUCTION OP PLOTOWS •' MARTHA." •
1Msi>, l«ai>, asd i' 1 1 u MOUTH OF "THE ROSE OF C AST I LI. E "
On Monday. Wedneeday, and Vndav will be rrjmacutcd (firat lima In English)
FloK.w'a arlebrated opera MARTHA. "oharectere by MUe LoulM Pyne, Miaa Suuii
Fyn*, Mr. George Honey, Mr. J. G. Pat'.-y (bin fir»t appearance on tlic Knglish
ius>\ Mr T, (iratlan Kelly (hie flrat yipcnmnce on the Enit'.iaii atagcl Mr. Klrby,
■M Mr. W. Barriaoti. On Tiiraday, Thuiadny, and Katiirvlay (lotud. 10'Jnl. ntid
l»tiu timea), I( ,]tV* highly •um«ni:hI opera. THE RUriS OP CaBTILLF.,
cLaraetera by Miaa lxni.a. Pyne, Mi a Su-un Pyu«. Miaa M. Freerott; Mr. F
r J ... r . Mr. A, Si A'byu, Mr. Ocar** Uoncy. Sir. Bartlrman. aud Mr. W.
Haxriaoo. Conductor. Mr Alfred Mellon To coocludc with each ereiiiii*, *
new Ballet Die. rtleaoment by M Petit, tbo muele by Mr. A'frcl Mellon, entitled
LA KLEUB D'AMOUH, auuporlad by Mdllca. JSilia Mlchotct. Morlacchl, and
Faaqtuie. AcUiiu-niauagxra, Mr. Wil uni Broiurh and Mr. Edw..rd Murray;
HijgT-maniiecr. Mr K'iwanl Bllrlli-ir, Doora opon at «e»on, commeiice at half-
paet. The Box-oScc open daily lrotu eleecu (ill lire, under (be direction of
Mr. E. Cuatterton,
ROYAL PRINCESS'S THEATRE.
UNDER THE MANAGEMENT OF MR CHARLES MEAN.
ON MONDAY and during the Week will be presented.
Shakapcre'e play of THE MP.RCUAVT OF VENICE: Snylock by Mr. C.
Kean ; Tortla by Mra C. Kean Pmxded by the (arc. of DYING FOB LOVE.
La*t Six Ni«M* of THE MERCHANT OP VENICE in coutrqucDcr of the
production o( KINO JOHN on Monday, 18th fact.
iOYAL OLYMPIC THEATRE.— On Saturday evening,
October 2, will be prmuied A DOUBTFUL VICTORY. *WK* HUSH
MONET. Alter whleh A TWICE-TOLD TALE. To conclude will. TICKLISH
TIMES.
GREAT NATIONAL STANDARD THEATRE,
8H0REDITCH. — Proprietor, Mr. Joan Doocuaa.
PoaitireJy the hut torn najhte of THE GREEN RUSHER whleh muat be
withdrawn (far the production of the Adclphl Drama of THE FLOW Kite OP
THE FOREST, with new eoenery, Ac . in which Mad, CVIeate will raatalu her
<tl*lnel character On Monday. Tue>dav. We < tinaday. aud Tim adny. t> i-am-
mtnett Willi (laat tlmea) THE GRREN Bt'SIIES: Mtanr. Madame Clint ■ ; Jack
Gong. Mi. PhuI UwUf-.nl ; (A raid in*. Mra. It llanuor ; N .. Mio Harm t Cad u.
Ro-appenra-ico «f Mr Charlea lllllo .. Ou Fn Uv, VlHGISICS: V rginiua,
Mr. C. Dillon. Tooouelute w.th THH Mt rnKKTBE X D'Artarnwi. Mr i narlea
Dl'lo.i. On Satirday. BELPHBOOR: IHj.l. j- r, Mr. <\ t>>ll< •■> o conclude
with THE ML'SKEI EliRS. To oouclude. ou Monday luce-lny. Weduoalay. aud
Thuraday. with a Drama called HOUSEHOLD WORDS. No advance in the
PH-ei. Trw Theatre
l 1 1 r— -
TO CORRESPONDENTS.
MPSICUS. — Our correspondent's letter arrived too late for insertion
this week.
Tempo. — As Weber did not indicate the metronome himself, we are
of opinion thai no importance should be attached to any direc-
tion* of the tort.
W. H. C. (Plymouth). — We have received no information on the
subject from the publishers of the Musical World, teith whom all
such arrangements are effected.
Clemkmok. — Apply to Duncan Davison and Co., 244, Regent-strett.
THE MUSICAL WORLD.
LONDON, SATURDAY. October 9th, 185S.
" As when some notable performer, pot having yet arrived
behind the scenes, or having to change his dress, or not
having jet quite recovered an unlucky extra tumbler of
exciting fluids, — and the green curtain has therefore unduly
delayed its ascent — you perceive that the Thorough -Bass in
the orchestra charitably devotes himself to a prelude of
astonishing prolixity, calling in Lodoiska or Der Freisrhiitx,
to beguile the time, and allow the procrastinating histrion
leisure sufficient to draw on his flesh colonred pantaloons,
and give himself the proper complexion for a Coriolanus or
a Macbeth — even so, had Sir Sedley made that long speech
requiring no rejoinder, till he saw the time had arrived when
be could artfully elr*te with the flourish of a final Inl
ti v(\ in1 order to give poor Pisistratus Caxton all preparation
to compose himself and step forward. There is certainly
something of exquisite kindness and thoughtful benevolence,
in that rarest of gift*— -fine breeding."
Thus writes Pisistratus Caxton, Esq. — in chap. 5, Book IL,
of the "Family Picture" bearing his family name, and pro-
bably, notwithstanding some fine passages here and there,
about as dry a compilation as would have proved the Magnum
Opus of his moou-struck sire, which UncU Jack had the
malicious intention of giving to the world, through the
initrumentalityt«f th» "Great AnU-BookseUer Publishing
Soriety."
If, in The Hietory of Human the elder Caxton
failed to devote a chapter to the perverse blindness of some
lettered men with regard to the art of music, and to the
readiness with which nevertheless they occasionally speak
of it, the Magnum Opus would be an imperfect monument
of that respectable gentleman's laborious dulnees. Had
Pisistratus Caxtou, Esq., alluded to painting, sculptnrc, or
any other art, except music, in terms so absurd, he would at
once have been set down as an impostor. Mr. Brougham, in
his celebrated review of Hourt of IdUneta, justly rated the
young and noble author for confounding a musical instru-
ment with a musical composition. "A pibroch" — said the
future Chancellor and apostrophiser of Newton — " no more
means a tune than a duet means a fiddle." But the blunder
of " George Gordon, Lord Byron, a minor" — which, after all,
might have been a mere slip, a lapsus calami, or something
like •• St. Peter," "for the sake of the metre'' — was inno-
cent in comparison with the ignorance displayed by that
immaculate scion of an immaculate stock (almost, as
virtuous and quite as great bores as the Aubreys in Ten
Thousand a Tear*), Pisistratus CaxU>ii, Esq., who, though
born under Cancer, "circumlocutory, sideways, and crab-like,"
was nothing if not prudent.
" The Thorough-Baas in the orchestra charitably devotes
HmtmT
This is the first time in our remembrance that Thoroogh-
Bass has been personified. Before, with graceful urbanity,
investing the art upon which is founded that of counterpoint
with such a dignity, Pisistratus, Esq., should have consulted
his father, whom- classic lore would have revealed the fact
that the personification of arts and sciences is generally
confided to the female gender. The muses are women to a
muse ; and though we never yet heard of the muse of
Thorough-Bnss, we will bet long odds that it is not a
male one.
But we are lighting against a shadow. Pisistratus is not
personifying Thorough-Bass, he is emulating Lord Byron,
and confounding Thorough-Bass with something else. For
it appears from the context that Thorough -Baxs, Oaxtonically,
is a man, and therefore m.-.sculine : —
'• Tho Thoroughj-Bass in the orchestra charitably devote*
himself to a prelude "
Thorough-Bass all hail ! We never heard of thee playing
before. Upon what instrument, however, Pisistratus informs
us not : nor does he explain the seeming incongruity of a single
man " in the orchestra" being allowed to introduce preludes of
"astonishing prolixity" ad liinium, "calling in Lodoiska or
Der FreischiUs to beguile the time." The more choice of
Lodoiska and Der FreifcJtiUz out of an infinite series of pre-
ludes, almost as astonishingly prolix as the digreswons of
• Uy Samuel Warren, Eeq„ M.P., F.R.S,oneof Her Majeatr'a Counael,
reorder for Hull, a I '
of tie Prt*mt Aye, ,
Recorder for Hull, .utlior of The Intellectual and Moral Development
Digitized by Google
October 9, 1858.]
THE MUSICAL WORLD.
649
i or Austin due ton himself — " cochlea vitam agent"
another proof of the deplorable ignorance of "the
n" (as Pisistratus is humorously designated
the unconscious author of his baptismal affix). Lodouka
belongs to the last half century, while Der Freuchiite is an
much a fashion of the present day as of tho day in which it
came hot from the teeming brain of Weber. As well might
we say " calling in Pye or Tennyson to beguile the time."*
Let us, however, be charitable; Pisistratus, after all,
|ierhapK, did not take Thorough -Boss for a fiddler, but for a
fiddle, — a big fiddle, tho doable-bass or contrct-hasto, in short.
This shows that his " dcanibulatious" by the peach-wall, in
company with his father and the lame duck, could not have
led to many discussions on music. " Dusius, the Teuton
fiend, or Nock, the Scandinavian imp," must have possessed
a progenitor who, crammed with various knowledge, rc-
frained from giving his son and heir some notion of an art
which the Greek* themselves held in such veneration. Was
the old Caxton — " sol scientiarum" — one of those pedants to
whom mosic is nought but " a tinkling cymbal f" — or wlls
his head so stuffed with " tho puerilities of Agrippa and the
crudities of Cardan," while following the stream of error
through the middle ages, as to deaden his sense of harmony
and cotton up both his ears? Oh! by the Goddess Moris —
("or Folly," as "my father" would eagerly explain) — that
"one corner of the brain" which Austin Caxton was so
fearful lest Pisistratus should leave empty here gapes like a
vacuum in hisown. Had the " Marcites, Colarbarsii, and Hera-
cleonites," the " Archonticks, Aaoolhyptie, and Cerdionians"
been set aside, for a deainbulation or so, in favour of an art
that refines just as much as it delights, Pisistratus would not
have aommitted himself so egregiously. "PapmT— >-but it
would have been better for father and son, better for The
Caxton*— a Family Picture, better for the young Ana-
chronism, and better for Sir Lytton, his man-midwife, to
whom in this particular instance the Ciceroncan pun—" rem
ocu tetigittC — which the elder Caxton approvingly launches
at his wife, can hardly be addressed with propriety, and
who would never otherwise have allowed the child of
bis fancy to exhibit so little intellectual sharpness, so little
of the needle of the metaphor, as to confound the art of
rudi mental harmony with the drawer of a horse's tail
across the bowels of a sheep. We do not exactly hold,
with The Saturday Review, that in his late novels Sir
Lytton has become " the apostrophiscr of stupidity ;" but,
after carefully perusing The Caxton*, we cannot help quoting
what Robert Hill said (Pisistratus thinks) of Dr. Kippis : —
" He had laid so many books at the top of bis head, that the
brains could not move." Sir Lytton has time, however, to
remove one or two of them ; and we strongly recommend him
to begin with tho tan volumes folio of Hieronymus Cardan us
(" Lyons edition, 1 663"), of which we doubt whether lie has
read, or intends to read, many pages, and which might still
serve for Mrs. Primmins to sit upon, as in tho journey to
Uncle Roland's (de Caxton's) tower. " The business of a
body like yours — Paper. /" (said my father, addressing Mrs.
Primmins), "is to press all things down — to keep them
tight!"
"Corporis officiant e*t quonism omnia deortum."
It is better for Mrs. Primmins to sit upon the Cardanian
and " keep them tight," than for tho Cardanian
It may be safely assumed tbat Pisistratus meant Kreutier's
1 1 fain
volumes to squeeze into absolute flatness the pericranium of
our highly honoured novelist, — may whose erudition never
be vaster, for, even if it was, he would fail to rival Sterne
by the process of attenuation, or surpass The Doctor in the
scattering of ;
A coxTRJOCTOR to The Atheneeum, in an article headed
Fine Art Go* tip, passes in review some of the photographic
portraits of eminent men, which now may be inspected at
the establishment of a well-known photographer,
noticing sundry statesmen, historians, &c, the <
to Stcrndalo Bennett, whom he apostrophises iu the follow-
ing very original manner : —
" The unknown organist's son, now a great miuician, tho pupil of
Mendelssohn, Dr. Sterndale Bennett, it grate, formal, and solemn as
any Mcthodnt-saint mounting tho pulpit with, the intention of any-
thing bat tnfltng away an hoar. Only one of our greet artists can
approach this great musician, to judge by his portrait, for cold gTarity.
rfosr deep the heart USUli lie that composed the delicious, tender
gracefuhieas of Tie MM Stream and the Fountain, The brow ie
twitehed painfully, as if struggling with nervous thought."
We have not seen the photograph, but if it exhibits Pro-
fessor Bennett in the colours above noted, it must have
caught his physiognomy under a very peculiar aspect That
the face of our admirable musician is thoughtful, none can
question; but that, even in his most serious moments, he
could be made to look " solemn as any Methodist saint," or
to put on the appearance of "cold gravity," is what we
cannot believe ; nor shall wo be convinced of it except by a
view of the portrait itself.
Here, perhaps, it may not be out of place to correct a
very prevalent error — viz. : that Professor Bennett was a
pupil of Mendelssohn. One of the most intimate friends of
that illustrious man he was, no doubt — but never at any
time his pupiL
Alluding to The Mill Stream and At Fountain, the writer in
The Atheneeum employs epithets which, however complimen-
tary, cannot properly be applied to either of them. The Mill
Stream is a presto agitato, The Fountain a prestissimo leggier o.
" Delicious tender gracefulness" is rather the quality of the
first of the three pieces* — The Lake, an andante e*pre**ivo,
which our contemporary has seemingly forgotten, and which,
nevertheless, must have originally inspired him with the
sentiments of admiration he transfers to its equally beautiful,
but certainly not " tender " companions.
We take the very warrantable liberty of reiterating the
assertion that we made last week under the head " Dramatic
Intelligence," that " Mr. Charles Selby is earning for himself
the reputation of a Calderon or Lope de Vega," and we
again call attention to the fact, that the bills of the Strand
Theatre put forth no other author. Prolific Charles Selby I
Then all his farces within the last few months have been so
capital ! The Last of the Pigtail* is a very nice little comedy,
in which the battle between conservatism and progress is
fought with Bpirit and with courtesy, so that fogeydom,
though vanquished in the end, is treated with generosity.
Lighter in texture, and likewise inferior as to pretension, is
the Bonnie Fi*h Wife; but it fully answers its purpose of
showing Miss Patty Oliver in an idealised costume of humble
jife, and of allowing her to sing " Caller Herring" in a very
* Three sketches — the Lake, the Mill Stream, and the Fountain—
" composed and dedioatcd to J. W. Davison, by William Sterndaje
Bennett." These were first published by the late firm of Coventry and
H oilier, is 1686.
Digitized by Google
650
THE MUSICAL WORLD.
[October 9, 1858
delightful way, the sparkle of the eye being no trifling
auxiliary to the charms of the voice. My Aunt* Husband
is another little bit of comedy, awfully pointed against too
ready a belief in matrimonial felicity. Towards the end, the
piece does indeed become a little farcified ; but then Charles
Selby must be " funny," in spite of all consideration*, however
important ; and whatever worship he is inclined to pay to the
more dignified Thalia, there is a little laughing muse of
farce that is pretty sure to lure him into a heresy. And
what does that matter at the Strand Theatre I People go
to laugh — and they do laugh. W& ourselves, albeit of a
fravo turn, roar incontinently at the merry jests of Charles
el by.
The talent for "fitting'' a company which Mr. Charlt*
Selby has recently displayed is very remarkable. There is
a compact little troupe at the Strand Theatre, and he knows
how to turn every member of it to the best account. Long
as Mrs. Selby has been on the stage, we will venture to say
that her merits were never lialf known till within the last
few weeks, during which she has given delineations of cha-
racter worthy of any actress past or present. It is Charles
Selby — it is her devoted husband who thus makes her shine
out in the plenitude of her talent. Mr. Swanborough,
doomed for some time to pine in obscurity, and forced to
happy when he could raise an occasional laugh
at a very small fop in a very largo assembly— Mr. Swan-
borough, we say, now stands forward as the beau ideal ot an
exquisite. Nothing can be better than Mr. Swanborough's
representation of the languid military man of fashion in
-Vy Autit'e Hutband. And it is Charles Selby who has
plucked the diamond from the mine, and made it flash before
our astonished eyea Cliarles Selby is an industrious masonever
hewing pedestals that shall raise figures, unjustly passed over,
to a proper degree of eminenec. How well has he worked
for the fame of the beautiful Miss M. Ternan, whether he
hasmadchor theprimmest of wives or the smartestof eoubrtUes.
No one will ever forget the effect that she produced in The
Lent of the P'ujt iih, when, taking off an unbecoming head-
dress, she allowed a fountain of raven tresses to gush over her
shoulders, and made the stalls gaze in speechless admiration.
Who contrived that effect t — Charles Selby. Even the more
recognised talents may regard him with reverence and with
love. Where has the delicate Miss Swanborough— where
has the vivacious Mias Oliver, felt more completely ot
home than in the delicious little dramas whorcwith Charles
Selby has blessed th e boards of the Strand Theatre 1
But above all the persons who should look up to Mr. Charles
Selby with enduring veneration we would name Mr. J. Clarke,
the low comedian of the Strand Theatre. Three months ago, if
anyone, discoursing of the stage, mentioned the name of "little
Clarke," everybody assumed, as a matter of course, that the
person designated was the very diminutive and facetious
artist, who, from time immemorial, has played small
parts with great td,U at the Huymarkct, and is supposed by
antiquarians to have been originally engaged by Samuel
Foote. Now there is another " little Clarke," — yes, a small
man, whose fame, fostered by the genial care of Mr. Selby,
is growing every day more lusty, and whose entrance is as
sure a provocative of mirth as that of H. WiddUMHBQ at the
Surrey. People look out anxiously for J. Clarke as a contrast
to more sober pleasantries, and if he putt on a grotesque
attire, they go into convulsions. Selby, greatest of disco-
verers, has discovered a new " little Clarke," unless, indeed, he
has produced him as Frankenstein produced Mr. T. P. Cooke,
or Wagner elaborated the Homunculus,
There is, however, one defect in Mr. Charles Selby's last
piece— a serious defect — he does not act in it himself. If
there is a pleasant spectacle on the surface of the earth, it is
that of Mr. Charles Selby playing in one of his own pieces.
As an actor, he is always conscientious and artist-like ; but
when the piece is his own, and the audience welcome it with
cordial laughter, the hilarity is reflected in his own face
after a fashion that baffles description. He looks like a be-
nignant spirit, calmly enjoying the happiness he has diffused,
— a beneficent divinity, who has just created a world, and
smiles on it before its golden ago has passed away. With
what tinction does he deliver bis own dialogue — and if a
littlo scrap of flirtation is required in the course of his work,
how delightedly does he abandon himself to the spirit of
the sceue.
Let no one deny there is happiness in the world, so long
as Charles Selby writes farces and act* in them himself
Don't be blown away by every wind of doctrine, gentle
reader. About nine months ago you were taught to believe
that Professor Wiljalba Frikell was the first man in the
world as a professor of the " severe" school of conjuring, and
you were taught correctly. Therefore neither be shaken in
your belief by some other "severe" professor who boasts
that he too can conjure upon a simple table, nor allow your-
self to be dazzled by some practitioner of the decorative
school, who insists on dazzling your eyes with tho lustre of
a gorgeous apparatua All is not gold that glitters. Vase*
that sparkle may liave double bottoms.
Admire, too, the urbanity of Professor Wiljalba Frikell.
There is uo doubt that he is not pnly a native of Finland,
the home of magic, but one of the Shamans or seerwof tlie
Finnish race, who govern winds and communicate with all sorts
of spiritual essence* If he pleased, Wiljalba Frikell <
convey all his spectators into the pocket of his coat, an *
port them into the midst of an assembly of Lapland ■
But he mercifully abstains from the exploit, and is contented
with giving just such a sample of his power as shall astound
without injury. As for the trifle that is paid at the door,
Professor Wiljalba Frikell does not in reality require it He
knows where are situate all the treasures beneath the earth
and below tho waters— including the wreck of the "Royal
George" — and he has gnomes at his command who can fetch
them at his good will and pleasure. Bat he also known that
in this money -getting conntrv things that are offered grati* art-
lightly esteemed. The Earl'of Shaftesbury will tell you that
schools which teach for nothing command few pupils, Circe
herself might have turned her friends into swine in the middle
of Trafalgar-square, but she would not have drawn a crowd
without a familiar spirit to collect contributions in a hat.
And, reader, when you find yourself at Polygraph*
Hall, marvelling at the prodigious powers of Wiljalba
Frikell, do not let wonder deprive you so completely of sH
presence of mind, that you forget to purchase the little book
(price 6d.) which is entitled "Lessons in Magic," and gives
instructions how to work seventeen miracles. If you i "
that little work with assiduity, who knows thnt yon I
in time become a real Shaman yourself.
Sig. Koxmi has arrived in London, after a/our throogb France
Italy, and Germany.
Formes at PrrrsBDRC. — Carl Formes was serenaded to-night
at the Mouongahela Hotel, by several German musical soeieuea,
and made a handsome speech to the crowd.— Pituburg Paper,
Sept 22.
651
DRURY LANE THEATRE.
ArriR a prosperous ran, The Rom of CattilU is beginning
to eihibit the natural symptom* of decay consequent npon
every work of whatsoever magnitude, and will bo withdrawn
od Monday, to make way for M. Flotow's Martha, for which
a great success is anticipated. The entire strength of the
company is included in the cast, and we have no doubt that
Mias Louisa Pyu* and Mr. W. Harrison will leave nothing
undone to ensure such a result. We are only sorry they
should not have chosen a work of higher merit, and one
better suited to tho means of their company. Wo shall
be delighted, nevertheless, to hear Miss Louisa Pyne sing
"The last rose of summer," and trust she will not substi-
tute words by tho poet of the establishment for those of
Torn Moore. Wc likewise hopo that tho score will not b«
treated after the fashion of the Croirn Diatitond*, as per-
formed last winter at the Lyceum Theatre, and that the
patroniser* of English opera may be allowed to judge of M.
Flotow on his own unaided merits. Nobody doubts that Miss
Louisa Pyuo is a first-rato florid singer, and the public does not
require to be reminded of the fact uightly. That the fair
artist is an accomplished vocalist in the expressive school
has also been abundantly demonstrated, so that s'ic may
be supposed to be equally at homo in the music of Auber
and Flotow. For the sake of variety and effect it might
have been as well had tho composer introduced a cavatina
into Martha; but, since he has not thought lit to do so, let him
have his own way. The acceptation of his work by the Drury
Lane managers d priori implied— or should have implied — re-
spect for it. Let it therefore be respected. The music of Lionet is
well adapted to Mr. Harrison, who should do it eminent justice.
On Wednesday a new ballet-divertissement, eutitled Fieur
<f Amour, from the pen of M. Petit, was produced and received
with much favour. A* we had received no explanation of the
plot, and are not felicitous in the solution of problems, it is
impossible for us to say what tho dietrtiuement was about. Of
course a love incident was the upshot, and the audience were
eutertaitied with the usual caprices, coquetting*, tergiversations,
quarrels, and recriminations of the melting pair, together
with the inevitable paternal interferences, mollifications,
reconciliations, and beatifications, at the cud. The chief parts
were supported by Mesdlles. Zilia Michclet, Morlacchi, and
Posquale, who bouuded ami pirouetted to the very utterance, and
were applauded to the ceiling by " men and gods," and the
" columns" that helped to reverberate their shouts. The music,
by Mr. Allred Mellon, aa might be expected from so ready
and accomplished a pen, U graceful, airy, and character-
istic. A tarantella, written in the true Neapolitan vein, and
smacking both of Rossini aud Auber — aa who that com-
posed a veritable tarantella could, by any ingenuity, eschew
comparison with such models 1 — cannot fail to make its
way into all dance-saloons, public aud private, even though
that uiost famous of all the pat of southern Italy stand no
chance of importation into Londou. In a word, the new ballet
divertissement was entirely successful. The Orury Lano public,
albeit unused to the vaulting mood, seemed to enjoy thoroughly
the gyrations, vibrations, libratious, and poetical poses of the fair
triad otdanteute*. Thecurtaiufellamid loud applauseon all sides.
Mr. Smkjuda* Knowt.es having recovered from his late
severe indisposition, is at present tesiding at Ttothsay. He
preached last .Sunday in Victoria Hall, both forenoon and after-
noon, to a most crowded audience, every inch of room being
occupied. The forenoon lecture was an exposition of the Ifllh
chapter of St John, aud in tho evening au able discourse on the
■well-known consolatory text, "Come unto me all yo that labour
anil are heavy laden, and I will give you rest." Iu the course
Of hia discourse, as he glowed with the noble theme, wo thought
■W9 could fuel with and understand the motive that caused the
tempast- tossed actor and author to fall back on the pulpit as a
mure congenial haven than that which attends a successful
literary career, even whilst accompanied by the applauding
boaannah* of au admiring public. Mr. Knowlea is quite reco-
vered in health.— Glasgow Mail.
HERR WILJALBA FRIKELL.
The great natural magician haa varied hia entertainment*
during tho week with an exposition of the means by which some
popular tricks are accomplished, and on Monday night entirely
laid bare the deception practised daily at fairs, races, and in tho
streets, too, in the case of the trick with the Indian rings, one
of the best feats of itinerant jugglers, which used to be the
wonderment of our own boyhood, and which, no doubt, sent
many a yokel away impressed with the belief that the
stout mau in the tight dress besprent with spaugleB had
occult dealings with the Evil One. The trick is simple, but
requires expert fingers combined with much practice to render
its accompl ishmeut easy. This part of the performance was
received with ecstatic delight by the whole audieoce, as every-
body thought that with a few brass rings and a little adroit-
ness ho might be enabled to constitute himself the Wiljalba
Frikcll of a minor circle. Moreover, the professor has
published a littlo book of " Lessons on Magic," in which
the tyro is taught the way to execute some apparently astounding
feats without the least difficulty, and, in fact, how to become an
embryo conjurer. The little brochure is well written and contains
somu very pertinent remarks in the preface. "The 'Magic' I
practise and expound," writes the magician, " by presenting
marvels professedly due only to human ingenuity and dexterity,
and showing how, by tho simplest means, every sense may be
elfeeluallv deceived, is the best safeguard against the effects of
that weak credulity which, it is proved by constantly recur-
riug instances, affords oven in the present day, and among
persons of education, so productive a field to a host of cunning
impostors." True, professor, most true I But if you only kuew
how wo love to be deceived ! Do leave us to our credulities a
little I Don't cxplnin everything ! We yearn not to be as wise
and crafty as yourRelf ! Prythee, let something be left to the
imagination ! Keep in reserve certain of your most miraculous
achievements, else we shall not bow down to you as our superior
any longer, and shall accustom ourselves to look npon year as a
very moderato gifted necrotuaucer— a poor every-day euchauter
—an unniighty wizard ! Let Borne of your deeds still linger in
the shadows of darkness !
PROFESSOR DE MORGAN ON TUNING.
(From The jithrrta-um.)
Ocr musical readers are aware that when the two notes of a
simple consonance are a little out of tune, though only to the
extent which common temperament allows and requires, a
beating pulsation is heard — a wow-wow-wow-ing kind of per-
formance— which keep* itself within decent bounds on the
pianolorte,but becomes rather an annoying defect on tho organ.
The theory of these beats, as very obscurely laid down, though
with perfect correctness, by Dr. Robert Smith in his Treatise on
Harmonics, has received but little attention. The beats them-
selves have been used in tuning, and they furnish the only
method known, except the unassisted judgment of tho ear, for
tuning on any given system. The subjects of beats has been
recently treated by Professor do Morgan in a paper which has
just been printed as a part of the Cambridge Philosophical
Traiua ttout, Vol. X., now iu the press. On the simplification
of the theory of beats which this paper poiuts out there is no
occasion to say anythiug / but a postscript contains some sug-
gestions on the subject of toning, which wo think it worth while
to lay before our readers. All tuner* begin by properly adjusting
an octave, or a little more than an octave, which contains what
arc technically called the bearing*. The rest of the scalo is then
tuned from tho bearings. These bearings are obtained by taking
one standard note from a tuning fork, and then tuning fifth*
upwards and octaves downwards, making the fifths a little too
flat, as required iu the system employed, usually that of eaual
temperament, in which all the fifths are made equally flat. Thi*
the tuner generally does by the ear ; aud if, as he comes toward*
the end of" his bcariugs, he finds that he haa overfhUtened or
underflatteued the earlier fifths he has to try back. Every new
chord which comes into tho adjusted part is a new test of the
success of the process bo far. An adroit tuner doe* this weU ;
Digitized by Google
THE MUSICAL WORLD.
[October 9, 1858.
requisite table of beats in each of foa
equal temperament, as commonly
change of temperament, first upward
and there are some who have not often to fall back. That
is. there are some who soon please their own ears, and others
who are much longer about it Bat there are no tuners who
precisely agree with one another, and few, if any, who ai all times
agree with themselves. It is the experience of the organ-builders,
with their best tuners, working on different compartments of the
same organ, that though each can make his compartment plea-
sant enough by itself, uie compartments are frequently not fit to
work together. Prof. De Morgan proposes that the bearings
should consist of one octave, each of whose twelve semitones ii
obtained from a soparate tuning-fork. But who is to answer for
the tuning-forks I The manufacturers are to adjust them by
making th« consonances beat the number of times per minute
which it shall be calculated from the system of temperament
chosen that they ought to beat. Supposing the manufacturer to
have a good standard set of his own, on any given system, it will
be easy enough to make copies by unisons. Nor should the
manufacturer object to a proposal which will, if earned out,
make the demand for forks just twelve times what it is. The
alleged advantages of the proposal are as follows : — First, the
saving of time in obtaining the bearings ; it is easier to get
uniaon with a fork than to make the unassisted ear give a fifth
too flat by two per cent, of a semitone. Secondly, the certainty
of attaining the end proposed : for the system to be attained is
stereotyped on the forks, independently of the state of the
tuner's ear, temper, or indigestion. Thirdly, the practicability
of making a true trial of different systems of tomperament ;
the tuner's ear being wholly insufficient to discriminate the
minute differences between one system and another. Prof.
De Morgan considers equal temperament as an insipid dead
flat; and prefers the variety which exists in passing from
key to key under varied temperament. He has given the
* of four different systems. First,
lonly used. Secondly, gradual
awards and then downwards, in
passing dominantly through the twelve major keys. Thirdly,
major thirds everywhere equally tempered, with the greatest
change of temperament in passing from key to key, which this
condition admits of. Fourthly, the same extreme variety with
the minor thirds everywhere equally tempered. The calculation
of beats for a given system is of little difficulty; but as there
are many practical musicians to whom, iu calculation, great
difficulties and little difficulties are all one and the same thing,
we should recommend any organ-builder who seriously meditates
trying any system of his own, to ask Prof. De Morgan to furnish
him with a table of beats.
RICHARD WAGNERS LOHENGRIN.
(From the Xiederrkeiniseke Un*ik-Z*U»ng.)
" Whokvb-r judges Richard Wagner's operas by the scores, is
an ass ; whoever does so by the pianoforte editions is simply an
idiot" Keeping this lively assertion in mind, an assertion we
have heard repeatedly from the lips of Richard Wagner's disci-
plea, we took great care not to indulge in expressing any opinion
ou Lohengrin, until we had seen it sweep, in all its glory, over
the stage. And, indeed, Richard Wagnor"s music, to speak more
especially of it, cannot be separated from scenic representation,
without becoming absolutely wearisome. It is true that we have
to pay dearly enough for the small advantage accruing to us,
when we hear it brayed forth from the stage through the various
instruments of the orchestra.
We are not going to relate the plot of Lohengrin, It is already
sufficiently well-known to our readers. We are accustomed not
to examine the libretto* of operas with too great an amount of
critical minuteness, regarding them, as we do, as mere accessaries.
But Richard Wagner's hbmuos are by no means intended to bu
thus judged, and be would protest against the bare notion of such
a thing. His object is, above all, to present us with a drama. We
have not the slightest objection to this, and if R. Wagner's efforts
should help to disgust us, at length, with the empty, vapid
puppet-show subjects, which are served up to us again and again
in operas, we should account this fact alone as a praiseworthy
action. But, in art, intentions are not worth much; on the
contrary, everything depends on the manner in which they are
realised. Competent judges, however, will perceive, at the first
glance, that neither Tannh&iucr nor Lohengrin, considers
simply as dramas, will bear serious reathetical criticism, and all
persons, whose opinion on matters of literary criticism U Ger-
many are worth anything, have always been unauimous wi(h
regard to their trifling poetically-dramatic value.
What ! are these dramatic, and consequently, as people ar
pleased to assert, " purely human" conflicts, " borne by the at-
mosphere of the time," which are presented to us in Tann-
UtHgr and Lofiengrin? ore these dramatic characters f and In
this the language of a specifically organised poetical mind t
Are we to be especially edified by this wretched, coarse exposi
tion of dualism in human nature, of which Goethe a Fa**
offers such a powerful and all-comprehensive picture, of that
" holy Oral," which was certainly au unknown greatness, for
moat persons, before R. Wagner dragged it forth from the
honourable darkness of the middle ages I To recognise in
R. Wagner, as the author or the dramas of Tannkaiuer and
Lehenjrin, specifically |«wstic qualities, would be tantamount to
confessing that we .lid net know what are the first principles
of all poetry, especially dramatic poetry. Some people have
been bold enough to assert that the structure of the verses in
Lohengrin is very excellent ; nay, a model worthy of imitation,
but it is easy to prove the contrary from every page of the
libretto. It is not without objective justification that, in the
parody of Lohengrin with which it lately attempted to amuse
its readers, Figaro laughs at such verses as the following :
" Wo Ihr des Koniir* Schild gewahrt,
Port recbtdurch L'rtheil nun erfshrt !
rul'.chklagend lsuluodhell:
su stcir:"
like the
' Vor den Konig sollt lhr
Dart will icb Antwort ibr
We might multiply at pleasure _
we have selected at hazard. We are
especial importance to defects of this kind in an " <
have to deal with a "drama" and a "poet,"
circumstances, such things cannot be permitted to peas un-
noticed. ......
It is, however, a strange position m which we are piac^i
towards Wagner. If we attack Wagner the poet, Wagner Ok
composer will be thrown in our teeth, and vice vered; nay, if wt
attack him in both these capacities, we are, at last, referred U
Wagner the reformer, who has written the libretto, the open
and the drama. The case is a peculiar one. Even most of tho*
who are altogether opposod to Wagner's works, believe them
selves bound to come to the general conclusion : " It cannot t«
denied, at any rate, that we are presented with a great and im-
portant creation." But, however people msy think on this heso.
there is something really astonishing, namely, the energy a»;
perseverance with which Wagner first writes thick theoreiicaily-
speculative works on his doublo art, and with which he tbet
himself knocks together the verbal scaffolding of his open-
dramas, and then ends by crowning his triple task by that psr
of it which he knows very well will be the most important oatc.
all, that is to say, after the pen of the poet has done iU doty, be
nibs that of the composer. Everybody, however, who has 12
any degree investigated the nature of the human mind, eitaer
by the light of speculation, or by the aid of history, w^
look with a great deal of suspicion on this fact. If we ren*"-
what an amount of energy is required to produce a true dram
■ and what warmth of feeling must be exhausted, wheii^ * ^
finishes such a work, ho must ask, " with astonishment :" Whxi
and is not this problem yet solved for you I On the contrary,
was this only the scheme, aud do you, at present, intend to r-
again through the whole process, naturally rendered in^r
difficult t This apparently simple question, might, perhaps,
rise to more speculations than people would at first suppose. *
we must leave our readers to indulge in them for themael v ea, ia.
turn our attention exclusively to the musical r*" ' 1
It is by no
of Lohtngn\.
Lohengrin a
Digitized by Google*.
October 9, 1858.] THE MUSICAL WORLD.
653
made to reply to Elsa's question as to hi» name am
"My name is Lohengrin, and I am son of Tannhauser." The
following malicious verses ruu thus : —
" Ieh geh' nseh Zur'ch sum Richsrd Wagner,
Der tnich in mehren Opera noch Terwendvn « ird."
"lam going to Zurich, to Richard Wagner, who will employ me iu
•ereral other operaa."
The fact is the music of Lohengrin, in its essential attributes,
nay, only too often in its outward structure, bears a very clow
family resemblance to that of Tannhiiuter. We will, therefore,
first consider R. Wagner's musical capabilities generally, and
then add a few strokes of the pen to characterise more especially
Lohengrin. Our readers must allow us to adopt, exceptionally,
the plan of dividing our notice under separate heads.
(To be continued.)
Worcester. — By far the most successful concert given in this
city for many a month was the second of the Harmonic Society's
series, at the Music Hall. That capacious building was quite
full, the large attendance being induced partly from the fact that
somo of the proceeds were to be devoted to the fund for the resto-
ration of Spetchley church and partly from the attraction held
out by the assistance of Mr. Sims Beeves, Miss Louisa Vinning,
and Mr. Thomas, assisted by Mr. Malbewr, solo flute, and Mr.
Davis, solo "
I harp, who all gave their services gratuitously as a
u.«. v. voteeni for the worthy rector, the Bev. B. Sarjeant. The
society's band was also strengthened by many additions, and au
excellent programme had been selected. Haydn's Symphony,
No. 6, opened the performances, tho first violin (Mr. D'Egville)
doing especial service. The first part of Robin Hood followed,
in which Mr. Sims Beeves sang the air " Under the greenwood
tree" with such grace, ease, and brilliancy, as to create a
furore. In the "Rose of the Morn" he was encored, re-
turned and made his bow, but very sensibly declined to
repeat it. Indeed we were glad to observe that during
the whole evening the absurd custom of encores was much
in abeyance, only two instances having occurred — Mr. Beeves
in "Come into the garden, Maud," and Miss Vinning in
" Home, sweet home," when she substituted "Comin' through
the rye. This young lady was never heard to better advantage.
Mr. Thomas " did" the Bishop in " Robin Hood" with much
dramatic force and fine execution, and Mr. Topham's " Little
John" was by no means amiss. One of the most effective pieces
of the evening was the " Miserere," by Miss Vinning and
Mr. Beeves, with organ accompaniment and chorus. The
choruses and concerted pieces were well done, with tho excc|>-
tion of Mendelssohn's Athalie, which was dragged along some-
what too slowly ; bnt the gorgeous music of William Tell, and
the choruses " O hills," " Strike the harp," and " Now morning
advancing," delighted the most critical ears. Solos were exe-
cuted by Mr. Davis on the harp aud Mr. James Mathews on
tho flute. Mr. D'Egville was leader of the band, Mr. Haynes
and Mr. Jones presided at tho pianoforte, Mr. Turbutt at the
organ, and Mr. Jones conducted.
Liverpool— The Elijah was given in St
evening week, by the Liverpool Vocal
Mr. and Madame Weiss, Mrs. O. Holden,
Miss Hiles, Miss Sharpe, Mr. Mann,. Mr. Wilson, and Mr.
Pearce. Mr. Best presided at the organ, and Mr. Armstrong
conducted. The local press speak very well of the society, and
predict a successful career.
Sib William Dox oh Etwcettb. — At the Sunderland police-
court, Sir William Don, Bart., who has been fulfilling a week's
engagement at the Lyceum Theatre in that town, was charged
with having wilfully assaulted Edgar Burchell, a performer at
the same theatre, and with doing wilful damage to a hat, coat, and
shirt, his property, to the amount of £\ 5s. The complainant
stated that on the evening previous he was playing the character
of " Glimmer" in tho interlude of The Tiro Hmuxrth, in which
piece Sir William was "John Small" — that having gone on to
the stage with his hat on, Sir William asked him to take it off,
telling him that if he did sot he would knock his head off. The
down he went to offer an explanation to Sir William, who seized
and dragged him to the window of the property room, knocked
him against some lumber, tore his shirt, crushed his hat, tore
his coat, and nearly strangled him — that he had brought this
charge not to extort money, but to expose his brutal conduct.
Mr. Young addressed the Bench on behalf of the defendant, and
admitted the assault. Mr. Young then proceeded to say that
it was the custom of every well-bred Englishman in private to
remove his hat in the preseuco of ladies, aud that his client was
only doing his best to have the rules of etiquette strictly adhered
to, and became incensed on finding that complainant did not
comply therewith, by not taking his bat off. The magistrate
convicted Sir William of the asaault, aud fined him £1 and costs,
and 10s. fid. for damages to the man's clothes. On the following
evening, Sir William took his benefit, and his physical pugnacious
attractions evidently had a tendency to make him a very good
house.
Tbi Weddixo CeRBMoxr with Choral Ssrvicb. — A corre-
spondent writes to us : — " Sir, Within the last few weeks, much
has been said and written upon the subject of the wedding cere-
mony, with full choral service. Perhaps you will allow me to give
a very short account of au interesting marriage that took place at
Bsigate church this morning. The service, which was performed
by the Bev. J. C. Wynter (rector of Oatton), assisted by the
iter. J. N. Harrison, vicar of Bcigate, commenced with an
appropriate voluntary on tho organ (a very nice-toned instru-
ment by the way). The responses after the prayers were given
by the choristers ; and after the minister's blessings two psalms
were chanted (single chante). At the close of the service
Mendelssohn's ' Wedding March' came pealing forth its joyous
strains as a concluding voluntary. The whole service was admi-
rably performed by all who took part, and I do feel that the
musical service, as introduced at Re i gate church, is a great
improvement, and, in my opinion, the ' service of song* could
not be more appropriate than ou such an occasion. I ought to
mention that tho musical portion of the ceremony was entirely
under the direction of Mr. Thurnam, the organist Not wishing
to impose upon, or exhaust patience by any farther remarks,
and trusting you will excuse the liberty thus taken, — I am, Aft,
A Member or the Church of Exolaicd.— Redhill, Sept 24."—
Daily Sew*.
MARY, I'M THINKING OF THEE.
(From " So*gt, by John Ellisou.")
I.
On the blue deep,
SUrer beams sleep,
My baric glidei a* swift as a bird o'er the sea ;
And in the calm light,
So holy and bright,
Mary, my Mary, I'm thinking of tbee.
II.
From our dear home
Away on the foam,
My visions as fair aa an angel'a
Oft thy dear form
I see 'mill (lie storm,
Mary, my Mary, while thinking of toes,
ill.
The wares bear my store,
Bnt dearest, fsr more,
I worship the land where my beat
Joy lights my breait
To think of the rest,
Mary, my Mary, I'll icon find with thee.
IT.
Close at thy aide
I'll era abide,
None shall hare sweeter contentment tha
Life has no bliss
So welcome ss this- -* Hall,
Mary, my Mary, ss dw»»-
654
THE MUSICAL WORLD.
[October 9, 1858.
MESSRS.- DUNCAN DAVISON AND CO.S
PUBLICATIONS.
PIANOFORTE.
a. d.
ANDREWS. "Thou art eo uu nlxl yet to Skt," lUveno oo Reichardta
popular Utd .. _ .. _ .. .. _ SO
AaCILARfEMmuu.). " Buns*t slow "
"BACHIANA." aelect piece. (Prelude* ...d Fukuo.) from tb.
work, of John Sebnatian Baca, not included in too lorty-cig!
and Fugues :
Ko. I- "Fuga Bcberaando," la A minor ..
S. Prelude and Fugue on U» name Bach
Both the ai-ovo bav» Wv\ played In |uUie by Minn Aral-alln Goddard.
UK1SSAC (Jolss) "Bella Pigha" < the quartet from RUolett ■) .. ..19
"Quondo )a Mre" and "Ab! fu giusto (from Luisa
Minor) 8 0
BURGMULLKR <F.) " Blanche. " Polka Mazurka 2 0
FUM 4GALLI (A.) "CLARICE," the only correct edition, u played by
M •» Arabella Q' ddard
GOMIONfE. A.) "RIIks," Romaaoe 1 0
RAM1Tlf^J(J^^^Y*"O^"tr*tOr,|0 'ularB h ' ian 'el " 4 0
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Grand March, with Introd'ic'.ion
H.R.H. the Duke of Cambridge
ld^ Futures (lu 8 b.«ke
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L'AmicUia. Notturuo. dedicated to the H«i. Mr* Edirmud Phippa
La, Cowani*. Nocturne d dlratod t-.tboRt Hon I. dv das B
"M ''AutotDlia. Valsea, dedicated to Mia* Cecilia Elioo
U Bi.n Venn. Valae Varlee. dedicated t-. Mrs. Franco* V
The Crtac, Foka. dedicated to Mr*. Heuuane Dering
The lUmpton Owl, Polkas, dedicated to the Coon tea* of
Three Waltsea. and a Galop
of Quadrille*, dedicated to Lady William Herrcy
M'KoRKEI.1. (CO Souvenir de Oluok (Armide)
I •
4 I
4 •
I •
1 »
4 •
« i
5 i
I »
I i
* I
8 (
* :
I <
f I
REPERTOIRE D ES * BOUFFES PARISIENS,
a colibctiox or
QUADRILLES, WALTZES, POLKAS, &c &c,
1. "TromW<*x.r," WalU ..
». " Rare J i;nc nult d'*le\" WalU
8. " U-e deux pWwin," WalU
4. "Lee deux aveugle*,'' WalU
(Rntanoo). "Don
raOM TUX
r*SUTOMI*I> *T
THE THEATRE DES BOUFFES PARISIENS, PARIS.
a. d.
8 S
8 0
I 6
1 «
S. " Le Violoncux, ' Poika
o. " Dm nuit blaoebe," Quadrille
7. "Ven- du. ■lr."Quednllo ..
8. "UViolotieux," Quadrille ..
t(
I I
I «
I »
1
PIANOFORTE DUET.
/.iwrfoej .Vet/.
le," Introducing the celebrated Heronode " Com' e gentU
L one of tho moat eflVctlre duet* that wc huro ever listened to.
TWO FLUTES AND PIANOFORTE.
) on the ".Carnival of Venice," dedicated to 1
a. <L
A •
V O C -A. L.
>"(" Hall, rjeaatooiie .tranger of the grove") ..
("I love the aunahla* erery where "—Ml nr
ADELAIDA "The Cucko
„ "Sunahise"
Howitt)
BAI.FE (M. W.) '* I'm not in lore, romem Wr, " inajf wRh the greateai eclat
by Mdlla. Vktolre Balfo ae well aa by Mr, Cuarlea Braham
,. *' Ob. take me to thy heart oifain * ..
"One of the moat charming melodies Mr. Balfe haa erer oompoaed."—
LtrrrpuiM Mail.
HRAHAM (CHaaj.iv.) '■ reraevcre, or tho Carear of Uarelock"
BRUCE (Eaara-r). « Wh«u I was youDK." Ming by Mdlle. Jetty da Trcffi
ii "When first you ebons before roe," sung by "
Borchardt .. ».
CRU WELL (Gottud). •• Mournfully, sing mournfully," witt violioor
aocompatument
.. "Where la the aw,"
paulment.. .•
DESSAUER fj.) "Quick arUe. maiden mine," sung
EXDKR8S0HN(M.) "8w«t little Jenny "
"My Mary"
FOSTER I Auci). "Mernly
<*sa5gsBm~
a. d.
1 0
a o
>." The akylark-a song,
At early day .
-RO5VE.V0R(S)
have -
■bould ht.t
eappet-show aa^
» openw, we ehoi
La art,
) "Oh. 1 would wend with thee, lore" .. .. 8
Ditto a* a iludt for barytone and soprano . . 8
"Quand oo me donncrait," duct for aopraoo
and (rtinr S
Ditto ae a Solo, with OuhVtr accompanim* nt . . 1
Eu^llah War Song. "Who fears to diet" Tbo
word, by Alfred Tennyson .. .. .. S
National Sing, " Nnw to Arms" .. .. S
• •MaryO'Shane. "Ballad dedicated to MiaeRowUind 3
" Mayeong
•
0
0
0
'-'
s
II
e
a a
GROSVENORfB.) " I will go f.Tth in the streuirlh of the Lord (rod," Thanks-
KlTlng Anthem lor Toicea aod organ ..I*
HALEVx (F.) " Lord bear ue we Implore thee," Prayer from La Jur»o . . t I
" He will be here " (II r» »»nh-) IS
HARGITT(C. G.) ,•To-ro•m»w•, ("Oh bright and Joyous wore the days of
childhood") 1 <
MACFARREN (G. A.) " Faquila *(" I love when the sun hoe set''; nag by
Ia Highora Fumagalli
MEYERBEER. "ThUhf^uae to love Is holy," Serenade for S sopranos, laltas.
8 tenors, and 2 bamee, without aooonipamment in roonj score ..
Be|Wlate vocal part, oach
„ The Lord'a Prayer (Kugliah rind Latin word«) for nopraxio.
alto, tenor, and baa*, organ ad lib. in aowo
vocal part* each
era, here op the Diortntaln," Shepherd 'e song,
obblureto .. .,
or vtalin to the above each
••Ncartotbe*.•, with Tloloiice.lo obbligalo ..
MONK (E 0.) "Go alt tiy th* .ummcr a«*a " ..
MO /.ART. "The very angels weep, di«r"
PELU (D«. Janaa) •■ Weed, and flower*"
REICHARDT (A ) "Thou art so Door and yet so far" (odo of the
pi'pular aouga of the day)
ST. LEGER (hV. a.) "The. Id wll!o« tree"
VIVlBR(Koa«*«). "The Oft hen! " (b-chcvTicrJ
"The Exile "(L'Kxik!)
with
: i
4 •
« I
* •
o t
4 <
0 f
« i
t «
s <
8 «
"The FUherman'* SoVijt " (Chjina< -n du r4ch>uri*
"Wh>n o'er Uie meadows green" (with Horn i
j'unlmeutX sung I >v
Violunccl'o parr t. dltb)
T ARNOLD (Lotnaa). "
1 I
LONDON:
DUNCAN DAVISON AND CO.,
DltPOT OfiKfiRAIi DE LA MAI80N BBANDU8, DE PARIS,
^NT-STREET, CORNER OP LITTLE ARGYLL-STREET.
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October 9, 1858.] - THE MUSICAL WORLD.
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BOOSEY AND SONS' CHEAP SERIES
POPULAR OPERAS
PIANOFORTE, WITHOUT WORDS.
W. S. ROCKSTRO AND RUDOLF NORDMANN.
Bach Opera u complete in One Volume (doth), preceded by an interetting article, describing the Miieic and Story,
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LLOYD'S WEEKLY NEWSPAPER.
MORNING POST.
" Bmn things of their kind we have not met with ; and when we
here stated that to the intrinsic attraction! of tho music (placed thus
ingeniously within the reach of all moderately-endowed pianists) are
added those of taateful ' getting up,' clear and correct engraving, and
rdinary cheapness, Meair*. Boom;'* new edition of
t will probably need no further
MORNING HERALD.
"Tex whole of the opera is transcribed for the pianoforte by Mr. Nord-
mann without omission of a scene or pasaage, and the dramatic interest,
which is seldom transferred to the pianoforte in arrangements of this
kind, is prewired throughout the
ILLUSTRATED TIMES.
• • «Wb will merely call attention to the admirable manner in
which Rudolf Nordmann lias arranged them for the pianoforte, and
the cheap and convenient form in which they a
TEE CRITIC.
" Wl cannot too highly commend the manner in which these hare
i the popular comj
THE MORNING STAR.
" Etxbt opera of this series has a letter-press introduction which
neatly states, and in a few words, the story that the music Illustrates,
and then goes on to describe tho music in drtail ; and thus the first
part of the learner's duty will be, to read the narrative and eiplanation
" Thi various cheap editions which bare appeared in France and
America arc quite surpassed by the handsome volumes now before us.
Besides being cheaper and outwardly more attractive than any other,
this edition has the rvsriixn advantage of being brilliant and effective,
and yet easy and accessible TO 1U. 1 he 1 Standard Operas' arc printed
on excellent paper, and bound in strong cloth corer*.
THE GLASGOW HERALD.
"To give some idea of its extraordinary claims upon tho attention
of the music- loving public, we have to mention that 11 Troratore is
beautifully printed on good paper from plates. It contains no fewer
than thirty-four airs, duets, trios, quartets, and choruses, in a folio
of eighty-eight pages, and can be had, handsomely bound, for
THE WEEKLY TIMES.
" This is a series of operas for the pianoforte, which for cheapness,
exactness, and finish, exceed anything we ever saw attempted. Tbey
are beautifully engraved, admirably printed, and handsomely bound in
strong cloth. Tbey are perfectly free from that general consequence
of cheapness — a mean insignificant appearance. Not only is the
original score most ably arranged for tho piano by Mr. Nordmann, but
the operas are girrn entire, witbont omission or mutilation, so that one
purchasing this edition may become perfectly acquainted with tbe
masterpieces of tho modern lyric composers without moving off his or
her own music-stool. Another great recommendation of this edition,
too, is that it contains an elaborate and analytical outline of the story
on which each opera is founded, aud thus the performer is enabled to
appreciate much more keenly the merits of the music, because be know*
exactly the dramatic situation it is intended to illustrate." «*«*TJ&"
inn'
called ' '
,, and tllAfc
Library, 24 and 28, Holles-street, Oxford
Hull,
65f>
THE MUSICAL WORLD. [October 5>, 1858.
BOOSEY'S 100 BALLADS FOR THE VIOLIN,
price la . racln tir.g copyright ngp by Balfe. Hatton, Mori. Sacnurt I^vcr,
Glover, Ruasell, Loder, I Juicy. Wallace, Ac. h •• wy and Bona, Hoilca-street.
■nOOSEY*S 100 DANCES FOR THE VIOLIN, price la.,
A3 including popular cumpoiitftiuM by Lturcnt, Tlnnry, Mellon, Jullicu,
1>" Albert, Btrauaa, LnbiUky, Oungl. Ac UooMy and Sous, lloUee-ttreet
« "rjAYBREAK"— New Song by LoiigtVllow. Com ironed
\J U Wit Published tills d*y, pilot lit., by lkiwM> and nun*. Musical
Library, Hollcs-slreet.
BOOSEY'S 100 OPERATIC AIRS FOR THE VIOLIN,
price 1* , Including acloctiooa from II TroTatoro, La Trnviata, lUgoletto,
La Frophite, Lea Huguenots, Sounauibula, Nor on, Luola, Puritanl. Martians, The
Bohemian Girl, Ac. boosey and Buns, Hoiles-atreet.
LAURENT'S MAUD VALSE, Fourth Edition, price 4s.;
Laureot'e Romanoff Valae I on Ruaaian aire), third edition, price 4a : Baud
parte, i*. W. each ; rvptett. Je. ed. toj and Soot' Musical Library, nollea
street
PRATTEN'S 100 OPERATIC AIRS FOR THE FLUTE
price le, Ad. comrlete ; Pratteii'a Recreations for Flute end Piano, containing
14 popular Melndlra from M«yrrbeer'a and Verdi's oiwrss. Id 24 numbers, la each.
Beoaey and Sana, Manufacturers of Tntttea'a Perfected Flutes, 34 and 23, I! like
CASE'S 100 SACRED MELODIES FOR THE CON-
CERTINA, price la. 6d. complete; Caae'a 100 Popular Melodies for Concertina,
la : Oaee'a HeorraUotia for Concertina and Piano, it number*, la each. Boceey
and dona, MaooJacturcra of Caae'a Patent Conoertinaa, 54 and :8. Holka-atr-.et
R8. PRATTEN'S PERFECTED FLUTES, Manu-
• factored by 11 ■oecy and Bona, Hollea-etreei, under the penoual super-
intendence of Mr. It 8. Pratten, who teal* and certifies the quality of every
instrument- Price* from 4 to 17 guineas each. Full particular* gratia.
rpHE HARMONIUM MUSEUM, price 7s. 6d., a coin-
A plete library of music for this Instrument, containing 100 ancrcd nnd
aecnlar piece* by celebrated cunpoaera. arranged by Nordmann, with a valuebio
article on the liarruoujura by Henry Smart. In one vol., cloth (100 page*X price
Ta fld., poet free. Booaey and Son*, Hollea-atrecC
CASE'S PATENT CONCERTINAS, unrivalled for tone
sad durability nf make. Plies* from four to twelve guinea* each. The
Concertina at four guinea* (with full compass) la in handsome mabrgany, with
case to match. Carriage free to any part at Kiigtaud. Booeey and Sou«, Maiiu-
(aclure re, ill and 28, Hollee street.
BOOSEY'S 100 BALLADS FOR THE VIOLIN,
price la complete. Booeey a loo Dances f. r the Violin. 1*. Boosey'* 100
Operatic Air* for Ine VioLin. la The abore CCDtslu raluablo copyright mualc,
Inserted by airangercrnt with tho vartoue London publlahera. Alao. Booaey'a
Recreations for Violin and Piano, i4 number*, la. each. Catalogue, gratia, Doo»ey
sod Bona, 24 and 28, llollea-atrect.
GLENFIELD PATENT STARCH,
USED XS THE EOYAL LAUNDRY,
An nwwotnscso «T BBB MAJXSTY'B LAUNDRESS, to be
THB FINEST STARCH SHE BVER USED.
Bold by all Chandler*, Grocer*, Ac. Ate.
FREDERICK DENT.
Chronometer, Watch, nnd Clock Maker
TO THE QUEEN AND PRINCE CONSORT,
j^frkktT of Ifjc «ftit Clirk tor the fcouirj or ipatltamtnt,
shoulu 01 gtnuid, tad 34 tad 38, Bcyal Exchange,
puppet-show ...
v£ll7)fat i^art, toe?1 w»
LLTEN'S CONCERTS.— Rnvul Lycnun* Theatre.
.lulllen'a Twentieth and LAST ANNUAL wERLKM OF CONVERTS
will ceanmetioo on the First of November-, continue for One Month, and will be
f;ireai as M. JulUon a FarvwoU nnd "Concerts d'Adicu." before his departure gar
ila "VnlTir'ol Mimical Tour" through erery aty and capital or Europe,
America, Australia the Colonies, ana cirtl.sed town* of A*U and Afrtoa,
accompai.ie I by the elite of hie orchestra and oilier artiste*, " aaranta, beearaas
de lettrrs," Iwing Uio pucloua ol s lociety already formed uneMr the title or*
"Sod«t« de I'Harrnonlo UnlvcraeBe " InaUtnted no* only to prajmlaria* the
divine and driliaiug art of Music, but to promote, through Ilarmcrjy'a powerful
clou' lenoa, a noble and philanthropic cause.
The full Pro*]iecliie wilt ahortly be nuMlahed,
All cummuutoatloufl to be ad>lrce^vd to Moua. JuUien, 214, Rcgenf^streec. W.
MR. HOWARD, Svirgeon-Dentiat, 52, Fleet-street, has
introduced an entirely new dewriplion of ARTIFICIAL TF.ETU, fixed
without artrlnga, wire*, or ftgatairea. Tliey so perf.-otly resemble the natural
teeth at not to be dlsti nguiahed from t he origii uda by the clceoet ohat* ■** . Tasty will
never cliango colour or decay, and will be found aupcrior to any teeth eeer bea'are
used. Thin method do** not require the extraction of roots, or any painful opers-
tloD, will support and proscrrs teeth that are loose, and ta guaranteed to restore
articulation and maatiration. Decayed teeth stopped and rendered sound and
useful In mastication. 02, Fleet -street. At home Irom 10 till i.
T)UDOLPH NORDM ANN'S LA8T PIECE.—
IV • m- Al-PARI TUTT* AMOR." from Flotua'a opera "Martha,- Brioe 3a.
B.<T*cy and Boot' Musics] Library, 2M, HoUea-streec
IN
EW MUSIC for violin, flute, cornet, concertina, har-
manrum, and atruajr, bras*, and reed bands. A catalogue to be h
on application to Booeey and Si n*, !4 and ft, Hollea-strect
N
EW ITALIAN SON CIS. — " 11 Mattino" and " La mia
piett," by GogUcliD'\ prio* 3b. ea h ''Trittcua,** by Q**tti»% 3b. A
oHe*p edition of Gon.li^ juin"* fifty moct popuUx aongi in one toIiui**, 3I*v —
j| - .u.., Si: i -', Uoir ■-•(rect.
■
NORDMANN'S TOWER SCENE from " U Trrrvatore'
for the pianrforte, including " Ah che Is morte," end the
Fourth edition, price S*. — Doosey and Boos, Bellcs-stree*.
NORDMANN'S " M" apjArri tutf amor," a briliajit and
l<i|'ul*r rtrmugemcnt of Mario** cclobrutcd «ang Lb lULTtliA, M A piece far
tbc pianoforte, price 2* —Homy and Son*, 11 o' !«*•<" rec t
BALFETS NEW SINOING METHOD, price 5s., in-
eluding sixteen original >»ll"^« and aonga, with a large aclectiou of valuable
excrciaea formlugihc moat attractive etemeotsry work ever offered to the public
"|A boon to nil etudeiits In the <Uvine art."— UsWfMl Mail] |" The beet work la
Engliati."— IFelroiiie Curat. Boosey and Bona, Bollea-atrcet.
R8. PRATTEN'S 100 operatic airs for the Ante, price
• Is 6d. R. 8 Frattan'e rsrrealtons for the ante and piajxx ootitatnina
moat favourite air* from Verdi'* opera*, Ac. 24 No* , la each.— Boosey teal I
Dollea airoeL
NEW ITALIAN SONGS.
CAMP AHA
a d.
Aatro che aplendi candido, Molodi* , I I
Trlatrsts, MelodU J O
OUGLLELM0.
l; M.r. ■ .. r pc ..3 0
La ml* plcta, lUUtu I «j
Boosey and Boat" Musical Library, 28, Hollet-t treat.
Publitbsd by Joaa Uoosxt, or CasUebar-hill, in the pariah of Ealing, In ta*
County of Middleacrx, at the ofllce at Bootsrr ft Soar*, IS, Halloa street. Bold
alao by Rats, 16, Johli-MreeU Great Portland atreea ; ALUS, Warwick -
I ; Vicxana, Uoly well-street ; Kura, Fanwaa. ft Co . 48. Cbeafatid*.
0. ScaauastaHK, ft. Nirwgsto-strect ; Jons Huxrnr.su. Newgale*tr-«* :
Uanar Mat, U. Hoiborn-bara, Agents fur Scotisnd. Paraasos A Borti,
Edinburgh and Glasgow ; for Ireland, H. BcasaLU Dublin ; and all Muea.-
acllsra.
Fruited by VthiUK SnticSB JoHKaos. " Nassau btears Proa.,
ltat. to the Pariah of St Martiu-in tha-Fletda, ia the County of
Saturday, Octobtx 9. Hit.
60. ht Uartla'*
Viidletei.—
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8 lie JIlMical
osr jmixskt rx Mrsic, ante* it :
It is wholly form aud powsb, awd it raises lxd
WBATKVKB IT
SUBSCRIPTION:- Stamped for Pottage, 20s. per annum-Payable in advance, by Cash or Poit Office Order,
to BOOSEY * 80H8, 88. Holies Street, Cavendi»h 8quare.
VOL. 36.— No. 42.
SATURDAY, OCTOBER 16, 1858.
TO MUSIC-SELLERS. — WANTED, by a respectable
young man of good address and biulneae-liko habit*, a situation In the
music trad*. Bu had ten years" experience in a leadl
and con furnish unexceptionable reference* as to ability
A. B . If., SumiDnet, CniTcrslty-etreet, W.C,
M
R. W. G. CUSINS begs to announce tliat ho ha*
> to M, Macchostcr-lU-eot, Manchester-square.
Vf K. SANTLEY begs to announce that he has
to town, and respectfully requests that all communications bo
- No. n. Stafford i Uvce. Pimlico, H W.
VTR. O. PAQUE begs to announce that he will return
1VJL to London fur tbe winter ssaaon at the beginning of November. All
letters to bo addreaaed to 120. Groat Portland street, Portland-place, V.
puplU that
or concert
Marlborough etrect
COULON kg"
to inform her friends and
S GOVERNESS. — A lady requires a daily engagement
ai Above. A«mirrn>crit h Etaglijib, Frtmr.li, and Mumec. Touruj cliUilreo
* M A. a, Momt*. Boowy wwi Bo** U and 1\ noft«-«tr©et,
^Qsftyred. Addroi*^ id
CONCERT AGENCY, 14, Panton-street, Hayron
Mr. 8HEE rwjnectfttlly inthn.be. to muaical artistes who irtirp.
autumn or winter Concert* that be baa removed to tbe abore addrca.
continue, the management of the same, public or print*, at hi « mud
. lurgta.
Haymarket. —
iirpoae giving
be
PROFESSOR WILJALBA FRIKELL— LAST
WEEK BUT ONE— HBW. TRICKS— Polygraph*; Ball, King WOllaio-street,
Cbartng-crcss Prerton* to Professor PrikeH's departure on a provincial tour. TWO
HOURS OF ILLUSIONS. Kvoi
toxes, one guinea ; box stalls, 6s
I'lace* may be secured at the
Library. S3, Old Bond street.
Krerr evening at 8 ; Saturday afternoons at S- Private
MJULLIEN'S CONCERTS— Royal Lyceum Theatre,
• — If . J allien'* Twentieth and LAST ANNUAL SERIES OF CONCERTS
will commence on tbe First of November, cot] Lions for One Month, and will be
given aa M. JulHen'a Farewell and " Concerts d' Adieu,'* before hi. cWparture Cor
■ ''Universal Moalcal 1007** through every city and capital of Burope,
' ' erica. Australia, the Colonies, ana civilised towns of Acta aad Africa,
. compauied by the elite of his orchestra and other artist**, "savants, homines
de lottrcs." being the nucleus of a society already formed under the Li Lie of
' SoclrU dc I'Banncmie Cniveraelle." instituted not only to popular! so the
•' .-In* and clvUlaing art of Music, but to promote, through Harmony's powerful
nuance, a noble and philanthropic cause,
rtve full Prospectus will shortly be
MUSIC STRINGS.
WHOLES AXE WAREHOUSE — THE CHEAPEST HOUSE IN LONDON
14, EAST PLACE, KENNINGTON ROAD.
MONSIEUR ALPHONSE VILLIN (do Paris) Importer
of Italian, French, and Gcrm.n Strings lor all Instruments. List ofprkw
and samples for. ardc I (free) on »(.|JlcAtion.
The celebrated ACRIBBLES, now universally adopted by ail Violinist*, cannot
be bad OENUINB bntat the above address ol Monsieur A. VIIHn, sol* and exclusive
Wholesale Agent for the United Kingdom.
ROMAN AND NAPLBS BTB1NGB (not to be surpassed) are Mid by Momdsur
ViUln fully IS per cent.
42
MAPLESON AND CO.'S
mam mum wmui &mm9
CHAl
OFFICB8:
12, HAYMARI
MaruMosi A Co are the constituted agent* to the first celebrities of
and the register* now comprise particular^ etc., of upward* of lsoo
and instrumentalists Completo OPBRA OR CONCERT COMPANIES,
alian. German. French, or EiigUah, formed on tbe shortest notice, in-
Mt'stc.L Rati
Signer Schlra, IT,
cheater-square.
MautcsL Hnuu.- Johu Hastings, I
Soi.k-itok —Charles Mad doc It. Esq., 15, I — j
Baykkkb. — Union Bank of London,
MAHAOim. — J. BL Msplcaon, Esq., 7, Gloucester-street, Regent's- park.
OFFICE HOURS FROM ELEVEN TO FOUR.
OHE OF THE FIHS8T ORG AH 8 IS THE WORLD
TO BE SOLD,
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL.
Apply to the Pub ushers of the "Muaical World. *
JUST PUBLISHED, for piano i
tl song, ' La CaUser*. ' The trade s "
by J. Norwood, 14. I
liano nolo, the celebrated Spanish
(I LEES AND PART-SONGS BY JAMES COWARD
VJ (Conductor uf the Abbey Glee Club). Ten glees In one vol. 31a. cVL, or
separately Js, Si, to is. Part -Song*. ■ Take thy banner." 2s., and " Purl up tho
flag, " 3*. od. Leader and Cock. 63, New Bond -.tree i, London.
funxn tiix r.T»ox*c.i or
Dr. Mam
Utll MOST GRACIOUS MAJESTY THE O.UKEN,
B an THE PRINCE CONSORT.
THE ROYAL FAMILY.
MUSICAL ENTERTAINMENT,
DR. MARK AND HIS LITTLE MEN,
JUVENILE ORCHESTRA,
cQsrrosxp or
Little English, Iriab. and Scotch boys, from five to sixteen yean cf age, wt
operatic selection*, soln., ducts, quartets, quAfirlilcs, marclic '.nd pnlk:is
ausg song., choroses, Ac. , In a rauet effective manner, and to wbOTtt'hS ^lfe* [
gratuitous general au<L music:d oduciitlou in order to lllu*trnto his h'fVlr.fj
system of uinsicnl education. :ind with wln>ni l-e travels abslit thr/^bu'
excite an intsrest for and help to cstibllsb mualc.il institriljujr
scrv.itoircs uf Music ' for little children in every town, city, aiid" > Ulaice i
All '.cturs addres*. ptoasc. Free Trule H;dl. MacaaesWyr. ' .
Diylfl/^
OPERAS FOR VOICE AND PIANC^
IN A. COMPLETE FORM.
BOOSEY'S STANDARD LYRIC DRAMA.
lib tbe
r.jari
Riven, rcu Irr.iiji thw i>
A «ri<-» of c >mj.|e4« onerm for vou« iiliI plikuuroifc. with thu oiLjIuaI
oi*r» I. NdoooJ (Void Bm score by W S. Rotk.tro, .luxmitanied k itji
1 Sri.VNAMBULA (BniHi.h and Ilal.an word.)
•-• NORMA .htm
3. IL IUHUIERE ditto
4. ERNANI ditto
■■ Lin kkzia nonr.i \
t>. KIUARU ditto ditto
i. l.«nuan, or French word* and «i English inuulaliou by J. W. Mould. Tl>«
of the nntlior'n li.Pdrumcntati 'O. tt^-o dlrcctUma, and a onticJl -
" In miy ivnintry. rim:iU 4tt>, cloth,
V d.
10 «
19 0
16 0
11 0
ID 0
10 0
7. DOM JCAN (Enrfinh and Italic word.)
a IPHIGBNIA IN TAUR18 (Kn.lt»l- aiul French word-)
ii. FTOELIO (RiiKlinh an 1 '
10. FAUST ditto
II PER KHKl!«ClHJTZ
li ZAUBl ItFLOTE UMa
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BOOSEY AND SONS' COMPLETE OPEEAS.
1. IL THOVATORB (Italian wotrUL i'Me
J- I A NJNNAMBULA, with the .
. Ha. 3. LBS VKP11SS blClUENNEb(FKach
filial Eivlish V it »» i*rlonn«l on tlio a'-igc .. .. 1:
FRENCH COMPLETE
With ItaiUtn. or French Word*.
EDITION, 8vo.
by Booskt AND Soks.
ACTEON
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LINDA HI C11AMOUNI
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Wf& Italian Words and all the JUcitati< ti. Lxrgt oUong form.
TUIS EDITION IS THE OXE IN USE AT ALL TIIE THEATRES OF EUROPE. IMPORTED PY BOOSEY AND SON.".
Beatrice di Tend. SO
Bnuici « Ferr.ao.lo 30
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BOOSEY AND SONS' MuBical Library, 24 and 28, HoUeB-etreet, Oxford-street,
DO
1<>, 1858.] THE MUSICAL WORLD.
t>59
11 fortunate
couitnon-acnse
tho present day
that
app
PRECENTORS AND THEIR DUT1TO.
To a* muor or a* jwaf WMd.
Sib, — Tho inquiry which has Sunt terminated at Carlisle, with
regard to the removal of the Iter. T. (J. Livingston from hi*
office of Precentor and Minor Canon, is calculated, I hope, to
do some little good for the cause of cathedral music. It is not
on to discuss the decision of the bishop which has
the reverend gentleman, although there is some
for supposing that had there not been some informality
in the document by which the Dean and Chapter of Carlisle
dismissed him, the result would havo been a very different one.
The few remarks which I am going to make are intended merely
to apply to the mtuieal part of Me ijutttton, end the benefit
which ought to arise in consequence of the authority of the
deans and chapters of cathedrals being ascertained.
It is pretty well known that our cathedral establishments are
governed by statutes, sonic of them dating from Henry the
Eighth, of which Carlisle is one. These statutes define the
duties and authority of the various members of the establish-
ment, from the dean, downwards. Now the lie v. Mr. Living-
ston claimed, by virtue of the statutes, the entire and indepen-
dent control of the musical service of the Cathedral ; that he
liad the right of selecting all the music to bo sung; to sing
solos himself; and to conduct the choir in all their performances.
Now the organist, it appears, very naturally resisted these
absurd pretensions as derogatory to his own position, and
also to the profession of which he is a member ; and it
the statutes allow something like a
ication to meet the circumstances of
Mr. Livingston may be a very excellent
priest, and a sound theologian, but ho certainly is not a musi-
cian, and therefore the claim to superintend high musical offices
is obviously ridiculous ; and if the reverend gentleman haapressed
hi* ideas of his office as a matter of conscience, tho statutes being
the rubric which he considered himself bound to obey, all I can
say is, that it is a pity that his conscience was not sufficiently
aeusitive to prevent him taking upon himself an office which he
is manifestly, and upon his own showing, incapable of fulfilling
— for not the least droll incident in the inquiry was Mr. Living-
ston's admission that he passed a very bad examination in the
common rudiments of music, but that he considered, neverthe-
less, that a person might be a very good musician without know-
ing anything of musical grammar, as the Itev. < 'anon Harcourt
expressed it. If Mr. Livingston means to state that a man may
he a good classic without knowing the Latin grammar, he cer-
tainly must have a very odd notion of education. But it is a
great pity that tho examination, with Mr Livingston's answers,
was not brought forward at the inquiry before the bishop; and
I should recommend the organist, it he has the papers, to pub-
lish them note.
But a very few words, I think, will be sufficient to dispose of
the question which has been raised at Carlisle. At tho time
that the statutes were written music was iu a very different
state, in fact scarcely can be said to have been permitted in thu
church beyond unisonal chanting, and no doubt at that time the
precentor did lead or conduct what was suug ; but as soon as
music of a complicated character, and in parts, was introduced,
it at once became necessary to employ professional men, and I
believe that Tallisand Dr. Tyo were among the first lay-organ ists
appointed to our cathedrals. This being bo, much that formerly
belonged to the authority of precentor changed hands also, for no
musical service could be efficiently conducted upon the notions
of the present Carlisle precentor. The unsatisfactory per-
formance of our cathedral service in many cathedrals may be,
perhaps, ascribed to an evil of this nature, and the sooner it is
remedied the better. The remedy is now, without doubt, in
the hands of deans and chapters, and 1 sincerely trust they will
avail themselves of it. Although, perhaps, there haa not been
really a doubt as to tho authority of the deans and chapters
over the subordinate members of their cathedral churches, yet
tho question had not been ventilated, and therefore precentors
havo assumed an authority at variance with the real spirit of the
Katutet, and at still greater variance \cith cowtox skkse. But
at Carlisle common sense appears practically to have prevailed
for some time past, and the Jean and chapter and their organists
deserve to be commended for stepping in and preventing the ab-
surd vagaries of Mr, Precentor Livingston. Nothing can bo
fairer than the rules which the dean and chapter laid down for
the guidance of Mr, Fowl and Mr. Liviugston in their respective
offices ; and those rules were not considered byTtbe bishop, or
by anyone else, repugnant either to their spirit of their
statutes or to the authorities of tho very reverend the
dean. It appears that the organist haa been iu the
habit of writing out the list of music for the ensuing week,
and that thia has been handed to the precentor in order
that the latter might urge ecclesiastical objection to anything
tho organist had appointed, the objection to be slated in pre-
sence of the organist, to tho dean, or canon in residence
every Saturday morning — the dean's decision , of con rse. being final.
Mr. Livingston at various times resisted all this, and was guilty
of other improprieties — such as ordering the singers to remain
silent, in order that he might sing verses and solos himself.
I think nothing could be more admirably written than Dr.
Close's decision upon those points. It shows that the dean
entertained such a proper view of the duties of both tho
organist and precentor, that I quote his letter in «
"Rfiv. Sib,— Having ascertained thai on Thursday last, during the
performance of dirino service, you silenced the chief bast singer, inti-
mating to him that yon would take hia part in the qnartet yourself, 1
mtut request that this may not occur again, as such an interference
wilh the parts previously assigned by the organist, on whom the prac-
tising of the choir depends, must lead to confusion and irregularity.
As there appear* to be some doubt on your mind aa to tho division of
defies between you and the organist, I wish, once for all, to imprest
upon yon the necessity of compliance with thia my order— via., that
after you hare, in conjunction with the organist, and with my sanction,
or with that of tho canon in residence, settled tho weekly curriculum
of services and anthems, your power of interference with the musical
duties of the choir must end. Your duties, then, are simply ocelosi-
astical, moral, and ceremonial. The regular attendance and decent con-
duct of tin? men and boys are in your hands; but the assignment of
parts to the serend aingors must absolutely rest with the person who
under our authority, teaches, trains, and practises the voice— namely,
the organist. " iTours truly,
"F.Ctosi."
Now why the precentor was not satisfied wilh this it is diffi-
cult to conceive, for I must say that I think that both his own
position and the spirit of the statutes were fairly and properly
represented by these regulations. By attending to the decorous
conduct of the msn and boys during the service, and by marking
their regular and punctual attendance, he certainly was respon-
sible, as tho dean and chapter pointed out to him, for the proper
performance of the musical service ; but what on earth led him
to arrogate to himself duties which only an educated and well-
trained musician could undertake, I am perfectly at a loes to
comprehend. Would Mr. Livingston, for lustauce, be guilty of
the absurdity of saving that the head-masters of Eton or Rugby
tire to be dictated to in the examination and leaching of their
classes by a persou ignorant of Creek or Latin 1 Everybody
is perfectly aware that there cannot be two masters at the same
time ; and if tho dean had to choose between the organist
aud the precentor whose authority and opinion in musical
matters was to be paramount, he undoubtedly exercised a most
wholesome aud wise discretion iu entrusting professional matters
to a professional man, and I think the organist only uxorcised
proper self-respect by resisting the insulting and derogatory
position which the precentor endeavoured to force upon him.
It was in consequence of the precentor refusing to submit to
the authority of the dean, and claiming undisputed power over
all tho musical arrangements of the cathedral without the inter-
vention either of the dean or organist that he was at last sus-
pended from his office. With regard to the other alleged im-
proprieties of Mr. Livingston's conduct, it is net my purpose to
enter upon them. In fact as the bishop stopped the inquiry at a
certain point, withont allowing the dean and chapter to produce
evidence, or go fully into the circumstances, which as it were
compelled them to the course they adopted, no very correct judg-
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THE MUSICAL WORLD.
[October 16, 1858.
tnent can possibly bo formed, though enough transpired to prove
that ho had behaved on various occasions most improperly to his
ecclesiastical superiors, and therefore his being misstated by the
bishop into his offices without even censure is a piece of such
good luck that I should not advise him to try a similar game
over again.
There is, however, one point in tho bishop's judgment which
is of the highest importance, and which is the main object of my
letter. Tho bishop was compelled to admit the power of the
dean over all matters touching the celebration of divine service,
subject, of course, to the general ecclesiastical law. The dean
and chapter are therefore continued in the authority they
claimed over the precentor. It is then clearly in the hands of
deans and chapters to govern the musical arrangements of
their several cathedrals. They, of course, engage professional
men as their organists, and it is to them that authority should
be delegated to conduct, train, and teach their choirs, as well as
to select the music to be performed — the capitular bodies
always having it in their power to prevent any music or words
being introduced into divine service of an objectionable cha-
racter. A small number of voices under discipline and good
training can be mado to sing together very effectively. It is
true that the salaries at most of our cathedrals are not large
enough to secure great vocal talent, and a little augmentation
would work wonders, The income also of the organist
should be such as would enable him to devote con-
siderable tiino to instruction and rehearsal of the cathe-
dral service with the whole choir. No public performance
can possibly be effective without this necessary drudgery. I
trust, therefore, that this inquiry which has provoked so much
discussion will be productive of this good, viz. : — that deans and
chapters will insist upon having thecboral parts of the service, and
the dicipline of their choirs, wholly under the governance of the
professional musician who fills the situation of organist.
With many thanks, Mr. Editor, for allowing me so much
I beg to remain, yours, very obediently,
Musicus,
THE NEW CHURCH OK ST. PAUL, WALWORTH—
ITS ORGAN, &c.
Ow the 12th nit. a new organ was inaugurated in tho new
church of St Paul, Walworth. The instrument has been built
by Messrs. Bates and Son, of Ludgato-hill, at the extremely low
price of £270. It is set out for a rather extensive organ, but
i of the pipe work is as yet absent, and intended to bo
supplied as funds for the purpose shall be fortl
follows :-
ing. It is as
Two rows of keys, Groat Organ and Swell, compass of each OC to P,
with Pedal* OCC to K.
OUKAT OUGHT.
L Open Diapason.
2. Stop Diapason.
3. Do. do.
■t. Dalciano.
5. I'riucipal.
6. Twelfth.
7. Fifteenth.
8. Seaqniaitra — 3 ranks
0 Mixture— 8 ranks.
10.
11. Do.
SWELL.
L Bourdon. \
2. Double Opcu Diapason. )
3. Open Dispasoa.
i. Stop Diapason.
5. Principal.
C. Fifteenth.
7. Tierce.
8. Trumpet.
9. Hautboy.
10. Vacant slide.
1. 0\ten Diapasons, 16 fest.
3 Coupler* and 3 Composition Pedals.
St, Paul, Walworth, one of the latest of the new metrojiolitan
churches, completed at the latter end of 1856, and consecrated
the day before Christmas Day of that year, is situate midway
between the roads to Clapham and Caiuberwoll that diverge
from the Elephant nnd Castle, and about a mile by either line
from that well-known house of call. It stands in tho centre of
j inclosed by a dwarf wall spiked with iron,
i a very picturesque appearance, and a favourable
specimen of a cheap church. The structure is Gothic, after the
early English style of tho thirteenth century, and built of rough
stone iu irregular courses, with Bath stone for the finer parts.
The plan is cruciform, with tower standing at the north-cast side
surmounted by a spire octagonal in plan, and perforated in its
sides by three tiers of lancet windows, and terminating at a
height of 122 foct from the ground.
Internally the transepts are but slightly marked, but the
chancel is of the ample depth of 2(1 feet. The nave— large,
with high-pitched roof, showing its constructive timbers — has
side aisles, separated by stone columns alternately of circular
and octagonal form, with plain moulded capitals. The Umbers
of the roofs, pewiug (which is low nnd open), and nil the other
portions of the wood work, are of deal, stained and varnished.
The floors are laid with tiles in red and black lozenges. There
are four double-lancet windows and one single at the side of
each aid.-, with mullioned and traceried windows in the various
gables. There is no western gallery, bnt a sort of temporary
gallery standing back of the columns occupies each aisle, sup-
ported on slender iron pillars in front, and at the back by
corbels in the wall.
The gas lighting is by standards placed at intervals about the
church, they are of brass, and of tripod character. The font, a
carving in stone, of octagonal shape, is placed at tho western
end of the nave. The chancel is separated from the nave by a
lofty arch, its roof close boarded and panelled, the eastern wall
has a roredos composed of eight small pointed arches on
columns, the two iu the centre larger and canopied, contain the
decalogue. The pulpit and reading desk are placed against the
piers of the chancel arch, and between them a small eagle desk,
from which the lessons are read. A small chapel on the south
side of the cbaucel forms the vestry, which communicates with
the sanctuary by a " priest's door." The organ is placed on the
north side of the chancel, in a recess forniedin the basement of
the tower, and quite unseen from the body of the church. The
instrument is not inclosed iu the usual case, bnt a row of its
diapasons iu their native colour (tin), burnished and set in a
frame, is made to form a screen between it and the chancel. The
chancel is benched on either side longitudinally, and the choir,
habited in surplices, occupy these benches in the ancient Decani
and Cantorua style; the arrangements and appointments
throughout being on the most approved Tract* ri an model, and
tho sacred services are performed in accordance with the views
of that compact, which comprehends choral service with inton-
ing of the prayers, or what is familiarly denominated u Puseyite,"
yet, after all, the correct and proper formula of the Protestant
worship, as instituted at the Reformation by King Edward VI,
nnd subsequently confirmed by Queen Elizabeth, and which
ordinance has never been revoked or in any way altered to this
day. The practice of reading or "saying" of the service, which
has generally obtained in our churches, being bv the same
ordinance, as it were, permissive only. The choir here is com-
posed of gentlemen (musical amateurs) and boys whoso services,
are gratuitous, and the effort (artistically speaking) very credit-
able. The choir-master and organist is Mr. Paul Jerrard, com-
poser of one novelty, at least, in church music— vis, a service
for the solemnisation of matrimony, and first used on his own
interesting occasion at this church some months back, and noticed
at the time in the Jliuiml Wortd.
This church has been built at the very moderate cost of MUOO.
from designs by Mr. Jarvis, architect, of Trinity-square, on land
tho gift oftho Dean and Chapter of Canterbury Cathedral, who
possess largo estates in the neighbourhood. They also gave
•£1,000 towards the erection, and endowed the living with ( 1 >
per annum.* The Church Commissioners supplied .£760, and the
Iucorj>ornted Society i'-liH), stipulating, in consideration for the
same, that 600 of the sittings, (half of the accomodation of the
church,) should be for ever free. The subscription list shows
gifts of £100 from St. Thomas's Hospital, the Trinity Corpora-
tion, Messrs. Barclay and Perkins, Mr. G. B. Hart, ana the
* The Desn and Chapter of Canterbury have also engaged to do
respect to another church about
precisely the
erected in the
to be
Digitized by Google
October 16, 1858.]
THE MUSICAL WORLD.
6G1
Church Extention Society, and £50 from tho late Bishop of
London, Mr. K. Cazeuovc, aud Mr. Chester. The funds, how-
ever, being inadequate to the completion of the church,
£2,000 borrowed for that purpose forestalls, for interest, £100
par annum of the endowment, a position of things which it is to
bo hoped the parishioners will uot allow long to remain. An
ecclesiastical district containing 12,000 persons has been appro-
printed to this church from the district of St. Peter, Walworth,
pariah of St. Mary, Xewington. The Rov. T. Mitchell is the
mcumbeut, aud tUc Lord Bishop of London diocesan.
M, lUgtnmmt. F. C.
■■■■T-*—
DE OMNIBUS REBUS, CUM MULTIS ALIIS.
(From the TltmHraied Timet).
Ok Tuesday, Mademoiselle Piccoloruini took her second and
last farewell of tho British public, before starting for New York,
where she is anxiously awaited by the habitue* of the " Academy
of Music." The scene of the adten was the Crystal Palace, and
so determined were the young lady's admirers to see and hear
the last of her, that no less than ten thousand of that respectable
class assembled to " assist" at the leave-taking. In speaking of
Madlle. Piccolomini's last appearance at Her Majesty's Theatre,
of the audience, and of
readers of the entfa
j tenderness of the departing
both sides was equally great at the Crystal Palace— that is to
say, equally great in proportion to the numbersprcsent, for,
speaking absolutely, it was four times greater. The ten thou-
sand spectators and listeners clapped their twenty thousand
hands and shouted " Bravo ! " (those who wished their neigh-
bours to think thsy understood Italian shouted " Jfraeaf")
while Madlle. Piccolomini responded to the plaudits with a
cordiality and emotion that were really touching, and which,
to those who bolieve in Madlle. Piccolomini's talent, must
have been profoundly affecting. No one knows how to receive
applause so well as tho unvocal little soprano, who fulfils so
imperfectly an author's intentions, and acts so skilfully to tho
pit. She acknowledges it in the most charming manner
almost before it is offered to her, just as she is always ready to
re]«at au air in answer to the faintest " encore," or to bow,
smile, and retire with looks of equal gratitude if the encore
be evidently not insisted on. But, really, in whatever character
she has appeared, Madlle. Piccolomini's success has seldom, if
ever, been a doubtful one, and as success is the only thing the
public believe in (probably from vanity, because each individual
member feels that he has contributed something towards it), one
triumph leads naturally to another, and the same people who ap-
plauded the successful vocalist on the night of her deb ft, applaud
her a hundred times more vehemently on the eve of her de-
parture. Doubtless, too, the Irish row, of which Madlle.
Piccolomini's appearance at the Dublin theatre was the pretext,
has added materially to that lady's reputation— "La reputation
e'ett ungrandbruit' —iuHl the noise inside and outside tho Dublin
^ The Ir«^ ,in their
as some goddess of song. Did thoy not
i poor innocent dove— who was dragged
on to the stage by ropes, and whose back was nearly broken by tho
weight of an unusually ponderous volume of Moore's melodies ?
Of course there is some connection in the Irish mind between
doves, Moore's melodies, and Mademoiselle Piccolomini. The
Irish have a talent for connecting all sorts of dissimilar things,
voluntarily when they are witty, and involuntarily when they
make bulls. Rut, however that may be, Dublin has added to
the Piccolomini reputation ; and the Crystal Palace (a city in
itself) has (with dm allowance for the coldness of the Anglo-
Saxon temperament) endorsed, or re-endorsed the opinion of
Dublin. Tn about seven days from the publication of the
present number of our own journal, Mademoiselle Piccolomini
will step from the deck of tho " Vanderbilt" steamer on to the
quays of New York, she will enter an equipage, which will be
in readiness to receive her, and the New Yorkers will belts ve
like a set of horses (that is really the quadruped we mean), in
so far that they will ham ess themselves to her carriage and
drag her to her hotel. Of these events we might hare heard in
oight days or even less, but, alas I the Atlantic cable will not
work I In the meantime, we sincerely hope that Mademoiselle
Piccolomini will meet in New York with even more success than
she obtained in London ; for it would be mortifying if the
habit nit of an American opera were to discover wliat the audi-
ence never seem to have found out, or, all events, never seem to
have cared about, at Her Majesty's Theatre — namely, that
Madlle. Piccolomini, with all her proficiency in the art of pleas-
ing, is far from being a great singer.
Of course at her farewell concert Madlle. Piccolomini did not
sing alone. She was supported by Sig. Giuglini and Sig. Aldi-
ghieri — almost the best tenor, and almost the worst barytone of
the day. Sig. Giuglini sang "Spiritogcutil," from La Favorita,
and "Tn m'ami," from La Zingara (/ioheinian GirT), and sang
them with all possible taste and feeling. This admirable
vocalist, who possesses that rare gift among the tenors of tho
present day — a voice that is neither uneven nor tremulous — is,
it appears, engaged at Madrid, but we shall doubtless have the
pleasure of hearing him in London next season. It has been
said that Mr. Lumley will not open ; that Lord Ward is tired of
his speculation, &c ; but whatever Lord Ward may feel inclined
to do, we cannot believe that Mr. Lumley would have engaged
Titiens and Giuglini for a term of years (which ho has cer-
tainly done), unless he had intended to avail himself of their
services. But for Mr. Lumley, we might never have heard
either of those singers, and we should look upon it as a mis-
fortune to the public if Her Majesty's Theatre were not to
re-open. Managers arc born avaricious (though it is customary
to call them liberal in newspapers), and if Mr. Lumley were
to abandon Her Majesty's Theatre, Mr. Gye would lose no
time in cutting down his expenditure at Covent Garden.
But our contemporaries are fond of circulating wonderful and
incredible stories about musical matters. Thus, in a recently
published memoir of Miss Arabella Goddard, wo find it stated
that her last master was Thalberg, who left England when Miss
Goddard was about thirteen years of age, and never after-
wards gave her a single lesson ! In addition to this, it is well
known that Thalberg never played ono of those pieces which
our great English pianist always executes at her own eon-
certs and at the Philharmonics. Thns, according to the
memoir-writer, Miss Goddard never received a lesson since
the ago of thirteen ; while the influence of Thalberg upon
her has been so extraordinary, that, instead of performing
his fantasias, she always selects some work by Beethoven,
Mendelssohn, Sterndalo Bennett, or some other classical
composer, of whose music Thalberg never played a note I
Mr. Sims Reeves has left the Standard Theatre, and we sup-
pose is now waiting until some other manager will offer him
fifty pounds a night. It is an offer which, if we were the directors
of an operatic theatre he .would very soon receive. It does not
come to more than about ten pounds an air, or, to put it diffe-
rently, about five shillings a bar. Certainly there are tenors
who would sing for a great deal less, but they wouldn't sing so
well. The lotting of twenty or thirty stalls aud a down of
boxes, at fair prices, will always suffice to pay Mr. Reeves'
salary ; and he never sines anywhere without filling the entiro
house. By the way, if Mr. Sims Reeves ever Bings at the
Standard again, he owes it to himself to insist on being supported
by a better orchestra. There are some vocalists who would
sins to an accompaniment of tin kettles if tho manager only
paid them their salary punctually. It would become Mr. Sims
Reeves to show that he is not one of them. We have
said that our groat English tenor has temporarily retired ;
but his double has appeared at the Egyptian Hall. And those
who like to hear Mr. Tsnnysou's aud Sir. Balfe's " Come into
the garden, Mam:" executed as only Mr. Sims Reeves — and his
double — can execute it, had better attend one of the represen-
tations of Mr. and Mrs. Howard Paul's Patchwork without delay.
The sham Sims Reeves, who sings so very much like the genuine
one, is, indeed, Mrs. Howard Paul herself. We always knew
that this lady had an admirable contralto voice, but we were
not aware until last Monday night that she could, at will, trans-
form it into a magnificent tenor. But it is not the voice ale ne
Digitized by Google
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662
THE MUSICAL WORLD.
[October 16, 1U58
that reminds us of Mr. Sima Reeve*. We have the same tones,
the same manner of phrasing ; in short, the most perfect imita-
tion of his singing that can be imagined. Tu imitate his
bearing and gestures, is, to an accomplished actress, scarcely
more difficult than to wear a coat and b)i i rt like his, or a
wig fashioned after the mod- I of his luxuriant head of hair.
But, still, there arc certain peculiarities about Mr. Sims Reeves'
manner which every one would not havu noticed, and which
Mrs. Howard Paul mimics very happily. There is one point,
too, in which tho copy is better than tho original. The inevitable
encore is accepted with n much better grace by the sham tenor
than by the real one. Various other interesting additions have
been made to the Patehvork entertainment, which is now oven
more successful tlwin it was on its first production. Mrs. Howard
Paul's best character — we arc apeak iug now of real characters-
is still her Irish girl, sighing for her soldier and for a cup of
strong tea. Mr. Paul is, perhaps, seen to most advantago as tho
American, who comes over with a letter of introduction to the
Qneeu, addressed " Victoria, Buckingham Palace, Pimlico Way."
He it is whose wifo gives him tea " so weak that it can scarcely
gel out of the pot;" aud whose child, having attained the mature
ago of eleven without being baptised, announces to his parents
that if they cannot agree as to what his appellation shall be, he
intends to « name himself and take the conwnuences."
ONE HUNDREDTH NIGHT OF BALFES
" ROSE OF OA8TILLE."
( Comm unicated. )
On Saturday, Oct. 9th, BahVs lloic of CastilU was performed
for the 100th time, and there was a perfect furore. The houso
was crowded; and iu addition to an amount of enthusiasm not
often witnessed, there were several very pretty complimcuts
trot up by the audience. Flags, bouquets, wreaths, and other
trophies, were thrown on to the stage in really extraordinary
profusion (I am telling you just what happciioil— I am not
writing for effect !). One flag thrown to Mias Louisa Pyne
bore an inscription from tho opera itself ; " Real gems like you
are scarce iu all countries." " To tho sweet Rose of Castille."
Another thrown to Mr. Harrison was inscribed : "To the re-
nowned Muloteer, Mr. W. Harrison." A really beautiful
basket of artificial flowers, with two fine stuffed birds of para-
dise surmounting it, was handed up from the stalls at the end
of the opera; and a lady sitting in one of the stago boxes took
otf a very handsome wreath from her own head and handed it
down to Miss Louisa Pyne. Balfe was called for, tho nudieuco
naturally supposing he would be iu the bouse on such an occasion.
He appeared, and a very fine laurel-wreath was thrown to him.
Besides what I have mentioned, tho expression of j,<ood feeling
and hearty congratulation on the part of tlio audience was
New YottK.— The Harmonic Socie ty gnvo a fine concert at tlio
Crystal Palace on Friday, when about four thousand people
listened to choruses by the society, and sovcral solos by Formes,
among which were tho " Porter Lied " from Martha, and a new
" Song of Peace," the music by Clement White, a celebrated
English composer, who has lately taken up his residence in tho
United States. Mr. John Brougham wroto tho words. The
song was received with great enthusiasm and was cncoml.
Mr. Formes was in splendid voice, and the whole affair was
ominoutly gratifying to all coiuvrned. — In tho theatrical world
Jeuie Brotcn has carried all the town to Niblo's Garden.
Neither tho piece nor the charming perfornianco of Miss Agnes
Robertson, as the heroine, seem to have lost anything with the
public. So there will be more Jeuie Brown every night this
week. Mr. Boucicault is engaged upon a new drama of Parisian
origin, and containing some new effects. — .\W York Herald,
An Electric Quintet. — A Hungarian, Mr. T«ou Auiuar, lias,
according to a Brussels paper, mane a new nud curious applica-
of electricity. In a public concert at the National Theatre, ho
played by means of electric wires, on five different pianos at
the same time. The electric battery which worked the wires
was in an adjacent room.
THE BIRMINGHAM FESTIVAL
To the Editor of the Mxrital World.
Sib, — Your impression of last Saturday contains a letter from
a correspondent inappropriately signing himself " Truth," who
chooses to criticiso an article printed in your columns a week or
two ago from tho Birmingham Journal. It would appear that
'• Truth" had not woll considered his subject, for after denying
tho correctness of that part of the above- referred to article,
noticing the increasing disposition for bringing out new compo-
sitions, he goes on to give his reasons for discrediting that state-
ment, and says. " two or three oratorios were offered to the
Birmingham Festival Committee at the. commencement of the
prcsout year, but as yet the Festival . Committee have declined
to acknowledge the receipt of the letters containing the said
oilers." Now 1 am not going to defend the want ol courtesy
exhibited on tho part of tho official in not answering these
letters, but does "Truth" imagino that managers of festivals
can bring out any and overy now composition that is g?nt
them. Is "Trotl/aware that at all these meetings it is an im-
perative necessity to perform certain standard works; and will
" Truth" deny that at nearly all tho late provincial festival
some new work has been produced. If the Birmingham Festival
was to bring out every new composition that is sent, it would
last four weeks instead of four days, and nice rubbish some of it
would be ; but I think I have said enough to show « Truth" is
erroneous for once, and as the rule of contrary seems to be
observed in the anonymous signatures to newspaper letters, will
content myself by remaining (hoping you will find me a corner)
yours truly, Ananias.
MOZ A RTS JUPITER SYMPHONY.
(From The Birmingham Journal.)
The symphony is not only the most extended but the uoblest
shape that instrumental music can assume. The greatest masters,
from Haydn — who first perfected the form now universally ac-
cepted as the canonical — to the most renowned musicians of the
present century, have delighted to exercise the ir genius in this
high brunch of composition. Mozart, who, though born after
Haydn, died before him, wrote symphonies which excel the most
finished models of his predecessor, contemporary, and survivor ;
and among these is the "Jupiter," thus entitled, not by the
modest and gifted composer himself, but by certain enthusiastic
admirers, struck with its colossal proportions, aud, above all,
amr.znd at the prodigious combination of learning and genius
displayed iu the last movement, a fugue, with episodes, made
out of four subjects, which, in the end, are worked consen-
taneously. The symphony in C major— No. 4 of the so-called
" Grand,'" universally known as the " Jupiter"— was one of three
composed between tho months of June and August, in 178ti —
the year after tho production of that undying masterpiece " 11
Dissoluto Punito, oesia II Don Giovanni"' — consequently when
Mozart's genius was in tho full strength of its maturity. The
other two symphonies, in E flat, and iu G minor, are equally
masterpieces in their way, though the first is far less ambitious
in design and far less elaborate in detail. Opinions are divided
as to which is the greater of tho two, the " Jupiter" or the G
minor ; but wo cannot help thinking where such admirable
workmanship and such consummate beauty are observable on
cither hand, comparisons, if not "odious," are at least indiscreet.
However, there cannot possibly be two opinions about the
grandeur and magnificence, the prodigal melody and unsurpassed
and unsurpassable ingenuity of tho "Jupiter." That Mozart
must at first have taken Haydn for his model, in tho composi-
tion of orchestral symphonies seems as reasonable to suppose,
as that, subsequently, he so greatly surpassed his original as to
induce Haydn to return the compliment. To tho truth of tlio
latter proposition, the fact that twelve grand symphonies com-
]Mjsed by Haydn for the concerts of Mr. Salomon, the violinist,
were not commenced till the year of Mozart's death, bears
unquestionable testimony. Mozart was born at Salzburg,
January 27, 175G (three years before Handel died). Haydn
ramo into the world nearly a quarter of a century earlier— at
Roh ran, March 31, 1732. Mozart died at Vienna, December 9,
1791, at the age of thirty-six; Haydn seventeen years later, in
the same city, May 31, 1808.
igmzec Dy
Google
[October 16, 1868.]
THE MUSICAL WORLD.
668
' says the committee, " it ia evident that
of tho dome can alone offer sufficient
ST. TAUL'S CATHEDRAL SERVICES.
Tin; Dean aud Chapter of St. Paul'*, aud the committee
dated with them, have commenced various works in the cathe-
dra! for the following purposes I —
1. To provide for the largest congregation possible at the
special evening services within hearing distance of tho pulpit.
4. To regulate the temperature of the cathedral, aud make
other arrangements for the comfort of the congregation ; and to
take care
X That nothing so done clash with the
"For the first obj
the great central i
s|iaco. It has also been found by experiments in 1 SSI to be the
part of the cathedral best adapted to the voice. With a view
to the comfort of the congregation, tho first thing is to secure
a reasonable amount of warmth. To attain this, tho crypt, which
underlies the whole cathedral, offers considerable facility — vis.,
by wanning tho crypt thoroughly, aud forming openings in tho
pavement to allow the heated air to circulate. For this purpose
a uumbcr of Mr. Goldsworthy Qurney's patent stoves have been
already placed there, and openings have been formed in tho
pavement, hereafter to be covered with ornamental brass-
work ; such additional stoves and gratingH will be added tin
the result of tho trial of those at present provided shall sug-
gest. It is for the purpose of this experiment, and this only,
that at present the nave is separated from the rest of too
church by a screen of white calico, which will be shortly
removed, when the requisite number of stoves has been ascer-
tained. The admirable foresight of Sir C. Wren permits the
chimneys of these stoves to be carried up to the top of the
cathedral, without in any way injuring the structure, or intro-
ducing danger of fire. The pavement of the central dome and
the contiguous parts of the arms of the cross is to be covered
with a kind of matting called camptulicou ; and almost the
whole of tho congregation will be seated on chairs. This space,
during Divine service, will be enclosed with crimson curtains of
the American leather cloth, which material has been found at
Sydenham to be successful in confining sound. Tho whole is to
lie so arranged that curtains, chair-, and even the greater part
of the matting can be readily put aside on Monday and replaced
for Sunday's use on Saturday afternoon ; so that they will in no
way ititerforo with the architecture. An additional organ will
be provided should the present organ be found ill-placed for the
congregation under tho dome. Hie lighting will be mainly
effected by the means of the corono of gas which was left round
the whispering-gallery at the time of the funeral of the Duke
of Wellington. The committee continue to look forward with
confidence to the support of the public in the important object
of enlivening the present naked and unfinished appearance of
the interior of tho cathedral by solid and permnupnt embellish-
ment, in accordance with the views of Sir Christopher Wren, so
far as they can be ascertained.
Musical Oh Ditm. — Signor Ludovico Graziani, the tenor,
brother to the well-known barytone, lias achieved a very
decided success at the Italiens in Paris, in the Traviata and
Riyulilto. Madame Tenc©, also, was most favourably received
as Violetta in tho first-named o|iera Miss Louisa Pyne and
Mr. W. Harrison have taken Covent Garden for three mouths,
anil commence operations therein at Christmas. Mr. Lumley
has gone to Paris, and Mr. Gye has departed for Italy.
Lira Mabrioal anp Motet Societt — (From a Com-
inombmt).— The ninth season of this Society was commenced in
St. George's School-room, on Wcdueaday evening last, when
nearly one hundred members were present, including a large
proportion of the fair sex, who havo of late shown considerable
interest in the performance of choral music in tho town.
Mr. Spark, the musical director, occupied the chair. Mr. John
Piper, jun., honorary secretary, read the eighth annual Report,
an exceedingly satisfactory document, showing tho Society to be
iu a most flourishing condition. Votes of thanks were unani-
mously passed to tho conductor, tlie honorary secretary, the
treasurer, and tho committee, and the various officers were re-
elected for the ensuing year.
The Atlantic Telegraph. — II the Hughe* instrument prove
to be the successful medium of communication for submarine
telegraphs, at its inventor confidently expects, it may be of
interest to the musical world to know that Music has her claim
to put on record, in the perfecting of the great wonder of the ave,
as appears from the following ae.-joiit of the construction of the
Hughes instrument. Tho Albany Journal thus sketches the
principal feature of Ibil new invention: — "The Hughes instru-
ment is a combination of tho Morse and House inventions. In
the Morse instrument, two or three pulsations of the electric
current are required to indicate ono letter. In the House instru-
ment, it requires from one to twenty-eight pulsations. In the
Hughes Instrument, it requires but a single pulsation for
each letter. The mechanism by which this is accomplished
is simple, though the principle on which it is Iwised is
complex. The type-wheels at tho respective stations revolve to
print the message, and their revolutions are governed by vibra-
ting springs. These springs cause them to revolve iu exactly the
same time. There is an acoustic principlo involved, viz. ; that
two springs which give the same musical tone, while vibrating,
vibrate the same number of times per second. The springs are
therefore chosen and regulated by sound. This instrument, it
ia evident, economists both time and electric power. Its ex-
ceeding sensitiveness to the least perceptible pulsation of the
oloctric currents, adapts it especially for long lines and sub-
marine cables. It is capable of writing forty words a minute,
with about ono-tenthof the battery power of othor instruments,
and sends messages both ways at onco ! At least, so its inventor
claims, and it is to bo tried on tho Atlantic cable."— Iheight't
•/btffTw/ of Untie. An 1' '
was made at tho Middlesex Sessions on Friday last for a licence
for music and dancing for the Alhambra, Leioester-Bquare.
Mr. Bodkin and Mr. Sleigh appeared in support of the applica-
tion, and Mr. Le Breton appeared on behalf of the parochial
authorities of St. Martin-in-thc-Fields. Mr. Bodkin said the
applicant in this case was Mr. E. T. Smith, and the building was
the Alhambra, in Leicester-square, formerly called the
Panopticon. It was built for the purpose of Science and Art,
but that was a failure. When Mr. Smith took it, tho magistrates
were so pleased that they granted him a wine and spirit licence,
and he now sought to introduce first-rate concerts and balls.
Mr. Smith was an enterprising and improving person, and was
well-known for the admirable manner in which he conducted
Drury T.ann Theatre, of which he was the lessee. Thorn was a
petition in favour of the licence, signed by 1*2 resident rate-
payers, one of whom was the churchwarden of the pariah. The
building cost £'AX* x I a year, and it was only by first-class concerts
that an income could be obtained. Mr. Le Breton said the petition
against the licence was signed by tho Itev. W. G. Humphry, the
vicar of tho parish ; and no denied that the Alhambra was a fit
place for concerts. Tt was a room of monster proportions, a
hundred feet in length, and delicate shades of music would be
entirely lost there. There would bo not only music and dancing
at the Alhambra, for Mr. Smith had a wine and spirit licence ;
aud the orgies and debauchery that would take place were fearful
to contemplate. Mr. Metcalfe opposed on the port of Mr. Niud,
the proprietor of the Hotel Sablonicre, and Mr. Wolridge, the
proprietor of the Hotel Provence, Leicester-square. Mr. Smith,
in answer to Mr. Metcalfe, said it was not his intention to open
the Alhambra as a casino, but as a place for balls, for particular
purposes. He would not, however, give any pledge upon tho
subject. Mr. Metcalfe then proceeded to argue upon the as-
sumption, that Mr. Smith would open the place as a casino, if it
answered his purpose. Alderman Salomons thought thuy should
have some assurance that Mr. Smith would not conduct it as a
casino. Mr. Smith said he pledged his honour not to conduct
it as such; and then the licence was unanimously granted.
rRtNcsas'N Theatre. — Mr. Augustus Harris, stage-director of
the Itoyal Italian Opera, has signed a leaso for the Princess's
Theatre, of which he takes possession at the termination of Mr.
Charles Kean's tenancy at the end of the present season.
Mr. Harris is about proceeding to Paris, where he is engaged at
the Italian Opera to get up Verdi's JfacoelA, in ' "
Grifli will play the principal part.- (Wok.
Digitized by Google
664
THE MUSICAL WORLD.
[October 16, 18*8.
THEATRE ROYAL, DRTJRY LANE
Under the Management of Kin Louisa Pync and Mr. W. Harrison.
GREAT SUCCESS OF PLOTOWS "MARTHA."
lWm, lWnr, axb IOTtb NIGHTS OF "THE ROSE OF CAST1LLE."
On Monday, Wedneadny, and Friday will be repeated KloWw'a celebrated open
MARTH A, eaaracfre by VI -a I/miI«\ Pync. Wis Bman Prur, Mr. Grorse Howy.
Mr. J. 0. PaUy, Mr. T. G rattan Kaliy, Mr. Klrby, and Mr. W. Harmon Ou
Tuesday. Thuredny. and Bat-irday nOLll., lOAtli, and ISTth time*). B dfe's hLjhly
Miucomrul opera, THK RCWK OF CaBTILLE. cbaraotera by MUw Ixmiex Pyno,
Miu buaon Pyuo. Miu M. rroauott; Mr. F. QloTer, Mr. A 81 Albyn, Mr. Ouorire
Hotter, Mr. llartlenian, and Mr. W Harrttou. Oeoductnr, Mr Alfred Mellon
Te ooodu-k with each (rreoiog, u new Ballet rJivrrtiaaomont by M. Petit* the
.nuaic by Mr. Alfrod Mellon. ...titled LA FLEUR D AMOLR. .^porldd by
Mdllo.. Zllla Micheaet, Morbiccl.1. and Pawruala. Door, open at aweo, commence
at half paeL
ROYAL PRINCESS'S THEATRE
UNDKIt TTIR MANACF.MENT OF MR CHARLES K KAN.
ON MONDAY nnd
Shakipcre's I
Kaan: Ounatar..-o 1
MELANCHOLY.
by Mra C
d during the Week will be presented
trashy of KIMO JOHN : Kmc Jobs by Mr C.
I. Keai- Preoedad by the fturce of AWAY WITH
J^OYAL OLYMPIC THEATRE— On ^tardAy evening,
sir*''
October Hi, will be nreaented the oomody or LADIES BEWARE ! To be
ad by the drama of THE RED VIAL. To conclude with A TWICE-TOLD
G
REAT NATIONAL STANDARD THEATRE
I*. JOBK DoUCLAM.
First ulgbt of tbe great AdalpU diania of THE FLOWERS OF THE FOREST,
written by the author of THP. ORKfW HUSHES Pnxroced with new aeeniity,
droaaae. anpotiittnuiU, and .11 tho original eSscta Madame Qelcau In her
celebrated cLurocur of C>h>h!a. Mr. P,.ul Bedford iu bi« orkrloal part of the
Kinchin. Ou Monday, and during the weak, to oomnumce with THK FLOWERS
OF THK FOREST. Cynthia, by Madame Coleate; the Kiuchlu, Mr. Paul
Bedford ; Lemuel, Mra H, Homier; Start lfti t Beaa, Mra Weiss late Mlaa Harriet
U union. Tu conclude anth the comedietUofTHK FAMILY DENTIST, supported
by tbe company. On Saturday, tho celebrated rlcioion- and MatLune Auriol aril]
■ — lna"-
TO CORRESPONDENTS.
Thm Lrtkr about Martha and the Drury Lane company was
evidently miiciirecled to the Musical World ofioe. It has been
forwarded to the proper place, not far from Temple Bar,
T. W.—Tke " Wettmintter Palace Belli" next week.
T. Reynolds, Norwich.— WiUiam Bird teas a pupil of tke cele-
brated Tall is, and ion of Thomai Bird, who belonged to the choir
of Edward VI. Hit compoiitioni were mostly written in Latin
wordt. Be was undoubtedly, therefore, in hie earlier life, an
adherent of the Romith Church; yet Ad must have conformed to
the Reformed Church, tinee he was organist of Lincoln Cathedral,
in 1583. In 1409 he teas appointed gentleman to the Chapel
Royal. Be died in 1(111, about eighty yean of age. Be is the
author of the canon " Xon nobis Dom\ne." the anthem, " Bow
thine ear," was frit published in 1580, in a wort entitled,
"Sacrarum Cantronum," but has long been sung to the
English words.
THE MUSICAL WORLD.
LOHTJOH, SATURDAY. October 16th, 1858.
A " Handy- Book of Musical Art, with some Practical
Hinte to Students " — By tho Hon. and Rev. T. C. Skeffiugton
— just issued by James Blackwood, Paternoster- row — merits
notice apart from our ordinary column of Reviews. This
little work may be commended as something to be read, not
only by amateurs, l>ut by musicians also, with profit and
pleasure. An instructiou-book it is not, but whatever
course of instruction tho musical student is undergoing can
hardly (ail to be aided and enlivened by its perusal. Tho
dedication may be cited, as succinctly and gracefully revealing
the intentions of the author : —
"To my daughter Alice, for whom these page* were originally
written, with • view to form her musical taste, and assist her judgment
ally that the ]..' nl it trace tac d:r*c<
teaching of Nature in the eetabuslied principles of hat
the erident mark, of deign and wi.dom einihited in
that exiit* between mtuical sc.ence and the Miami law.
little work it dedicated."
I The " Ba>uJy-Booh" is divided into eight chapter;, in the
I course of which, and by regular gradations, the art of music
is regarded philosophically, historically, theoretically, practi-
cally, and critically, the general object being — utbebmounble
and reverend author modestly declares in his introdactiou—
» to lighten, if possible, the labours of the musical student. and
suggest some plain and useful hints, which he m
enlarge by mom eMtensve reading." There is
good in every chapter, and a tone of purity about the
whole which must elicit the warm sympathy of every
right-minded person. We have seen no work which
could be placed with such advantage in the hands of
yonng persons, more especially females, who are studying
music earnestly, and not merely as a frivolous recreation.
Of the importance of music as an art that refines and ele-
vates, and of its ineffable beauty as a medium of exr>reasion,
Mr. Skeffiugton entertains strong notions; and wherever he
apostrophises it from these points of view, it is with a simple
and unaffected eloquence calculated alike to excite attention
and secure conviction. Such doctrine, too, from the pen of
a clergyman, is the more consoling to those who hold music
in veneration, since it carries with it double weight, and may
serve as a wholesome antidote against the many bigoted
opponents which short-sighted sophistry has created.
The subjects included in the Handy BooI: are thus distri-
buted :— Nature and Office of Music ; History of the Musical
Art; Development of the Appliances of Art, or Musical
Instruments ; Theory of Music ; Sacred Music f Art of de-
livering Musical Sounds; Musical Composition ; and General
Remarks as to the Present State of Musical Art. Each of
these is briefly touched upon, without exception in a lucid
and engaging style. In the chapters on Theory, wo would
especially call attention to the remarks about the arbitrary
nature of the minor seraitonic intervals — a point that must
baffle the inquiries of all who endeavour to trace the deriva-
tions of chords from harmonic roots. Until theorists, indeed,
can explain the mystery of the minor third, the artificial
nature of the minor key must be accepted as an indisputable
fact.
Some of Mr. Skeffington's general observations tend to
show that in his opinion the art of music is on the decline.
This may be the case, but we are not prepared to attribute
it to the same cause as tho honourable and reverend gentle-
man—viz. : the want of patronage in high places. The
German princes have still their chapel-masters and court-
musicians ; only these chapel-masters and court-musicians
are no longer Handels, Haydns, and Mozarts. What follows
is, we think, more to the purpose : —
" We cannot fail to notie* the prevailing habit of the day, which is
to {ire young persona a bare itnattering of pianoforte-pUring by way
of accomplishment, without tbe least regard to tbe question of talent
or inclination ahown for the ttudy. Further, the false lyttem under
which they ere taught, and the taite corrupted from the very com-
mencement by fugitive compositions of tbe lightcit kindt added to
thi*. the rage and aridity with which orerything that is popular in
tho ballad, dance, or romantic style is run after and deified for a tame ;
the lmate shown to oommit pieces of muiio to memory for th« eeeaing't
diiplay, and the distaste for sijht -reading and playing such matte at
it good and classical : all these things do certainly inspire painful
forebodiaga as to whether we have not patted the zenith of our
musical greatness, and whether good music and heneet musimant will
Digitized by Google
October 16, 1858.]
THE MUSICAL WORLD.
665
field to tbe force of
yield 1
oftk* d.y.
Again, in tho preface, wo find
evil
il.
" NoTer was there a tune known when music >u *o universally culti-
vated as il now it, never perhep* e time when the true principle* of tho
•rt were let* understood end leee carried out. And tho reason is plain
— the principle* of instruction ere out of course eod unsound ; the
foundation of nurioal knowledge, too often, is ignorantly laid, and the
fabric unskilfully built, the (uperetrnoture or lammit it alone crowned
by competent band* ; — in plain words, student* learu to walk at home,
and go to London for a few finishing baton* in the art of running. Nor
can the author overtook in thia itatcmeiU the almost unaccountable
neglect of harmonic science which il conspicuous in the muaicel teach-
ing- of the day, the practical part being the sole end and object of erery
teacher | plainly showing that any knowledge beyond this is not held
in tbe alightctt account. Often with astonishment lias he heard an
executant of no mean order not only confess freely their ignorance of
Hit cten almost seem to derive merit of grace from the
If parent* would confine the teaching of musio to
only of their children a* (bowed a marked taleut for Use thing, and then
give them sound instruction from Ikt eery JUtt, we should hare fewer
players but more musicians,"
It is here the shoe pinches. But sorely we have experi-
ence to show that the taste for tho ephemeral and vicious
does not last j that it in usually vested in the majority ; and
that though there are always, and in every department, a
larger number of fools than of wiso men, the wise men carry
their point in the end, and what they predict will endure,
Then, again, Mr. Skeffington himself affords us
•It should be
to erery
lover of the dirine art
to
And further :—
" I will not lay much stress on the dearth of musicians at the present
time, /or Of apoitltt of art art alaagt to he found fa grouf* and is
Nothing can be truer, and nothing more certain, titan that
an increasing love for the works of the really genuine mas-
ters is a sign of the times. With regard to the piano, while
we have our Sterndale Bennetts, our Arabella Goddards, and
such uncompromising adherents to what is good and great
and pure in art, we noed not repine — we need not in the
least apprehend that decline of which the excellent author
of The Sandy-Book qf Mueical Art apparently stands in
fear.
A Monster Concert is rather a dangerous affair to meddle
with. Whoever hitherto has tried it — with one or two ex-
captions— has hunted his fingers. Even the prince of entre-
preneur^ M. Jul lien, could not torn the speculation to good
account, when he projected and carried out his series of
"Concerts Monstro on so magnificent a scale at Exeter
Hall. Had the huge palace of Sydenham been granted hitn,
however, in place of tho hall in tbe Strand, giving him scope
and space for his gigantic itnagiuiugs, we have no doubt he
would have achieved a different result. Now, Mr. Distio
appears to entertain bu* one idea of a concert on a large
scale, namely, to get all the singers and instrumentalists he
possibly can to put their names down in his programme, to
advertise liberally, promise largely to excite public expecta-
tion, and leave the rest to chance. Upon such a principle
was his " Grand Vocal and Military Festival," given at the
Crystal Palace, on Saturday last, carried out. Fifty artists,
together with two "Unions,"— to say nothing of the Military
and Crystal Palace bands- lent their names to adorn the
swelling scheme, and forty-throe pieces were set down in the
bills for the fifty to perform. This loosearmy of half-a-hundred,
having no head to direct them, no one to fix their periodici-
ties and times in the orbit of the performance, and no one
to whose command or authority they could succumb, having
arrived at tbe Sydenham Palace, some too early, and some
too late, as no notice had been sent them at what hour the
performance would commence, wandered about like a flock
of geese in tho Lincoln fens that had lost their loading
gander and were liberated from all control. The concert
was aunounced to take place at twelve ; it did not begin
until one. Forty-three pieces were announced to be sting
or performed; not more than twenty were given. The
visitor who paid sixpence for tho printed programme
might as well have furnished himself with a copy of the
Koran, so little information did he obtain from it of
wliat was going forward. Everybody wanted to sing first;
and he or she who had not what was reckoned a favourable
place in the programme, felt considerably aggrieved. Poor
Mr. Distin ! We can fancy him in tho retiring room,
praying, entreating, imploring the artists, in his peculiar
vernacular, to lay aside their petulaucies, jealousies and
friorities, and go forward to tho rescue of his good name,
t was unprecedented at the Crystal Palace to near on all
sides nothing but censure and abuse. Many left their seats
early, disgusted with the proceedings, and not one single
person, we are oertain, of the immense audience, quitted the
concert-room without great dissatisfaction.
Upwards of fourteen thousand persons attended the
Crystal Palace on Saturday, the greater number no
doubt attracted by Mr. Diatin's " Grand Vocal and Mili-
tary Festival. " We repeat, not one person went away
satisfied We accuse nobody, but there must have been
gross mismanagement somewhere, ilr. Distin should not
nave obtained the services of artiste without securing to
himself at the same time tho power of disposing of them in
the programme as he thought fit The vocalists and instru-
mentalists, when they engaged to Bing and play for Mr.
Distin, should have made up their minds to submit to his
or some delegated authority. Above all, it behoved the
directors of the Crystal Palace to have taken care that the
publio were not mis-informed and misled ; that what was
promised under their aanctiou should not have been with-
held ; that a serious cutertainmeut ushered forth as " under
the special patronage of Her Most Gracious Majesty the
Queen, His Royal Highness the Prinee Consort, Iter Royal
Highness the Duchess of Kent, His Royal Highness the
Duke of Cambridge, and the Right Hon. Sir R. W. Garden,
M.P., Lord Mayor," and emblazoned on the forehead of the
bills as a " Grand Festivul," should not have turned out to
be a snare, a mockery, and a delusion.
For the sake of the directors, for the sake of the share-
holders, for the sake of the public at large, fbr tbe sake of
the artists engaged and the apecinV*-
we trust such another exhibition
within the
Pulaoo.
[mblic at large, for tbe sake of
(peculator who engages them,
tition may never occur again
the windows of the Crystal
i lie — * uuu rr » ui bin) vi jawu
Will no one write a new equestrian drama, that has some-
thing like an aspect of permanence abont it 1 Years ago a
great hippodramatic genius, named Amherst, composed the
Battle of Waterloo, and not only was it found worthy i
ti on, whenever boainess was flat, but it actually f
school. There was the Campaign in Moteow ;
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THE MUSICAL WORLD.
[October 16, 1858.
some war in the Peniaula ; there was something else some-
where else— all fashioned after the funtustic pattern of
the Battle of Waterloo. The story of this class of drama was
not intensely interesting, and the connection between the
scenes was not always to he detected without difficulty; hut,
nevertheless, they were distinguished hy a large consump- I
tion of gunpowder, and by severe conflicts l>ctwccn multitu-
dinous BTijternutnoriirieH, while certain scenes or figures gave
a kind of historical character to the motley exhibition.
Mr. Gomersftl's Nujmlcon was famous in its time. Who at
the present day gains feme at AstleyV equal to that of
Gomcrsal.
Then, not quite so many years ago, we had Mtvatfpa, as
the type of a more regular hippodraine — a piece with a
regular plot, and with quite iuterest enough for an Astley's
audience. The duration of MaapjM is altogether incal-
culable, for even now it is found more attractive than any
novelty, and a season never passes without its revival as one
of the binding features, The present entente curdiaie between
France and England prohibits a reproduction of the Battte
of Waterloo, but Ma:eppa is perennial lsyond the reach of
]»olitics.
The dramas written with reference to the Crimean war
acquired that popularity which belongs to everything con-
nected with an absorbing topic of the day; hut before the
actual contest had come to an cud, the mimic conflict had
lost its interest ; whereas the Battle of Waterloo was totally
independent of contem|iorancou8 events. If we set aside then
Crimean plays, the history of equest riati dramas for the last ten
(if not twenty) years is totally devoid of a single record that
can arrest the attention or stimulate the memory. During the
successive managements of Messrs. Batty and Cooke we
have been frequent visitor* of the time-honoured amphi-
theatre, but if we try to recollect any one piece that has
been produced upon the stage, a number of vague pictures
press upon our eyes, distinguishable from each other by
name, and by scarcely anything besides.
Shaksperian dramas, with horses thrust into them by hook
or by crook ; novels turned into plays without regard to the
exigencies of the theatre, old incidents badly connected by
the fragile thread of an unintelligible plot; the spectacle is
indeed varied after a fashion, but, alas, after a fashion it is
extremely monotonous.
Mr. \V. Conke has newly painted and decorated his house,
autl his ring is enlivened with the choicest divendons. Hut
why won't he make an effort on his itlaije I Surely the only
equestrian stage iu London might he turned to better account
than by the production of such a non-speetacular spectacle
as the Covenantee.
Worcester Gknecai, IsriRMAsr. — The musical arraugemeuts
for the forthcoming concert iu aid of the Funds of the Infirmary
are nearly matunsl. Our readers will l>o glad U) learn also that
the profes4i.il generally have evinced much sympathy in the
causa. Miss Arabella Goddard, the eminent pianist, has most
handsomely given a donation of ten guineas to the charity.
Madame and Mr. Weiss, with the other London artists, have
materially reduced their professional terms , and our fair neigh-
bour, Miss Gilbert, who has relinquished all ]>ublie engagements,
has kindly volunteered her services. It also gives us great
pleasure to add that the Worcester Hormouie Society and the
other resident artists have, with their usual liberalitv, come for
ward to aid gratuitously this benevolent object. \Vo do trust
therefore, that the public generally will respond moU handsomely
to such a combination or effort* to increase the funds of an
institution so well deserving the cordial support of every one.—
Worcester Herald.
OLD SONG.
(To be newly iff to maiic.)
Marry never for houses, nor marry for land,
Nor marry for nothing but only love.
Madame Anxa Bishov.— The friends and admirers of this
accomplished singer will be delighted to learn that she has
returned from America aud purports iu future prosecuting her
artistic career in Euglaud. Madame Bishop has only arrived
in London a few days, and already, we understand, she ia
secured for a concert at Oxford, and engagements are ptuuiuK
with the directors of the Crystal l'aiace to make her rertree at
Sydeuliam before a Loudon audience.
DKU11Y LANK
That H- Flotow's Martha — produced in an English uniform for
th<- first time on the English stage, on Monday night — ia the
estimation of Miss I/misa I'yne aud Mr. W. Harrison, is an
opera of higher worth than Auber's Crown Diamond*, must be
taken for granted, seeing the greater amount of pains expended
in getting up the former, and the greater respect paid to the
score. At the Lyceum, the Croten Diamond* was converted into
an olla podrida, several songs, foreign to the work, being inter-
polated. At Drnry Lane, on the contrary, the managers have
made their bow to M. Flotow, and have not permitted a bar of
Martha to be discarded or altered. Hand-in-hand with reverence
for the score went the determination to present the opera
in the fairest possible light. Mr. Alfred Mellon, the
zealous, energetic, and indufatigablu leader, had not much
difficulty in bringing his cohort to do their work irreproach-
ably. The chorus, under the able direction of Mr. Smythson,
the chonis-mastcr, were in every respect equal to the music
entrusted to them. The mise-en-scene was admirable and
striking. The costumes — with one exception, which we shall
allude to presently — were splendid and appropriate ; and, to
conclude, the three principal characters were excellently sup-
ported. With such care and |»nins, with such splendour and
titness, no production could fail of success. Had the audience
ou Monday night considered the music only, wo doubt if the
same results would havo been achieved. But gratitude aud
good nature prevailed ; to be satisfied was the general desire ;
aud every rouud of apnlause waR a testimony to the manager's
enterprise, not a tribute to the composer's genius. That
Martha, for a work that has obtained a certain reputation, is
oue of the weakest ever composed, no one with musical feeling
and appreciation, we believe, can deny. The ideas, at no time
original, are few ami far between, and when they do come
the ear in vain sucks fur luno. In fact, toko away " The last
rose of summer," and Martha is literally deprived of its only
melody. The frequent recurrence of the lovely old Irish air has
invested the opera with a beauty and a vitality which will keep
it iu cxintciico for some time ; but once laid aside it is irre-
trievably buried.
The cast of the opera at Drury Lauo is as follows : — Lord
Tristan— Mr. George Honey; I'lunket — Mr. J. G. Patey (his
first appearance on the English stage); Sheriff — Mr. T. Grattan
Kelly (his first appearance); Lionel — Mr. W. Harrison; Lady
Henrietta — Miss Louisa Pyne; Nancy — Miss Susan Pyue. Miss
Louisa I'yne sang tlio music of Lady Henrietta, or Martha, with
exquisite taste and skill, but, except in the case of the Las',
rose of summer" — which created a furor — did not pro-
| duce any great effect. The part, indeed, does not afford scope
to exhibit to advantage Miss Louisa Fyne's excellences as a
vocalist. M. Flotow does not writo well for the voices, and iu
the instance of Martha, does not appear to have written the
music of the heroine for any extraordiuary singer. - The last
rose of summer " met with a tumultuous encore, while the other
solos assigued to Martha passed off comparatively without n
hud.
Miss Susan V\i\c made as pert, vivacious, and spirited a re-
presentative of Nancy, the ancilla or hand-maiden, as the poet
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October 16, 1858.]
THE MUSICAL WORLD.
667
himaelf could have desired. She gave the music, although by
no means well suited to her, with excellent effect. For the
costume of Nancy in the third act we must call Mr. Buchan to
a strict account. It was nothing short of preposterous. Nancy
is the waiting-maid of Lady Henrietta, and yet, in the third act,
when there is no thought of, nor reason for, disguise, Miss Susan
Pyne appears as one of the ladies of the court attendant on the
Queen, attired for the hunt, and even outshining all the fair
Dianas in the magnificence of her dress. Uow such an absur-
dity could hare originated with Mr. Bnchan, it is as difficult to
surmise as to understand how it could hare passed the rurreil-
latwe of the stage-manager, Mr. Edward Stirling, or have escaped
the supervision of Misa Louisa Pyne and Mr. W. Harrison.
Such an inconsistency is fatal to the vraitemblance of the story.
Although the part of Lionel is somewhat too sentimental and,
so to say, lackadaisical, for Mr. W. Harrison, the performance
of that gentleman, whose stylo is essentially manly and vigorous,
was entitled to high praise both in the singing and tho acting.
The music, as in the case of Miss Louisa Pyne, is not well
adapted to him ; nevertheless, he sang throughout in his best
manner, and achieved one of the encores of tho evening, in the
romanza, " She appear'd clothed in light," ("M'appari tutt'anior,"
in the Italian version), which he gave with touching expression
and feeling. Mr. Harrison, however, required, and tho audi-
ence felt he required, some bold strain like " The fair land of
Poland," or " I'm a simple muleteer," to bring out his peculiar
Mr. George Honey made an .ituusing caricature of Lord
Tristan, but was not always to be praised for his extravagances.
Mr. J. O. P. ley, who made his first appearance on tho liondon
stage in the character of I'lunket. is a novice, but gave indica-
tions of decided talent. His voice is a barytone of good quality,
and he is far from being an unskilful singer. His pronuncia-
tion, however, is open to exception. Ho has a habit of making
one syllable into two when it contains tho letter r. He
says, "Lionel surc-a-ly (surely) will die;" and "Ere-a lovo his
poor harrit (heart) tic betrayed." Those who heard the late
Mr. Wilson, the celebrated bal'ml-sii <rer, will retuetuW lit*
singing, " I'll rcnicraljer-a thte." I'll in it a fault Mr. Pntey
would do well to get rid of. As an actor, he sivms entirely un-
acquainted with the stage. Mr. T. Grattan Kelly, whose name
uuiuistakeatdy iinl" rites his country, is even a greater novice
tl:iu his fellow lUbutaute. He is a tall, thin, upright young titan,
with, as far aa we could make out, a deep bass voice, for nil
Irishman, his diffidence was excessive and unprecedented. Of
\iU capabilities wc c.-.nnot oven hazard a giu .
The English trnii.daiion ban been efFct . [ .'r. i'. H.
Ui vnohUou, a giutlcm.-m not entirely unknown in literature,
and who wrote the English version of the .Sonnambi'la for
Malibran — an immortal honour. The translation of Martha
shows more ingenuity and facility than taste or poetic senti-
ment. It abounds in redundant phrases, such as " one siugle, "
"de]iart away, Ate.;" aud the comedy is by no means free from
vulgarity— witness the chorus of servants at the fair. We will
quote one of tho songs, which will afford an excellent specimen
of tho style of tho wholo translation. In tho beginuing of tho
inkett and chorus sing the following apostrophe to
the national leverage, of the ]
Trll me, pood friends, now if you can,
Whst pleases most an Englishman ?—
Can no one tell? not otic? —
Ti* John Barleveoro'i rood cheer,
Strengthening, healthful, home-brew 'd beer !
When foaming high and ■Darkling clear.
No drink con match it under tho tun !
So, John Barleycorn it old England's king!
John Moll his praises will erer eing !
Hurrah I
There's no drink like this under the sun !
No, none!
Cnostrs.
John Barleycorn is old England's King, ic.
II. "
Tell me another thing, if you csn ; —
Whence conies the strength of an Englishman?
Cnti no one tell ? not one f —
'lis from John Barleycorn's good ebcer,
Strengthening, healthful, home-brew'd beer!
When foaming high and sparkling clear,
No drink can match it under the sun ! —
John Barleycorn it old England'a king '• —
John Bull will erer unto htm cling!—
Hurrah !—
There", no drink like this nnder the snn t-
No! aone!—
Cnoncs.
John Barleyaorn is old England's king, A-.
The performance was received throughout with great applause,
and all the artists were recalled several times. The enthusiasm,
nevertheless, was not so unbounded as we have witnessed on
many occasions when an opera was presented for tho first
time to a Dntry Lane audience. Martha, notwithstanding,
from its reputation, endorsed by its recent reception at tho
Royal Italian Opera, and the admirable manner in which it has
been put upon the stage, cannot fail to obtain a certain amount
of public favour, and may serve for some time to alternate the
performances with the JIom of CattiUe, as it is announced to do
— a proof, by the way, that its success on Monday night was not
triumphant.
DRAMATIC INTELLIGENCE.
Hatmabket.— The first appearance of Mr. Charles Mathews
since his return from America, with tho first appearance on the
English stago of Mrs. Charles Mathews, of whom rumour had
spoken very highly both as to talents and persoual attrac-
tions, drew* mi overflow to this theatre on Monday. Tho play
was Dion Bourcicault's London Atturanee, Mr. Charles Mathews
snrtaintng his popular character. Dazzle, and Mr*. Charles
Mathews that of Lady Gay Spanker. The welcome given to
Mr. Charles Mathews when he first stepped upon the boards
was enthusiastic in the extreme. Cheer followed cheer
in quick succession, ench round being more vociferous
and persistent than its antecedent fellow, until the audi'
cuco seemed fairly tveariod with applauding. Mr. Charles
Mathews, whose modesty and diffidence are not on all
occasions excossive, appeared quite taken aback. Neverthe-
less, he did not lose his self-possession, bat demeaned himaelf
under the circumstances with his customary tact and coolness.
To a performance so well known as tho Dazzle, of the actor we
need not allude. The part was written expressly for him by
one of the shrewdest of living dramatists, aud fits him as a kid
glove— one of M. Fiver's best French — fiU the hand. As an
exemplification of mingled audacity and nonchalance Mr.
Charles Mathews's Dazzle is incomparable. Mrs. Charles
Mathews's reception was hardly less warm than that of her
can t/Kto. Stic is exceedingly prepossessing in looks and
figure, and captivates with a glance. As an actress she is
graceful, natural, and piauantc, but has hardly fire enough
and impetuosity for a character written for Mrs. Nisbett'B
peculiar powers. A part less bold and vivacious than Lady
Gay Spanker would, to our thinking, suit the fair dibutante
better. We therefore believe that Mrs. Charles Mathews will
be seen to greater advantage in another character, and wait for
tho pleasure of witnessing it before pronouncing further as to
her merits. London Auurance has been played every night
during the week.
Olympic — Idiocy, theft, murder, and the Morgue — such are
the materials from which Mr. Wilkie Collins — wo beg pardon,
Wilkie Collins — has wrought his new play, The IUd Vial, and
with which he has endeavoured to indicate a new mode of in-
fusing vitality into the declining drama. To strive to produee
something novel is very laudable in a writer of the present day ;
but, when deviating from the beaten path, care should be taken
not to lose sight of it entirely. In his attempt to achieve some-
thing original, Mr. Wilkie Collins has, like vaulting ambition,
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THE MUSICAL WORLD.
[October 16, 185a
oerleapt himself, and lighted on tbe unnatural. In some respects
The lied Vial betrays great ingenuity, and even indicates
power, bat the "horrors on horrors" which the writer accu-
mulates, lie has not poetical force or elevation of sentiment
to assuage or modify, and the facta are left to their own naked
repulsiveness. Less finely acted, the drama would hare been
summarily dismissed from the stage on the first night of its
formance. Mr. Itobson acta the part or the Idiot with
iug energy and truthfulness ; but in his acting leas pro
nature would be desirable, since the effect on tt
that which an author contemplates, nor an a
immediate desire to get up ami leave the theatre. We were
never before so deeply impressed by Dr. Johnson's observation,
that " fatuity is not the proper prey of the satirist," aa after
witnessing The Red Vial on Monday evening. It is to be
lamented that the first entirely serious part written for Mr.
Bobson should not have been a success. Although Mr. Wilkic
Collins' new play roust be pronounced a failure, he mast not,
therefore, bo told to write no more. Let him eschew imitating
the nude abominations of the modern French melodramatic
school ; nor seek in German charnel houses for subjects to place
in all their unsophisticated loathsomeness before his English
audiences. lie may then produce something worthy of himself,
since his talent is undeniable.
Strand. — A new burlesque, entitled The Maid and the
Magpie ; or, The Fatal Spoon, taken from the old and oil-used
story, by Mr. Byron, author of The Bride of Abgdot and other
pieces, has been produced during the week with well-merited
success. The old tale is closely followed, and the parts are well
sustained and travestied by Misses M. Oliver, Marie Wilton,
and Toman, Messrs. J. Bland, J. Clark, and Tertian. The piece
abounds in puns of the moat audacious and unexpected kind,
some of which are exquisitely vilo and far-fetched. Several
nigger melodies are introducod with capital effect. Bat
why, in a burlesque of the Maid and the Magpie, the author
has forgotten to turn Kossini's Oaeta Ladra to good account,
we cannot understand; unless it is that tho author never heard
of Rossini and knows noshing of his opera. Miss Marie Wilton's
Pippo would liave been the most sparkling and irresistible per-
formance in tho piece, but for Miss M. Oliver's Ninette, which
is not better. Mr. J. Bland's Isaac, the pedlar, is inimitably
is and loud.
MOZAKT8 PIANOFORTE WORKS.
(From Frmer't Magazine.)
Thk piauoforte of Mozart's day had established its superiority
over all keyed instruments of tho quill-and-wire tribe by the
roundness and sweetness of its tone, the fine gradations of power
which it yielded to the hand, and its freedom, without hard-
ness and dryness, from all offensive vibration. The harpsichord,
patronised by Ilaudcl and Scarlatti, and organ players in general,
was not without a certain graadcur; but no one could make it
ting a melody, or produce upon it those melting effects of decree-
cendo, or harmonious blcndings of intervals, to which many of
us have listened "all ear" when a J. R Cramer sat at the
pianoforte. Touch became on this instrument a peculiar art,
the finest feeling. It was distinct from the elastic
developing
digital power which brings "out passages with clearness on the
harpsichord or organ, and might rather be compared to that
gentle pressure of the bow, or enforcement of the breath, with
which the accomplished violin player or singer gives prominence
to a beautiful idea. The expressive mystery of a fine touch, it
is easier for the musician to feel than to explain ; the attack
and retreat of the fingers, the holding down of note* their
fall time, and the degree of force with which tho keys are struck,
may all be well accomplished, yet shall we not be greatly moved
by any performance in which the soul of the artist does not
animate his finger tips. A little prelude—* careless arpeggio
of half-a-dozen chords, serves mostly to reveal the qualities of a
player, and to announce him either as a musician or a musical
mechanic.
Not only did Mozart devote himself to the legato style, but
Beethoven pri»d it so highly, that while he possessed hi. Mte*
bility of ear and touch, he never played in any other way; and
it was this which made him say in one of his conversation* with
Ferdinand Ries, " that of all the pianoforte players he had sver
heard, he preferred J. R Cramer. ' This interesting testimony,
by the way, which is published in Ries' "Notizen respecting
Beethoven, should not have been excluded from Mosoheles and
in tho
of
of the last century every bouse in *
of society in Germany possessed its pianoforte ;
- Stein of Augsburg was a maau-
in great repute. The cultivation
of music was at this time merely a means of introducing an
elegant pleasure at home. It gave an occupation to the young,
which, aa the simple, earnest oompoaittons of tho day evince, was
as yet untainted by the vanity of display. Music pleased for
herself alone. But good teaching in respect to mechanism was
very rare; and the steps by which a finished artist is raised to
perfection, from childhood to full maturity, were almost undis-
covered. Mozart's father was one of the first who compre-
hended the true principles of the modern execution — kept the
arm in complete stillness, and moulded tho hand into that
rounded position in which the fingers seem to grow to the keys.
Leopold Mozart and his daughter were much occupied in teach-
ing, and, as we learn often talked themselves out of breath, in
the conscientious discharge of their employment. While they
were explaining the mysteries of fingering, aud showing how
passages of great apparent difficulty could be neatly and ele-
gantly brought under the hand, it was the business of the young
composer, even from eight years of age, to form and tram the
soul.
From this early period the solicitations to compose for this or
that individual talent, which beset him throughout life, had
their origin. Whatever related to capacity in his own art its
exact degree, ite character, and importance, was known to him
in any individual with whom he conversed, as if by intuition.
The tone of a voice, the air of a countenance, the social vivacity
of a young person, seem to have enabled him to read with
facility whatever nature had imprinted of the musician. The
mere shape of an exquisitely-formed hand, without a general
repose and harmony or character in the whole human structure,
would, perhaps not have satisfied him; but both together made
him more certain of bis subject than either Gall or Sp
could have been by any investigation of the musica
which enter into the system of phrenology.
Even in his moments of deepest abstraction, when
extemporaneously, Mozart was able to preserve a part of hia
mind free to notice the effect of his music upon others, to inform
himself how far ho might pursue one track of invention, or when
it was time to strike into a new one. He bad his own prepos-
sessions in point of taste ; and there is no master in .whose
works we can place a finger on a passage, a bar, or oven a note,
and say with greater confidence, " this the composer enjoyed."
But though ho gently led the way, and insinuated his own pre-
ferences in melody in strains of tender and melancholy grace, he
appears rarely to have approved his own first conceptions until
he had tried their influence upon others. This practice, which
ho early commenced among the visitors who listened to him
occasionally at his father's house, became so strong in him by
habit, that he was able at last to carry it out in public
the numerous audiences collected at the theatre, win
"One touch of
The dramatic pout and musician are the kings who proverbi-
ally have " long arms." Tho chief element of their being is
knowledge of tho world within and without; they multiply
themselves, and extend their own identity into all the infinite
forms and varieties of tho human famdy, and strike chords of
passion which vibrate by sympathy through tbe whole. In
Mozart's mystic language of inarticulate sounds there may be
discovered a perpetual process of reason, as well as of imagina-
tion. The precision with which, as a minister of pleasure, he
adapted the means to the end — hitting the mark always, re-
straining the luxuriance of his fancy amidst all ite roving
aud preserving himself just within the limit* of tho
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October 16, 1858.]
THE MUSICAL WORLD.
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object to be accomplished, exhibit* tho logical composer in an
aspect in which he is unequalled among musicians.
Not any writings which Mozart has left show the man and
the musician more interestingly than these collected pianoforte
compositions. They are, for the most part, living witnesses to
the amiability of his disposition, being mostly free gifts to one
and another of his acquaintance of ail ages and talents; some-
times evidently costing him no more trouble to write than that
of moving the pen; at others displaying the exertion of his
greatest powers in design and construction. To ono who can
enter with fall sympathy into the day-dreams of the charming
artist-family whose abode in Salzburg near a century ago renders
that locality still a shrine of musical enthusiasm and devotion,
it is pleasant to travel once more into the past on thB wings of
these compositions. Images of happiness and hops will surround
us while we witness the content of the yet youthful father and
mother of Mozart in the opening genius of their son ; and BO Wt
have resolved to write our Sakburg ■ re-visited.' Glancing a
little to our right as we ascend the broad staircase of their
dwelling, we discover in the deep vista of a warehouse, fragrant
with the scents of Italian edibles and culinary merchandise,
Mozart's landlord, that immortal drysalter, M. Hagenauer. The
ladies, the officers, the ecclesiastics, the musicians, who from time
to time mount to the drifter ttoek (third floor) to talk about or
hear music, thus need not forget in going or coming where to
renew tho exhausted Parmesan or stock of maccaroni. But we
quit these sensualities and enter the apartments of the Mozart
family. In a room well stored with musical instruments and
books, and ornamented with prints, busts, and flowers, a boy
sits at a table composing. That is Mozart. A canary bird chirps
in a cage at the open window ; and a favourite cat, who has
established herself on the table near his music-paper, looks the
picture of domestie quiet and content.
" Wolfgang," exclaims the boy's sister, " the young countess,
my pupil, is just returned from Paris. She has been taking
lessons of Schobert, and is much improved. You remember
how well she promised, what a nice clear finger she had, and
what a graceful feeling for melody. You must write something
for her, either variations or a rondo; but, whatever it is, I must
take it with me next week." " Well; I'll think of it. I have
just finished the procession march for Haffner's sister's wedding,
and the new minuets for the ball in the evening. This afternoon
we drive out to the Nonuenberg. and to-morrow I must practise
my concerto, to play to the archbishop's Italian frends at the
palace What a lazy thing that is," he adds, contemplating puss,
" I wonder when I shall find time to enjoy being lazy I" " Oh,
there will be plenty of time," interposes the father. " For what I"
" For composing the piece which your sister wants. And,
Wolfgang, you know that M. l'Evfique, who has been in Italy,
and talks to ns so much about Italian fugues and counterpoint,
will be sure to stand beside the little countess as she plays ; so
let your music be a rondo, in which you can bring in the subject
in the bass, and make some of the passages move in canon.
This will strengthen the young lady's left liand, and give the
gentleman au opportunity of displaying his science when he
speaks of the construction of the piece."
The scene changes. The Mozarts are in London, in their
modest lodgings in Frith-street, Soho. A German friend of
theirs whose visage beams with delight and admiration, congra-
tulates them on the pleasure which they gave to the king and
queen at Windsor, a lew nights before. It is the queen's music-
master, J. C. Bach. "His Majesty was delighted with the
sonata, which he heard played off-hand by two great hands ana
two little hands alternately. It waa a novelty ; and here in
England"— addressing the boy— "they like nothing so much as
novelty." " Have they ever heard four hands on the pianoforte
together r asked Wolfgang. "Never; no dueU for a keyed
instrument have yet been published in England. But do you
try your hand at some, and we will play them together to some
musical friends, whom I intend shortly to collect at my house."
The duets in T> and B flat (Nos. 43 and 67 of the catalogue
tfttmatique, Potter's edition) are quickly produced and played.
A Berlin professor of counterpoint, well versed in Marpurg,
fidgets a good deal in his chair, and then rises to criticise. ^*
"The adagio of that second duet is certainly a heavenly
melody, M. Bach ; bat I observe that, in the second line, there
are about thirty-three consecutive octaves in succession in tho
middle parts." " They accompany the melody very well," said
Bach, laughing. " But, my dear friend, such counterpoint " —
" I waa not thinking of counterpoint ; I was thinking of pleasing,"
interrupted the boy. " The second violins and tenors sound very
well ao in an orchestra." " And I notice more octaves still in
the andante cantabile of this duet in D," said the professor.
" There I meant to imitate the bassoons." "So you turn tho
pianoforte into an orchestra, and place pleasure above counter-
point I What is to become of music if composers at your time
of life set up taste and emotion as supreme guides t It must be
quickly reduced to a chaotic jargon." The professor was waxing
warm. "My revered father, John Sebastian," said M. Bach,
quietly, "was wont to compose in what you call tho Strict style;
and yet he would break a rule at any time rather than injure a
good melody, or spoil a neatly-constructed passage."
Mozart's wonderful childhood is passed, and he is not a little
pleased to see himself wandering from Munich to Manheim and
Paris in quest of a permanent settlement His pianoforte playing
is in great request at the houses of musicians whom he visits;
he engages with young people in parties of]
excursions, ready at any time of day to make the
fession of youth—
" Full many a lady I have eyed with best regard."
And so, as Carl von Weber tells us, that German girls much
delight in new waltzes and musical keepsakes (MSS.), which
they pay for by a squeeze of the hand, Mozart, as a matter of
course, was obliged to dispense his services and take the usual
wages. Sonatas by the dozen, full of elegant Italian melody,
and of the neatest construction for fingering, attest what he has
given away at the solicitation of the fair ; nor could even mamma
be denied if her little favourite longed for a pretty air with
variations. The language of refusal waa scarcely in the voca-
bulary of the compliant and obliging man.
Mozart is walking one morning in the English garden at
Mauheim, with a musician belonging to the Elector's chapel.
"Nothing," says the composer's friend, surprised and
pleased me more than what von did yesterday when we wont
with Holzbauer and Cannabich to the pianoforte warehouse to
choose the new instrument for tho palace. To play on five or
six instruments in succession, on each in a different manner,
with a perspicuous design in every improvisation — that I call
the test of masterly invention and readiness. It is extremely
embarrassing, when iu walking from instrument to instrument,
with great hearers, one is reduced to show one's poverty, to
repeat oneself, or become quite vapid." The idea of such, a
situation modo the composer smile. "A peculiar fantasia," he
returns, " is necessary when one would try a pianoforte. I have
thought much of this impromptu music, and I sent my conception
of such a fantasia in notes the other day to my sister. It should
differ from the orchestral fantasia, in which we may blend adagio
and allegro, sweet air, solemn modulation, and various rhythm,
within the compass of one prelude ; and also from that in the
bound or organ style, which usually ends with a fugue. I intend
some day to make designs of these different fantasias."
Last winter, when we met in London M. NeWtliardt, of the
Berlin choir, we were well reminded that Mozart had kept his
word. The fantasia in C minor, arranged by him for a large
military orchestra, forms a splendid piece, and we have heard it
ourselves in Berlin with great pleasure.
America* Bract v. — But there was something that outdid
them all ; and that was a beautiful face I had the pleasure of
sitting opposite to. I shall not give you the least intimation of
the name or whereabouts of the owner of this face ; suffice it to
say that she was a wife and a mother, and thus wearing on her
brow the perfect crown of womanhood. Vain would it be for
me to attempt to convey to you the charm of this countenance
by any enumeration or inventory of its features — by telling you
of the rich dark hair, ao massive and yot so soft, and braided i
it— of the steel gray eyes, spirited
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THE MUSICAL WORLD.
[October 16, 1858.
and street, under such eye-brow* and eye-lashes as wonU hxte
made any eyes liaudsomc — of the clear, pollocid complexion, as
delicate as it is possible to be and not lose the charm of health
— of the puro and sculptured lines of the cheek and chin— of a
mouth gently grave in repose, but easily rippling into the most
darslin^ smiles. All this gives you no notion of the sweetness,
the purity, the refinement, the gontlo-heartedness, the ethereal
peace, that breathed from this lovely face and threw over it a
charm not borrowed from form or colour. And her dress, of simple
white muslin, high in the throat, with purple ribbons, could not
have been improved if a committee of artists had prescribed it
I have been somewhat about the world, my dear C, and as
— d as you
know I have an eye in my head ; and I assure you there is nothing
on earth so fine as American beauty in its rarest and highest
type— such as w*« here before mo. Its loading aud character-
istic trait is that of extreme refinement; of fineness in its
literal and exact sense, as opposed to coarseness. In no country
so often as in our democratic America will you soe faces that
look as if they were tho perfect result of many generations of
the most select and fortunate influences. This peculiar charm is
often found in such est «, as to become almost a defect ; from
its so inevitably suggesting fears of evanescence and early deoav.
Why should I not be permitted to rave a little in this absurd
way, upon the subject ? Why should beauty gather all its
tributes from lovers, poets, and boys f Why may not mature
age, long tried and trained by life, lay an offering on this altar 1
What beauty is there like that of the human face I Milton
in that pathetic passage in which he sums up tho deprivation of
his blindness, puts last, and as tho climax of his bureavement,
his losing sight of the " human face cAYi'im :" no ligbtlv-comu-
dered or cliauce-gathered epithet. TIad the light of day again
visited those dim orbs, can we doubt tliat their first glance
would have sought some human face ! It is one of the compen-
i in growing old, or at least ceasing to be young, that our
if lesH strong are finer ; more ethereal if less tu-
The serene emotion which the sight of beauty now
i within mo I would not exchange for the more impe-
tuous fervours, the coarser thrills, of twenty-five. Certainly I
• sjum- looked lUSMnwrBwn rose with a more passionless
imj.S^rVtou upon this fair young creature who had eroded
my path but for a moment, and yet thrown upon it a perennial
satisfaction ; for if a " thing of beauty " be " a joy for ever," how
much more is a being of beauty. — Btoton Couritr.
M«. and Mrs. Altrkb Wican are so far re-established in
health as to render it pruliablo that they will shortly appear in
•"1 of the loading provincial towns.
f HILDRKN.
Bv Hkxbt
Comb to mo, O ye i
Kor I hear you at your play,
And tho questions that perplexed me
Have vanished quite Busy.
Ye open tho eastern windows,
Th»t look toward the »im,
Where tboughtg are tinging swallow*
And the brook) of morning run.
In your hearts aro the birds and the tutuhiue,
In your thoughts the brooklet's flow,
But in mine is the wind of Autumn
And the first tall of the snow.
Ah ! what would the world bo to un
If the children were no more ?
Wo should dread tbo desert behind
Worse than tho i
What the leaves are to the forest,
With light and air for food,
Ere their sweet and tender juices
That to tho world are children i
Through thorn It feels tho gtew » • >.»»«*•**•
Of n brighter and sunnier climate
Than rose 1ms tho trunks below.
Coots to me, O ye children !
And whisper in my car
What tho birds and the winds arc
In your sunny atmosphere.
For what are all our eontriv in n,
And the wisdom of our books,
When compared with your carcases,
And the gladness of your looks ?
Te are better than all the baltuds
That erer were sung or said ;
For ye are tiring poems.
And all the rest are dead.
ADVERTISEMENTS.
GLENFIELD PATENT STARCH,
1-3EB IK THB ROYAL LAUNDRY,
Axo s*.sorscro bt HER MAJESTY'S LAUNDRESS, fobs
PIANOFORTES.— DEWRANCES COMPENSATING
A PIANO may now lie seen at the depot, t\ ilolio-aqairc By the ap|ibcaliaa
of this principal a heavier utrtne; can be use ), tho result of which la. that tbo full
power r f a gma-t it oMalutd from a cottage instrument, nt the km tlirra the
wires and tho frauio ou which they are strung expand and contract with change
ot temperature equidly ami together. » » that the nccoasity for frequent limine;. *»
in the .ir iliuury instrument. Ya entirely limited. For fu hi eas and nnui'lticaa o&
tone, wllh ostrnonilusry powers of modulation, these inttrnmciitv are acute un-
equalled, at the enine time tl» price Is no Lhfhar than (hot of an e "
THE IMPROVED HARMONIUM. — Mr. W. E.
KVANS, iuvcnlor or the Engliah Harmon'um (exhibited in London In 1MU
call a attention to the improvement* ho bas lately made In thia in
subjoined testimonial m.iji Mr. Alfred Mellou U ono of tho
from eminent professors: —
Tits Vats. KiWa Roan. Cwsuta,
March 19lh. 1S6S.
Vrttt Sin.— 1 have much pleasure in giving you my craniou upon yo»
Harmonium ; it ia the best instrument of tho kind I hare ever heard.
Ycmn very truly,
To Mr. W. K. Brant. ALFUED MELLON-
M, Norlolk strMt. ShcflicM.
ftllcn's SllustrnulJ ©atalopc
ALLEN* PATENT liFSPATt'll BOX. with and without Dressing Cm
ALLKN '» PATENT TRAVELLING 11ACI, with square optui- g. Theec
are the bewt of tho kind yet Invented,
J. W. and T. ALLEN, Manufacturers of Portable Bvrack-roo
Military Outfitters (tee separata Catalogue). 18 and 22, Strand.
ROBERT COCKS & CO'S NEW PUBLICATIONS.
NEW PIANOFORTE WORKS
Pllby, W. C— La Cai-ita.
Dtuuit, L.— Grande Valrt
Bpindlcr, F . — Rbap* -he
John, C.-Valse Elegante
de la Mer
Walbwe, W. V.— Iloao softly blooming
Richards, 11 —Truth in Alwence
West, G. P.— Mozart'* Gloria in Kxotlfls, (i:Ui Mm)
LyBberir, C. B — Alpl'ie Fantasia
Cailooti. W. H —The Holy Family, riano 8olo, t* ; Duet
Hills, Wm.— |0a IUmnd* and Canons, complete ..
Wallace. W. V. - B«thor«n'« Violin Romance
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PUBLICATIONS.
PIANOFORTE.
B d
ANDREWS t R.) "Tlv/u aiti-i nliir and yd so Cut," Reverie « RcicUanll's
popular Lied •• .. M .. .. ,.
AO U 1 LA It ( KHAKI U-). " Bun v. I glow '' •
"BACHIANA," select piece* (Prelude* and 1'une*) from tho
work, of John Sebastian Bach, uU included la the (orty-oigh
end Fugue. :
No, I. "Pi>s» rVhcntrindn,'' In A m:nor_
'.'. Prelude and Fugue on tho 1
Pianoforte
Doth tho above have been played hi public by Hi» Ambclla Ooddard.
•'Quando lo Bcro'* and "Ah! fa
Mllku)
nilROMTJTLER IK.) " manehe," roll:.. XunrkA
KUMAOAI.I.I <A ) "CLARICE," the only coTrrct ed.iicei. w> played by
Mnw AralvlU 11- .Ward
(iHJlluXit A.) "Kiiw, ' Beaunea
llAHOITTfl" J ) Three Littler otinc werto
l.INDLKY (K.) Caprice DoWno, Introdnrlnff * papular IV-Uoniiau melody. .
HoNIuT(EttaRiirs). " A »immer*» Day." Romance
,, " A Summer. Eve," ditto
MOhCHELES (J.) Triumphal March
Step, dedicated to
UREVILLE (Tho Hon. Mr. ):
Grand Mjirch, wlUi Introduction.
JI B H. the Duko of C-unl
Ideee Fugitive (In 3 books:
Hook I, dedicated to the Rt, Hot) Uotintooa Klnnoal!
Rook dedicated to Her Excellency the Rt. Una.
lick 3. dedicated to tho Rt. Hon. Lidy Caroline Xnmy
L'Amlcizla, Notturno, dcdlcalad to thj Hon. Mrs. Edmund rhipp
Ia Coolants, NottlirilO, dt dialled to the Rt. Hon I.idv de Ron
F. illllon i Anlotnne. Viilaoa, dedicated to Mia. C«otU fclllco
t« Ulrn V. mi. Vi!%. Varies, dedicated t • Jlra Frances Fortcscue
The 0 irvltnc, Polkat. dedicated ta Mm Hcmive Dcnng
The niunpion Conr:, Polkas, dedicated to tbo CoUDtee. ol 1
Three WalUen, and a Qidop
Set of Quadrtdca. dedicated to Lady Wl'lUrn n<rrcy
McKORKKLL(O ) 8-uvci.lrde Gluek (Amide)
" La JoyeM*e."t>.uvcuir do. Champ. EJrsoc.
(0.) Qiutnt-rmi Marcho aut FlamleanT
Comprecd In honour of tho marrtfgo of thy PrinccM It'yal of
England with Prince Frederick William of Frueain.
OSBORNE (0 A J "Pauline," Nocturne
». d.
5 0
4 0
4 0
4 l>
3 0
4 0
4 D
3 0
3 0
» 0
3 U
3 0
3 0
3 0
I «
3 e
REPERTOIRE DES BOUFPES PARISIENS,
a i-oluktioj or
QUADRILLES, WALTZES, rOLKA.S, &c. &c.,
nioii Titis
THf THEATRE DES BOUFFES PARISIENS, PARIS.
». d.
1 • Tionib-ol-cai.w." H»|t»
5 "Revod'nne nilit dote." W.dt»
3 "Lc>diur«ah*MV' WlUt
4. "Leadcua aVLllgiua.-' Waiti
L1NTKII (Rk'AcdoS ' l>.n
i 6
1 0
I «
s «
i. "Lo Violoneux," Polka
• d.
6. ••Uuo unit blanche,- goailrnto | |
!• lf^SA5&i8B9fi! 8 0
S. "Iyo VieAotieax." Quadrfllc j u
PIANOFORTE DUE T.
P«niu do." Intn>1wlnji the eeicbmted He renaile " Com' * R»ntll"
'•Thl, h one of Uie m.«t ellxtiTu duct, thai we have ev« IUUme-1 U.."-t.rfi-JK»l »/,„(.
.. d.
S 0
TWO FLUTES AND PIANOFORTE.
MISASt (Astuxio) " Veuloc. ' duo cm the " CaniiTal of Vetdee." dedicated to Walter Stewart llroadwood, K..)
"vocalT
VUICR AXD HINU1NU. I>y AnoLra FKkuM ..
Il»rc U a really «ciu»t.li! i.juV u|w.n wloit miifht beconi'|.|<iPt»laworn-otit mibjwt. Hi^ntr Farrari, lKiwfW, Ijia s<'t »Jtne tiling to aay, and i»meltiiBK
nd cultirati.«i «! the Totco dUpUy aot only an intimate ki>"wtcdirc of the .uhjeot. but a philoaophleal i
the natural b«« of tLc ^eakC/totee are both new and totorrrflnir "-.Wwiral WVrf.f.
1. d.
i abwit tLc early cultlvatU* of I
a. d.
i •
.. A*. Od
worth liiteninf*
ilewoflt. The
ADKLAIDA "Tlio Cucko?" (" Hall, beaiiteoiti Mraiurcr or the Rr..« "I ..
• Sun.hine'- ("I lore the .ouildne eTer)where--M»iiT
nowrrr) .. ..
DALKE(M W.) '• I'm net in loeo. remember,'* mri* with the |rreatc«t A-lat
by Mdllc. Victoiro Balfe as well na by Y
2 0
3 0
Livrrvoot Mai!
nRAnAM(CiiA»i.i»>
BRL'CE (En. Bar).
Oh, take me to thy heart ajrain r*
of the must eharinlng ntclvdles Mr. ttdfo has ctct compoaed."—
Parwecre. or the Carter of HaTcloek'
When 1 waa younK," sung by Mdllc. Jetty dc Trefli
When flrat yea ahene before me, " Ring by Mada
Dorchardt
CRUWELL(GoTTLim). "Mournfully, »-inf moarofully." with ■
aceompanrment
"Where ia the tea,* with violoncello or I
pauimcnt .. 3
DAVISON
'The Capicttc"
)N (J. W )
*<AtJKR(J.i "Quick artae, uwiidcu mine," eun„- by Mdlle. Jetty dcTrcffz _
ENDEliSHOHNfM.; "Hwcct little Jenuy" 3 0
,, "My Mary" 3 0
I ( A Lira). " Merrily, merrily ai: lot* the morn," The •kylark'a tang,
I by Ma<iair,n RiiderwlorfT J
,I,E (The Uo». Has.) "Ob, 1 would weed with thee. tore".. .. 3
„ iHtto a. a din t for l»rytono and eopranv . . S
„ "gimnd <» me doiuicralt." duel f .r ac.prano
and tenor 3
,, I'i'to ai a Solo, with Oulur aecoinpanlmrnt .. 1
„ Enj;U«l< War t)on«. "Who faara to ilioT' Tho
word, by Alfred Te:myaou 2
„ National .Song. " Now to Aims'* .. 3
••MaryO'Shane.-RUUd.dedlcalcJloMlaiiRowlaiid.'t
aROBVENUU(S) "At early d..y»d.wuing," May »u» 2
f, rth in lb
t
i ttranrth of the Lord Uod, ' Tlinuks-
e hnpl'-iro tbce.'' Pr.iycr from La Juiic
"(llTartnlrXfromLaJuir.
OU
briiht a^rjoy*ou«' were tho'days of
aR0SVF.N01l(8)"I
„i>1k» AnUiem for voice, an
HALEVT (F.) " Lord hnvr u» w
„ "Ho wdl be here
UAIUilTT(C. J.) " To-marrow " ('
chUdhood")
JOHNS (Mna C. A.r'TUuroerry, merry lark waa upand ataginit" (a Le.uient)
MA CTA rtJIEN (0. A.) " PaqulU " ( • I tore when the «m ha. «H 1 aung by
I a Sigriora Kumafatll
"The two ttnilc."
MEYERUEER. "Tbl« ln^cw to loro la hn"y, "Serenade for 2 soprano., 2aitos,
1 tenors, and 2 bnaaea, without mom paulment In rocd acors
vocal part, each
». d.
lie Lord'. Pray«r (F.nj(l»h and l.itin word.) for soprano,
alto, tenor, and haM, organ ad lib. In scote
Shepherd's *ori|
Beparate vocal ports cich
• Hera. '
ith
hero on the mountain,
clarionet obblisnio .. •
Violoncello or violin to the above each
,, " Near to lh>e.'' with violoncello obUicato
MONK (E a.) "Ooritby the mmmcr «<a "
MOZART. " The very angel, weep, dear"
I'Kl'll (Im .Iamm) •• Weeds and flower." . .
RKICHAKUTf A ) "Tliou art so near and yet so far" (one of the roort
popular song, of the day)
" •Thoold willo-v trsw"
'The fleet herd " (t^clierricr)
Tin. Exile " (L'XxlM)
"The Fiahcrman'. Suug " (Cliansou du recueur)
„ "Wh.n o'er the meadows green" (with Horn aceuoi-
panlmeutX Ming by Madsnic Vlaroot
Vic4,mcello part to ditto
TARNOLD(LotriBA) "
RT. L«0ER (8*5")
ViV1KR(Kvo-ct.).
3 0
3 •
2 «
2 0
•I 0
3 0
w
LONDON :
DUNCAN DAVISON AND CO.,
DfiPOT Otyt&AL DE LA MA1SON BRANDUS, DB PARIS,
24-4, REGENT-STREET, CX)RNER OF LITTLE
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[Octobsr 16, 1858.
ITALIAN OPERATIC MUSIC.
VERDI'S OPERAS,
IH A DETACHED FORM,
Including Ike vtkole of It TmOTAToM
" * ' L...
ATejf.
other Opera* in the
Del vootro MB too, RlctUana
LES VEPRE3 BICTXIEWNES IN ITALIAN
1 0 | F.Ul momenta, Art*
\ 11 com, Rom. .. 2 0 II Mm leg-re, Melodla
8 0 | E tu Palermo. Arts
IN FRENCII.
I. d.
it
3 •
Au Mil) dez roar*. Air
Quel o>t ton uom T Dao
Palermo I & man pay* 1 Air
Comment iltm
Jour dlrreeee rt do dellce*. ;
Au Kin do la rmiaenncc. Air
Jc n'en pais revenir, Duo
i I 8 Cot Guy do Montfort, Air ..SO
. 3 n D; couttoux «t d enVol, Duo ..40
. SO Ami ! lo otrmr d'Heltue. Rom. .. S •
Duo. Adieu, man peya! QuaL ..SO
. 2 <i Mercl. jounce arnica, tvjn'lenno . . 2 *
. S 0 La brine souffle an loin, Melodic ..30
, 4 0 Sort fatal, paries, pules. Trio ..SO
mmut,
A greater port of tola oncm lus boon introduced in the compoecr'a new and cue-
«—tul work, •' Aroldo.- lately p^ormed with llw greateat enthudaam In Italy.
A to a-eoud*. Prevh .. 1 8 I Di qua rarcando. Bare ..IS
Ah I dAtfli rannl. So. od Arte .. 3 ■> Dlto che il fallo a tejere. Sc. a Do. 4 0
Co=li» cniorc diaporao. Sett, ..30 Una, ponea! cbe un on (ft to, Aria . . 2 S
.. I 0| Oppoelo » 11 callo, 8c. oDu. ..4 0
LTJIBA MILLER.
Conftdo In te.
Prcgh.
Lo rldl • 1 primo. Romano* ..IS
Ah ! tutto m' arrldo, Rcctt ..SO
II mio aangue. Art* ..SO
8.ier* 1* oceJU, Art* .. .. S •
D.iir alio rttfirUnta, Sr. e Duel .,8 0
Hotto al mio piede, 8c e Duet ..4 0
Tu punieciml, o Signer?, Aria ..SO
1/ altro rotanto. So. a Duet ..SO
Padre ricevi 1' estremo addio. Tors.
Protcntarti alia Dnebeaaa, Quart.
Piaiif.1, planul. II tuo deJure, Frvg. e Du.
4 o
Quando It acre al placido. Aria
IL TK0VAT0BI.
80.VG8, Ac. TRANSPOSED AND P0PUI.AR BDITI0X&
Hlride la ram pa (Seal*. »Tk Art* . . 1 0 I Tacea la nolle (Srofo, 43)
l)i quell* pira^oio, SSI, Arl-
' "i ai, ben rolo (Arata, 30* A
Ah ai. b
i
I)' amor Bull' all roee (Scuta, 41)
SI U Blanche***, Duettino
•nil* tCTra (Stofci. 4(1), An* 1 0 All, cbe la morte (Smta. 44)
del auo aorrlao (See*,. 41X Ar. 1 0 |
ORIGINAL EDITIONS.
I 0
1 0
1 o
I 0
TX due flgH, Com e Carotin*
Mori dl paijra un aerro dot eonte . .
Taooa la uotta. Soon* e Oaratina . .
Desrrto rulla tori a. Scotia e Rom.
lnbda. qual voce, Soena e Tontctto
Vcdi ' le fuecho. Coro di /Ingurl
Stride la rampa, Canzono .,
Meita c la tua cnuxon, Ooro
Cnndotto iff ora. Scena a Rscconto
";&i^rrul>8r^Art.'
S n
3 ii
3 il
1 6
4 0
2 0
I s
1 <
8 0
5 0
5 0
Ah ae I' error t' ingotnbra, Coro
BSfs? 1° roUjenni a quo!
E degjrio a poeoo erracrlu
Or co dadl m* fra poeo, Ooro
Olornl poveri riven. Terzetto
Ah ! ai hen mio, Sonnn cd Aria
D' amor rail' *JI rose. Soena ed Ari*
Qua! voce ! come I Seen* a Duetto .
So m' ami an cor, Duettino
Parlar non ruoi ! Seen* a Taxattino
H acoata I non reeplngermi. Sc. fin.
LA T RAVI ATA
Da' miei bullenti uplrltl. Sc. ed Ar., t 10
Ltbintno uc' lleti. Brtudlai, T ..SO
Dl Provunt* il mar, Soena ed Aria, a 4 0
nbiitnoiie'Ueti.(i(tninapoaod;Bliii. 1 9
Un dl feltce. r, do,, Melodlu ., I 8
Un dl quando, s mtn., do., Oantab. I 0
Dita alia irloTino. c, do., CanlabUe 1 6
Dt Provenaa il mar, <:, do.. An* ,.18
BMO0LKTT0.
Oaro noma che 11 ralo core. Sc.e Pol 8.1 8
Oortiglani. rill raua, Art*, B ..SO
Pig: in ! mlo Padre '. Duetto, S. 4t B. 4 0
La Don ii* * mobile. Canzone, T. ..10
Par ml Tedrr le lagrime. Aria. T. ..IB
Qurau o quella, Ballata, T. . . 1 0
BllJiww, ii* rrtndpe, Duetto, T. St 8. 4 0
Addio del rnwato, c (trampd. ),Ari*
8c una pudtea, c, do., Melodia
Pura'tlooome, n. do , Caneabllo
Ah ! fora' t lui, r, da, Ari*
Nr* alamo zloganlle. r. do,. Duet ..
P*rl«4, o car*, r, do.. Duet
Di aprexzo dogno, », do., Trio
i i
i f,
1 8
I 0
so
I II
1 1
Oh. aommo Carlo, Sett. Finale S 3 0
Io arm Otrata DuooSono, Ar.ucllr*in.S 1 0
Oorno rugiada al ceapite. Sc. e Cam. 1 8
Lo reilremo. Orand Seen* ed Aria 1 8
Qui me tnuae nmo jxieMiite Duetto a 0
Vlrn Aug^iaU > Clio »a UT ..4 0
Tu ae Ernanl' Terzetto ,.S0
ii inrolaml. Sc. e Car. 1 6
I a la soegli eeftiilml. Du. tin. 3da 4 0
e mleero, Ten, fln. S 0
i mlel. Seen* e Car. 2 d
Homlulla un Apollo, Sc. Terz eTem. 5 0
Tutto le feau »1 Templo, Sc. e Duet i u
Un dl, al ben rammcntomi, Quartetto
, .S.C.T. *B. .. ..SO
V' ho lagonnato. Sc. e Du. «n. ..SO
Pueecuto amor ml chlarol, Melod. T. 2 0
ZitU, eitti. movkamo, Tcrz., 8. T AH. S 0
ERNANI.
Ohl J! rerd' anni mlei. Soena a Car.
in F, with e«y acoompanimeut 1 8
Ah I morir|mtc*ee a>]«aao. Diettioo S 8
NoTeQdi*UrAutTWiMnda8tdcLTera.S 0
Oro, qi«auf oro, ogn" arldo, Tarx. 2 0
lufcU.e! c tncrcdevi,C*T.nelFin lmo I 0
Vodi conic II buon regliardo. Sett.
. 4 0
oh;;
Caro accent!. I at rod. —Ah I
l«to»l. Duo. in original key
I 0
Kr* quceto duuac
BATTAOLIA DI LEOHAH0 (LA).
fuiniue. Int.Prag. 2 0
Itallco, So e in 3 0
quceto duuac lonely lutrod. e
Scan* del Qiuramcnto
Per la aalvau Iuuu, Umnd Sc. Tor*.
A che onarriti pallid*, gto. Fin. lmo
Bw!*eld altri, Duetto
M 7*1/00 en
U pin luatenm maoo, Oivatlna ,, 1 a
Ah] m' abbraccia, Rumansa ..Is
Qu*nt« volt* come In dono, Oaratina 3 0
So al nuoto di pusruuido. Aria ..So
Ban 11 aoorgo. buet. n«l Pin. loo 2 0
ITALIAN OPERA SONQS.
LA 8CAL A.,
A popular and uttsful edition of the mtoet faronrite to,
Opera*, newly edited and reviled hp a
of
RifOlctto.
LooUdl
Robert le Diablo.
PuriUnJ.
BcUy,
Lucrcii*
N'abiicodonoeor.
Pllle du Roflmerit.
Lniaa Miller.
FaroriUt.
Norma.
Beatrice di Tend*.
Kiiair* d' Amore
Prl gloria d' Edlmburgo
Don Paaquale.
Anna Bolen*.
UmU di
1.
■:.
s.
44.
S4.
68.
80
4.
4.
A
7.
S3.
61
06.
. 8.
0.
10
11.
12
IV
14.
16.
IS,
ST.
40.
47.
M
17.
IS.
10.
u
*l
ii.
.1
M.
24.
S4.
~l.
28.
2e\
29.
M
SO.
SL
SA
CI.
SS.
:n
34.
71.
La donna e moUlo (F and A Sat)
Caro noma (Dl
Queata o qnclU (F) .. ..
BolU ngil* dell' moor* (A ft*t)
B U bo4 del' anima — Duet ••
.. 8ona'(F) ..
Plgt 10 mio padre — Duct (D)
Ah I perche non ix«w (B flat)
Ah I non ghiuge (G) ..
Coroe per mo acrcno (K flat) ..
VI rsrrlao (A fl*t)
D' un iJeiiBiero — Duet(C) . .
Afoaeoclelo— Duct(EfUt) ..
Prondl V anel— Duct (A flat) ..
Fra poeo a me (Al
Regnara nel aileniii (C) ..
Qmud je nuittals (A flat)
Robert, tol que J aime {f)
Qui Ja voce (D)
A to, o oar* (A fl*l) ..
In queato aomullce (C)
Krnani. Emaol, Inrolami (G) ..
Ah : roorir poteeal-Duet (F) ..
Cori»rugiad*(A>
lureUceetu(Aflat) ..
I/o veilremo — Vionl meco (0) . .
Noll* fatal (11 mlu>r)
Dl jieacatore (D and F)
IlacgrctofC)
Com etiellofC)
V* penatero (V) .,
Ctaacun lo dice (D) .. ..
Apparri alia luoe (E flat)
Oourion parttr (D;
Qu*ndo (e acre nl pladdo (E flat and 1
Lo vedi, e' I prime (Q . .
Iji totnha— Duet (B oat)
Soea* dal ekil (O and 0)
A tan to amor(D) ..
O mio Fernando (C) . .
Caatadira(Dl
Deh con te— Duet (O) . .
0 dlviua .tjin~»(o) ..
Una furtlr* laerlm* (D fla<)
rUill* (...i>pa(A)
Dormi. dorml (F)
Com' e grntil (F)
I^i morale (B flat)
Al dolce Klu lami (E flat)
01uoodiq.le,fal.lm*(A) ..
D» quol dl-Duot (G)
So lanto In ira IF) ..
*iD
II.
41
43
IS,
Vl>.
ML
47
U,
IS
r.o
SI.
sj
■
74.
oVqucl'lap
Ah ai ben mio (B flat)
Dcaerto aulla terra (C)
D' amor aiill' alt roooc (0)
Tocra U nolle ptacidu ( K)
11 ladeu del euo aorriao (A)
Ah ! che la martc oguoia lE Out)
SI la ataucbe***— Duct (F)
Un dl felloe (T)
Parhfi. o car*— Duet (F)
Di PrOTenza il snol (C)
Libuuno ne' lletl caltcf(G)
So una pu.lioa ven/ine (C)
Un dl quando le venert (E minor}
INir* 8-coume un angclo (0) ••
Ditc alia gWTtno (C) ..
Addio del
paaaato (A minor)
f lit Durti, Trie* ami amcerud mutie in He abort Opera* am
awf a»ii( Sy
B008EY AND SONS, 24 ui 28, HoUt»«tr«*)t.
Publiahed by Joan Booarr. of CaaUeUr-l.lU. in the pariah of Ealing, io tsr
County of Mlddleaez. at the oflk-o of Doiarr 8c Soxx 2*. Holloa -atreet 8a*i
also bjr Raro, 14J John-etrert. Great PorUainlHreet ; Atunr, Wzrwicz-
Uoe; VicKtna, llolywcll-alreet ; Kuth. Pnowaz,
O. ScnevaaiaiiK, SS. KewgnU
BUM Mat, 11, Holborn-bar*. Agenta for Scotland, .
Edinburgh and Olaagow ; for Ireland, H. BoazzLU Dobtlo ; and all Munr-
sellera.
at CO.. 48. Cbeap.1.1'
■iizno, Jfawgatc-atrart .
ud, PaTZZuk.* A So*'.
■M by Willi * at Snwewt Jomiaon. " Naeaau Stem Pre**." 60. St. Martto'i
rrintod
c
or Art afpfam most imixikt in Mcsic, since it beqcibm 50 matibial, no sfimtct-mattir, wnoes srncp must
orcTKo. It is wholly- i-obm and row**, and it raise* and bnnobi.es whatever it kxpbemm."— Qdethe.
8UBSCKIPTI0N:-8tamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order,
to B00SEY 4 SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 43.
SATURDAY, OCTOBER 23, 1858.
{
PRICE 4d.
TO MUSIC-SELLERS. — WANTED, by a respectable
young man of gt«d address and buatneas-llko Habit*, a situa'ion in the
music trade. Una had t-~
rade. Baa had ten years' experience In a leading finn at the West-end,
— i furnish unexcrptiunable r. fevenrce «» to ability and character. Addrv»»,
A. B.. Buaaex-etnwt. University-street, W.C.
MR. G. PAQUE begs to announce that he will return
to London f-r f'io winter aeawro at tlw beginning of November. All
Utters to bo addreafed to ISO. Great Port Ian I -street, Portland-place, W.
preferrt
S GOVERNESS. — A lady requires a daily engagement
na above. Acquirement* ' English, French, and Music. Young children
txL Address. M. A. 8L, Messrs. Boosey aud Bona. »4 and "8, HoTleeMrott,
'■••■•equaro, W.
AS GOVERNESS. — A la<ly of considerable experience
requires a daily enj; element. Acquirements : English. French, Aluaic, and
Drawing, Young children preferred. Address. M. A B , Messrs. Boosey and
(joss, St and S<, Hollce-stroct, Cavcndlsh-sqnare, V,
THE WELLINGTON HALL,
appropriate ai d eUgaut room in Leads I
with the Scrbro- Homl. Vat
Ltrne, 7 Oct, 1MB.
CRYSTAL PALACE. — AUTUMN AND WINTER
SEASON. — H A LF-GC I N E A SEASON TICKBTS, »iailable on every oc-
caston to SOlh Ai>rll. 1M». ,„,,y i** be obtained at ttao Cry.tsl rslace, and at
3, Kxetrr UaU.
PROFESSOR WILJALBA FRIKELL— POSITIVELY
THR LAST TWELVE NIGHTS Polygraphia Hail. King William -street,
CJbartDg-croae— TWO HOURS OP ILL0SION8.— HEW TRICKS. F.very evening
at 8; Saturday aflento.>us at ». Private boxes, oncguinet ; box stalls. As ; orchestra
A SHORT ADDRESS to the Wives, Mothers, and
Daughters of England. By the Pather or a Family London : S BaUroan.
95. Lcadenna.l-atrcet, E C, where it may be bad gratis, and |»al free, on a per-
THE IMPROVED HARMONIUM. — Mr. W. E.
BVA.NS. Inventor of the English Harmonium (exhibited in London in 1644),
calls attention to the improvements he has lately made in this instrument. Tile
eubjotnOT testimonial from Mr. Alfred Melton is one of the many he hue received
Tat Vat* K ISO's Boat,, Cnnaiu,
March lIMh, 1W),
in giving too my oplulou upen y<
of the kind I havo ever heard.
Your'w' Alfred i
To Mr. V. E.
ftl, Nortolk-itreet.
MUSIC STRINGS.
14, EAST PLACE, KENN1NGTON ROAD.
MONSIEUR ALPHONSE VILLIN (de Paris) Importer
of Italian. Preocb. mid German Strings lor all Instruments. List of price*
and wimples f,.riror>lc-i (free) on application.
The celrlmt-d Ac niI5El.ES, now universally a/lopled by all Violinists, cannot
be had GF.NUIKK but at the above address of Monsieur A. Viltin, sole and exclusive
Wholesale Agent for the United Kingdom.
ROMAN AND NAPLE8 S1RIN08 (not to be surpassed) are (old by Monsieur
TiDln fully 14 per cent, cheaper than any other house In the ti»T 1
48
CHORAL WEDDING SERVICE, price 3s., sent.
I*o«Uir<> ire? for thirty-six aiAxii p*. Just FuUlUhod. the "Order for tba
Sclera nLsaCiou ul Hewy Matrimony," mt& to ntn*ic (after ttao rondel ot T»Hu) by
Taul Jenard. Al*o, nrop*rliw for fiuoMottion. an Aiitbem for U» r "
tw.nU'd ujM»i» rtc*"pt of tux .
will bo i
N1
EW SONGS.— "Let me wh
Iinlfe, composed for and sung by Mr Sims
"The beating rf my own heart,
at the Birmingham and l*r.is Musi
"The blglihuid 1-losaoio.- by W. V WalUce, a»ragby Ml
- The joy of loving thee," by Walter Mavuard, aung by
CRAMER, BKALK, ascp Co.
hi Maefarrcn, sung by
nd Pi slit at*
inter in thine ear," by
m Roovee
THKd
F
HE ROSE OF CASTILLE QUADRILLES, Waltaes,
, from Balfe'a pt>|m]ar opera. The Rose of Oastille— also the airs
tor the pianoforte, smgie and dueta, by CeJontt.
CRAMKR, BKALK, and Co.
A VARGER'S NEW PIANOFORTE PIECES.
s. d.
Tltenia SO
Mnnvut du TrteUxeo SO
I^i Branvillirune ..3 6
Ia Balolsc— Valse de Hal'-n S <
La Fruit*— Oalop biillant SO
Marche de la, Pnnceeao tie Pruaae . . ..AO
CRAMER, BEALE, ann Co., S"l
alt the worts of title
Rcgent-alreel,
ONE OF THE FINEST ORGANS IN THE
TO BE SOLD,
l i i a! i i ron a
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL
Apply to the Publishers of Use " Musical World.-
-*4-
CNL-rn Tiir. i-ateo-iaoi or
1IKR MOST GRACIOUS MAJESTY THE QUEKN,
U.H.U THE PRINCE CONSORT,
THE ROYAJL 7AMILT.
Dn_ Makk I-cl-s mM respectfully tn announce that ho U open to
with his i ; I approved, Intcrceiln^'. pkasiai,'. ana taut"
MUSICAL ENTERTAINMENT,
DR. MARK AND HIS LITTLE MEN,
of thirty!
JUVENILE ORCHESTRA,
coatroBEn or
Little Engli.h. Irlali, and Scotch boy». from five to abttesD jwira of age. who pfor
operatic •eleciWHi*. soloe, duute. quartcta, quadrlllea, marchee, and pr-lkas ; and
stiigsro>gs. choruses, tc , in a meet ctTective maimer, and to whom he nivea n
gtaiuitena general and musical oliicatlon In ordsr to Illustrate hie highly approved
system of musical education, and with whom lie travels abont the cpxvetry to
excite au interest for and help to
wtratoirea of Music " for little ^
great empire
in every town, ot?, juid
Free Trade Hall. Mrua^JllLM
674
THE MUSICAL WORLD. [October 23, 1858.
MESSRS. DUNCAN DAVISON AND CO.'S
PUBLICATIONS.
PIANOFORTE.
ANDREWS I fU
" rLiod
• d
"Thou art so uear aud yet so fiu
popular tied 1 »
AOUlLAR(EMa>.c«l.). ••SuusctKlow" 3 0
"BACHIAN'A." select ptrco" (Preludes aud Fuituoe) from the Pianoforte
work* of Jubn Sebastian Bach, net Included lu the forty -tight 1'ioludc*
and Fugue* :
No. 1. "Tagx Rcbrrsaudo. In A minor - 0
2. Prelude and Fii^'ic on the Duinc Bach .. .. ..2 0
Both the shore Lave t> on j.l.ijr«d in public by Mtas Araliclla Uoddard.
URIS^AC (Joiev). "Bella Piglta" < the quartet from RUolctt.) .. . . - 0
"U lan So le sen:'' aud "Ah! f'l Kl"»to" (from Ltliaa
Mil") »
BURGMULLER <F.) " Blanche ■ Polka Mazurka S
1 l!M IGAL1 1 (A ) "CLARICE." the only oo-rrct jodltton, aa played by
M s* Arabella (V ddard 4
GOMIOJi (K. A.) "Eliae,' Romance 2
I1AROITT(0 J 1 Ttipee Ll.xW o'.ue worse 3
i&hdi, immt.ie-ing;* popular lfc.hemiaii melody.. 4
, Summer'* Day," Romance .. .. ..3
. Sucnnvrs Eve," ditto 2
I (J.) Triumphal March 1
LLNDLEY (R) Caprice B
mntU (The Ron. Mrs):
Grand March, with Introduction an
1I R II. the Duke of Caaiblid»o ' J
ld« * Fugitives (in a L.x.ka :
Be.* 1, .1 ll.-iibil lothe Rl Hon Couuteaa Kttinoull .. .. 4
llcwk V. ddicuted to Her Excellency the Rt Hon. CouiKoes Cowley ,
Rok X, de Heated to thcRt. Hon. Lidy laioliuc Wuiray
I. An... sia, Nottnmn. dedicated to ih<- Han. Mi.. Edmund Fhipi*
la Cca-imse. N..|t.iruo, d dlcnte.l t. U,« Rt Uou Lndy de Roa .
FeulUe* ..•Autoiuno. Videos, dedicated tu Mu» Cecilia ElUcaj
Le Don V-tiu. Valtw Variee, dedicated b> Mm France* Foi«<*eno ..
Ta. C .r. hi i, Polka, do !u»tcd to Mra. IIoiira,i« lKrrtua;
1 U« llumt.toii V or, Polkas, dedicated. to the Cuunteaa of Majwaeld
Three. Waluo, aud t G do;, ,
Set i;f tfuadri lea. deeito.ted to Lady Wi'liain H<rvey
M' KnRKELL(0 ) H.-UV. Mr.lo Glnck (Armide)
' La J«y"iMe."S'UTtioir dea Champa Kyaccs
MEYERBEER (G.) (tuatr.oute Mercl.c anx Flambeaux
Compcsed tn honour of the ttiariiHgo of tho Pnnocea Royal of
Kn^Ui-d wuli Prim-* Prudetlck William of Prussia.
•. 4,
J t
REPERTOIRE DES B0TJFFE3 PARISIENS,
A C0LHCTIO3* or
QUADRILLES, WALTZES, POLKAS. &c. &c,
WJ@SY 3>@PU3sA!S
I "Tromh-al-oaaxr." Walla .. .
S " R*vo d uos null d'eie. ' Walts .
3 •' Lea deux pecheurV WalU
I. "Lee deux areuirlea," Wahi
2 S
I o
1 «
2 6
i, " Le Viotoneux," Polka
(I. * line mitt blanche," Q-jadrile
7. " V«ji' d'i • !r," Q la-lnll* ..
S. " l/c Vii>!oueux." Vun ltUle
a 4.
.. > c
.. J 0
.. * I
.. I ♦
PIANOFORTE D T_T E T.
i," lutn>liK.ln, ^ ti e ci.WTiile.1 Sereua-lo "Cum' e mntU" .. .. ..
one of the m -at eCvtire du:t» th.it we h iva ever Uatenci to."— I iwrpani Mail.
LINTEB (Hi' isooi. ' Don r^kj-ulo,"
TWO FLUTES AND PIANOFORTE.
Ml NASI (Axtohio) " V..-uioe,- duo on tbe " tUrr.lv. d Vuiico." .Icdkatdd to W^ll.f St. wait Broad* ood, Esq.
•. d.
4 0
a. d.
.. i •
V OCAL.
THE VOICB AND SINOINO, by AuoLTi F««*ut fcW
"Uere ■ s really sensible bo.jk upon vtbat mi|rl.t be tonaideiwl a wom out aubjtct. Bailor l orrati. liowwvar. !«a got s.ui.thing to aay, tod soir.e hiiij worth IJMhIH
to. ULa remarks upon the tVjrmation and culuraMoo <il the volos di.play uot .,nly an intimate knowicdie ot the mil j. ct. but a philosophical view et it. The
rvmatka aL«ut the early cultivation of tbe ustural t.jne of the apcaklug roicc arc bo;l, i.ow and intcrr»l!uj ."- M niml HVW't.
a. d
ADELAIDA. "The Cucko ."("Hail, besutecua «lrau»er of tbc Biore') ..Jo
„ "Eunihlue" (' I lore tbe auuaidue every wbexe Mattr
Mowiit) 2 0
RALPH (M W.) '■ I'm not In love, rsmeiiibtr." auoit with the tioafoet eel.it
lyMdlle. VU.toireB.dfesav.olla.byMr. CLiulea Urah^uu 2 0
"Oh, take me U. thy Leurt aBain r SO
"One of the moil chirmUis inclotlca Mr. Itilfj hw rvcr comiwaod."—
BRAH AM (rfiA*i.«»)i " Ptraov. r -\ or tbe Car>wr of Hurchwk "
BRUCE (EsacTj " When I waayour«." sung hy Mdlle Jetty do TtefTii ..
M "When flret you ahouo before u.\ fung by Madame
Borcb.irdt
CRUWEM.(Qonitni). "Mournfully, shiq mouiurully," with vtolln or hrt*
aoeunipauimeut
,, " Whero la the *..\" with vMoruilloor tenw aocom-
pauinKut
DAVISON (J. W ) The Oaiuotte-
PEasMJERfJ l ••Quick ■risa, maiden ml*
ENDERSSOHN (M.> -S*e.t lill'e Jenny
"My Mary" 2 0
POSTER I Aui rX "Mcrnly m.rr.lj aglets the morn.'' TI.e »kyl.-.rk'a lor.-
sum by Madame lluduadortr 10
GRKVILLt(Tho Ho* Mlta.) "Oh, I would wend with tbee, love"-.. .. .1 0
ii liitto .ia a duct for barytim - and v.prr.no , . 0 0
,, "Qauid ou ma domicralt." duet lor a priuio
and tenor 30
„ Ditto «a a >5«lo. with Ouit ir »rromp:inlm ut .. ] o
,, Eujliib Wiir Souif. "Wl o fciits to dlo?" The
wurla by Alfred Tcuuya.'U 2 6
u NntionU 8o»g. " X..W to A.n.»" .. . ..2 6
"M»ryO'!;laue.-Uallsi).d.Hlk-iilodtoMlK«P,owluudS «
CROSVENOR (-•; ) "Ate1rlyd../ad^n.ng,"May»o, g 2 6
Jetty deTrofV;
» 0
2 0
2 0
I li
3 0
1 0
2 n
I o
jrl'liig AnUn m lor voicca and or«Tii>
IIALEVY (F ) •• I/ird bear >w wc tn.pl. »e thro." Piajer from La J.r.ve
0R0SYEN'0R(S ) "I will , f. rth lu the itmn/lh. I the lard (1 .d,"TI Miks-
th-ta ■
•■n.i will 1« hero" (If va v. nir). 'ro o La J'Uvo
HABOITI (C. I.) " IVmMToW ("Oh 1 risht aud Jo) ju« were the day* of
childhood")
.IonxS(M«» C A ] "Tiictnerr}-, m.rrv :..'k was iiuand alngm«" aL.ur.tnt)
MACPAltREN IU A ) " Ptqmta " ( " I t^vc v.i.c u ' ho atin ha» set '') lung by
la Mfnon runiagidll
,. " Tlic tw.. am ies"
MEYERBEER. "TI.H b. us to lore lab V,,"Sereuide for 2 sopranos. 2a to*
2 tenor., aud 2 b:iaae's. w i'honl ni'. oi ..p»n:mcnt in vocit' aex.re
Scf^itate vncal (Jirtaci'e'li ■■ .. .. •• •*
„ The. I/ord'e Prayer (English and Lnlin »oi\i<) lor ari tsno.
alto, tenor, and last, or^ar, a.l lib iu aoote
Kemrato vocal pc-rta c ich
v *' If sis. bore on tbe mountain," Shqdmrd'a aon.?, with
ebrloni t obbllgsto
Vndoitecllo or siotln lo tlic nhovo each
" Near to tbee." with TillllMoHo obbUtTJlo
Mt>NK(E G.) "Go nit l y the nun n-cr a»a "
JIOZAHT. "The very auffela weep, dear"
r»"H (Ok. Java) "Weed, and tlower*'"
ItClCII AHO'f (A ) "Thou art so ucar .ind yet »o f.ir" (one of the nioet
l d.
p.-pular eoiiff. uf the day) . .
ST. LhGER (H. J.)
Tlie idd willo v hob"
Vt\'lBlt(Kcr,rM-;. "The Owl bcM"([/-.henUr)
.. "The Exile" (L'Exilel
„ "The FUlicrmnn'aBou|{''(Chaiia ndu fOttwUl)
„ "Wh n o'or the roeadow* giee«" (with "
innimeutX "i"»' he Msi„tiio Mantot
Vi.J ucePo jvai t . ditto
Y ARNOLD flVot'isA). "Toe Tr ulwiOTr a lament-* ..
LONDON:
DUNCAN DAVISON AND CO.,
DETOl litNfiKAL I)E LA MAISON BBANDl'S, I)K PARIS,
I'll, KEOENT-BTREUT, CORNER OF LITTLE AJR0 YLL-STREET.
Digitized by Google
[Ogtobkr 23, 1858.]
THE MUSICAL WORLD.
675
SWEET LITTLE JENNY-
(From "**/»,« If John KVi,o».")
O, a swett little darling tormentor is she !
My heart knows uo rest fur a minute ;
Tier atuile ia as bright an the rosebud to me,
But a thorn 's ever lurking within it.
And yet, of all flowers in the licautiful bowers,
I love her the dearest of any ;
And I Devcr will try from the fetters to fly
That bind uio to sweet little Jenny 1
II.
I will hope for the day when I proudly shall say
Such a treasure is mine, and mine only ;
For I fancy the rose Mm no thorn will disclose,
To make me all cheerless and lonely.
O happy my lot, when they twine round my cot,
The blossoms so sweet and so many ;
But the fairest of all I ever will call
My own little charmer— my Jenny!
WESTMINSTER PALACE BELLS.
[couurMOATSvn.J .
Mb. Walesbt, of Waterloo place, writes: " Many erroneous
accounts having appeared in the papers reflecting the notes of
the bells for the new Houses of Parliament, and the rending of
the chimes, 1 have been led to sketch the following particulars :
The four bells for indicating the quarters of each hour arc to be of
such notes that we may say they would Ijo respectively the first,
second, third, and sixth, of a peal often ; or, in musical notation,
G sharp (first bell), F sharp (second), E (third), B (sixth), the
hour bell being the Until, or E (third suae* in the bass), an
octave below the third bell. So far so good, provided that each
proves satisfactory as regards quality of tone, relative pitch, Arc.
I subjoin tho 'solos' which ate likely to l*o played upon the
bells during every hour ;
Ixdicatko nr HKI.U.
First Quarter 1, 2, 3, 0.
Second Quarter, or Half Hour :>, 1. 2, (i— 3, 2, 1. 3.
Third Quarter 1, 3, 2, t>~«, 2, I, :i-J, 2, 3, C
Fourth Quarter, or Hour ... {8« ^ J ' ' *'
"Now, with tho utmost deference to the gentlemen entrusted
with these matters, I think the above may bo called a very
tedious and inappropriate arrangement for such very heavy
bells, the respective sounds of which wiK be so grave as to render it
necessary to strike each bell in considerably slower succession
than is usual with any other chimes in this kingdom. The
following brief and Niiuplccoui]>Wttio>i, if performed upon the bells
in very slow time, would, in my opinion, proclaim tho quarters
iu a more intelligible and melodious manner :
IjfDicATFr* nv Helm.
First Quarter 1,3.
Second Quarter, or Unit Hour I, 2, 3.
Third Quarter U, 2, 1, 3.
Fourth Quarter, or Hour ... 1, 2, 3, 0—10.
" In order that all persons who hear tho chimes may clearly
understand which quarter is indicated without becoming im-
patient of listening, I have, it will be perceived, inserted only
two notes for the first quarter, three for the second, and four
for the third, concluding in each instance with the third bell
(E, the key note), thus affording repose to the musical ear. There
are also four notes for the fourth quarter, which, however, is
distinguished from nny other by the introduction of the sixth
bell (B, the dominant note) which calls for and is followed by
tho tenth, or hour bell (E, the fundamental note), with grand
The following are tho * solos ' as figured above :
r ,, a BelLs 12 3 6
1st Quarter.
2nd Quarter.
1:d Quarter.
Ith Quarter.
a :i I 2 r, 3 2 1 8
1 3 2 « 6 2 13 1236
312G 3213 13 2G 6213 10
The following is Mr. Walesby's composition :
Belli l 3
Ut Quarter.
.'nd Quarter.
a s
n i-
MQuaUer.^^
4th Quarter, 'fffiffi
12 3 6
10
* Sot to
by M. EuderMohn.
Tom Hood's Ri.asoks fob not Pcblisiiixg uis Lire.— "My
wholo course of existence up to the pre»ent moment would hardly
furnish material, for one of tho*e ' hold biographies' that content the
old-gentlemanly pages of Sylvnnus Urban. I.amb, on being applied
to for a memoir of himself, mado answer that it would go into an
epigram ; and I really believe that I could compress my own into that
baker's dosen of line* called a sonnet. Montgomery, indeed, has fore-
stalled the greater (art of it, iu hi* striking poem on (he 'Common
Lut ;' but in prose, nobody could ever mako anything of it, except
Mr. Georgo Kobin*. My birth was neither ao humble that, like John
Jones, 1 havo been obliged amongst my laya to lay tho cloth, and to
court the cook and the muses at the same time ; nor yot to lofty, that,
with a certain lady cf title, I could not write without letting myself
down. Then, for education, though on the one hand I hare not taken
my degree with Bluchcr; yet, on the other, 1 havo not been rusticated
at the Open Air School, hko the poet of Helpetono. As for inci-
dents of Importance, I remember none, except being drawn for a
>o]Jier, which »a* a hoax, and having the opportunity of giving a
casting vote on a great parochial question, only I didn't attend. I
hare MTU been even third in a duel, or crossed in lore. Tho stream
of time has flowed on with mo very like that of the New Hirer, which
everybody knows has so little romance about it, that its head has never
troubled "us with a talc. My own atory then, to posses* any interest,
must be a fib. Truly given, with its egotism and iU barrenness, it
would look too like tho chalked advertisement* on a dead wall. More-
over, Pope has read a le»son to self-importance in tho Memoiraof P. P.,
the parish clerk, who was only notable, after all, amongst hi* neigh-
boor* a* a *wallowcr of loaches. To conclude, my life — * upon my life"
— i* not worth giving, or taking. The principal just auflice* for me to
live upon; and, of course, would » fibril little interest to any one else.
Ucsidcs, 1 bavo a bad memory, and a personal history would
assuredly bo but a middling one, of which I hare forgotten the begin-
ing, and cannot foresee the end. I must, therefore, respectfully decline
giving my life to the world — at least till I have done with it."
Digitized by Google
THE MUSICAL WORLD.
[October 23, 1858.
KAISERL. KONIGL. POLIZEI-DIREKZION*
DIRECTION DR LA. POLICE I. B.
Billet d'l
Stadtviertel
Karakter oder BetchKftigung
Caractere on oecufation
Da us Nro,
Zimmer-Nro.
Haussohild
Geburtsort und Vstevlaod
de naiaaanoo ct la patrie
Wo enfaasig
Domicil
Religion
Religion
AgA de
Kommt von
Vient do
Gedenkt sich aufzuhalten und wie lange
Ihrft du sejour
Begleitung
Jeder Fremde olmo Unterschied
tst vervnichtet »oe/aVcA nack trintr
Vnk-uvf! in Prig die in dicaeni
Meldxottel vorgeschriebenen Ku-
briken dcutlich und vollkommen
nastufullen.
Die TJngabe «nes fal*ch*n Kn-
mens oder Karakters oder eine*
andernunwahron Umstandes unter-
Uegt der gesetsUehen Bestrsfung.
Jeder Fremde, der in Prag ver-
weilen will, bat tieh spateatens am
nSchsten Tags n«rh teiner Cn-
kunft im Fasxamt* der k. k. Poli-
sei-Direksion wegen Krbalt ciner
Aufentbaltskarte
Ahndnng xu melden
JederGaat-oderUntcrttandgeber
ist unter den geaetilichen Strafcn
•pfliehlet, die Meldxettol fiber
i oei ihm eingekehrten Fremdeo
tiglich langsten* bit 10 Uhr Yor-
m.ttag. an die k. k. Polbwi-Direk-
lion eintusendea.
Yon der k. k. Poliaei
in Prag.
Chaque Stranger, sans diatinction
do qualite, eat obligo de donner
immeuiatemcnt spres ion srrivee A
Prague toot les renseignements in-
diquca sur le present billet d'an-
nonce.
Toute declaration non vendique,
bo it a regard du nom, du caracterc
on d'une autre circonetance, subi-
rait la rigueur de la loi.
L'A'tranger inlrntionne d« passer
qnelque temp* A Frasrue doit, tout
>a pro pre re*pon«abilil<<, demander
au plui tard le jour euivant eon
arrive* a la Direction de Police le
de
Le billet d'amvonce >era presents
I la Direction de Police juiqu'a 10
De la Direction de Police i
Prague.
Kktoblet.— On Wednesday, the 13th inat., Mr. W. 8. Sunder*
land gave a ooncert at the Mechanics' Institute The vocalists
•were Madame Rudersdorff, Miss Palmer, Mr. O. Perren, and
Mr. Thomas ; violin, Herr Molique. A new song, " Merrily
shines the morn," sung by Mad. Rudersdorff, was, with other
pieces, encored. Herr Molique was enthusiastically received
and his solo redemnnded. Signor Randegger presided at the
pianoforte.
• Worth
before setting out for Prague.
MR. W. E. GLADSTONE, M P., ON MUSIC.
(From our cvrt Reporter.)
Liverpool, Saturday Night, Oct. 16th.
It lias long been the custom with the Northern Mechanics'
Institution, which has its home in Lord Nelson-street, Liverpool,
to give cheap concerts on the Saturday night for the recreation
of the working classes, of whom its members almost wholly
consist. At one of these entertainments this evening the Right
Hon. W. E. Gladstone, M J*., presided. It was calculated that
nearly three thousand persons were present, and though the vast
majority were working men, a fair sprinkling of working women
was visible throughout the assemblage. The platform was
graced by the presence of a number of ladies. Having, during
an interval between the first and second parts of the concert,
been thanked, on the motion of Mr. Caine, ibr the houour ha had
done the institution by presiding.
Mr. Gladstone spoke at some length, iti the course of his
remarks ho said :—
•• What shall I say on the subject of this entertainment ? Do not be
afraid if I go back to the beginning of tlte world, for I promise jrou I
will not stay there. (Laughter.) But if I mention the words, it is
only to say that those who consider music to be a powerless thing, who
think it ranks among the trifle* of existence, are in gross error;
because, from the beginning of the world — and that is the only time
you will hear the phrase from me — from the beginning of the world
down to the present day it lias been one of tbe most powerful instru-
ments both for training, arousing, and governing the mind and tba
spirit of man. The foundations of it lio deep in your nature ; Ibcy
hare been placed there by the Author of that nature, and it is in a
remarkable sense doing this work to cultivate the gifta with which he
has endowed u*. (Applanse.) There was a lime when letters snd
civilisation had but begun to dawn upon the world. In that day
music was not unknown f on the contrary, it was so far from being a
mere source of entertainment, of common and light amusement, that
the great and noble art of poetry was essentially wedded to that music
so much so that there was not a poet who was not a musician — there
was not a Terse spoken in the early ages of the world except where
music was adopted as its vehicle, showing thereby the serious conscious-
ness that in that way the straightest and most cJcctual road would be
found to the heart of man. (Applanse.) Listening to tbe notes we
haTe heard to-night, observing their character, I ask whether it is pos-
sible to imagine instruments better designed for maintaining in us the
lore of country and the recollection of the glorious tradition* of Old
England, than the songs which you hsTe reerived with such rapturous
applause? And tbo duties of the citizen, the attachment to the land
in which we lire, the desire to serrr it by the improrement of its laws,
and by the performance of our personal duties, are rendered stronger
by the influences that you receive during the momenta now current,
from tho note* struck on the pianoforte, and from the voices you hare
heard. (Applause.) There hare been cases, ay, and many case* too,
when music has been exalted to use* more blessed still. No doubt it is
true that, like every other human gift, it may be polluted and per-
verted ; but it is to the honour of thia great science thai, of all tha
music now existing in the world— of all the music which the genius of
age* has accumulated, no small psrt, and perhaps tbe very flnest and
most commanding, is the music which has been dedicated strictly
to the purpose* of the offering of tbe (olemn worship of Christian* to
the Author of their being and of their redemption. (Applause.) And,
so long a* 1,400 year* ago, on* of the greatest and most eminent Chris-
tian men — tbe great St. Augustine — left upon record, as one auxiliary
instrument of his conversion from heathenism to become a pillar of the
Gospel, the influence which the sweet strains of the Christian Church
exercised over his yet untutored soul. (Applause.) Now, I have
said that such a gathering as this tend* to patriotic purpose*; and
although I admit that aa s nation we have, like other
and our fault*, and enough of them, yet, I say that the sight
now before me, is a sight which, while it gladdens the heart, must also,
or should do, make anyone thsnkful to bear the name of Englishman;
for we see in thi* astemblage a living, praotieal protest against all vice*
■nd all degrading pursuit*. (Cheers.) Tho force of temptation is
great, and far be it from me to pronoanoo con sure* on the infirmities
of my fellow-men. But, without pronouncing censure upon any one,
I may be allowed to feel satisfaction, I may be allowed to utter the
roioe of thankfulness if I And that thi* vast sssemblsge, composed, as
is evident, from the classes from which it purpose* to be composed.
Digitized by Googh*
October 23, 1858.]
THE MUSICAL WORLD.
677
namely, from those great claHti, the staple aud the strength of a frpo
country — tbe working men of England — that on a Saturday Digit, after
the toil of aix days, and with lite prospect of its renewal on Monday,
the hours which are allowed to be devoted to temporary recreation, are
not epeot in search of violent excitements, but are spent in paying
money to hear a concert, and partake of amusement of a character
which administers no excitement other tbsn the gentlest and the purest,
and the whole results of which ought to tend to unmixed benefit and
advantage. Thirty years ago it was tho fixed belief of English society
that Englishmen in general were not fond of music. Now, I do not
speak of Lancashire and Yorkshire, because, as long as they have been
Lancashire and Yorkshire, everybody has known that these counties
and sotr.o others were devotedly fond of music. But I venture to
assure you, from my own experience, that thirty years ago tho common
opinion waa that Englishmen in general were devoid of any gift by
winch they could themselves execute music, or by which they could
appreciate it ; and that tho appreciation and the gift of music were
reserved as the occlusive inheritance of tho few. But within that
period wc have had many changes, — I trust, many improvements,—
and there has been no greater reform wrought in the country — I will
venture lo say, at any rate, none more singularly successful— than the
musical reform. (Hear, hear, and cheers.) Thirty years u„-o. music
was taught in none of the common schools of the country, or if in any,
in so few that the exceptions only made the rule more conspicuous, and
there prevailed the erroneous belief — as we may now call it, the stupid
belief — (hear) — that although the Germans and Italians were fond of
music, Englishmen in general were incapable of enjoying it. That
fallacy has been scattered to (he winds. (Hear.) Ureal as is this
demonstration, admirable as this institution is in its present condition,
I frankly own I hope we shall see, as time goes ou, as thoso who hare
been taught music in their early daye grow up, wo shall toe domestic
music — (hear) — we shall see music find its way into the homes of the
labouring classes of this country. (Applause.) It is my duty as one
of those who bare for many years been called' upon to represent tbe
people in Parliament, sincerely and conscientiously, but often very
feebly, to labour for their welfare. Here I feel that we are upon true
ground; but entertained as I am, and delighted as I am with that
which we hare heard, I much more rejoice in what I see than in what
1 hear, and the experience of to-night will sand ma noose with snore
cheerful and sanguine convictions than I had entertained before enter-
ing this hall, with respect to the disposition and habits of ray fellow-
townsmen, the people of Liverpool."
Tin right lion, gentleman sat down amidst deafening applause.
CHARLES MACKAY.
(From the Brighton Guardian.)
Tuebb is truly n6 reason why we should not suppose poets to be
included in the cyclical order of tbe universe. And so it seems to be.
For a long age — from Hoses and Mirinm, Asaph, David, and Solomon
— the poet* were ytrtons they not only wrote, but also, in bet, aang.
So Sappho sang, and by tho " sphere-born harmonious sisters, voice
end verse," enchanted her nation. Apollo himself with godlike pre-
urn r Inspired tbe muses. Old Hottoa, Pindar, and mighty Horner,
like Moses and David, " showed tksssefou unto tbe people," whilst
the bards, scalds, and troubadours of early Europe were as much a
visible institution as the 2'imet newspaper is to ourselves. But ell this
suffered change, and for a period again as long tho poet has been but
a book. The alternation was gradual, and the old desire to see the
bsrd sometimes grew rampant, as when Petrarch was summoned before
the people to be invested with the laurel crown. So in tlie middle
age* the Court poet wus a miserable relic During many generations,
even for centuries, tbe poet has been, like the Arabian genius llatif,
" beard, but never seen." Latterly, indeed, with some aristocratic ex-
ceptions, not only was the person of tbe poet unknown, but his very
' ice was ignored. If some uncommon incident brought him for *>
at into public view, he disappeared no one cared whither. " Grab-
* and "a garret" were the undefined localities of the modern
isus. But again there hare been indications of a ohstnge. Almost
within memory of the present generation, Germany could no longer
resist the impulse to tee their poet, snd Schiller was called to "show
himself to the people." As ho passes through an avenue of his unco-
vered countrymen, they shout, "lis 1 be Friedrich Schiller!" and hold-
ing up their children, say, " ihat is he!" A like interest iu the persons
of their poets lias of laic years been strongly felt by the English. Byron,
knowing his personality to be intensely cared for, witb false bashfulness
hid himself. Walter Scott was much seen, and (as also Macaulay,
Lockhart, and Aytoun) ministered to a revived taste for bardie strain*
as from the virilt* poets of other ages. At the present dsy the cycle
appear* to approach toward* completion. In banqueting*, and in
tcientific or benevolent association*, ou platforms and ou " hustings,"
the bard* and sage* of our time are summoned to give personal testi-
mony of their existence, and to receive ovationa. One by one we see
them all, hear their oracular voices, aud judge " what manner of men"
they be. Thackeray and Dickens — both deserving to be counted with
tho poet* — read, like the bard* of old, tbeir composition* to the multi-
tude. And now we are to see at Brighton in his bodily shape Charles
Mackay, the lyrist, to whom we owe many of the most popular, patriotic,
and spirit-stirring songs of the generation to which wo belong. We
are to see him whose strain of cheering and graceful poetry ha* so <
delighted us— him whoso "fancy," a* he aays in 10s I>io»y«e,
"travelled back three thousand years
To find tbe meaning of tbe ancient days,
And disencumber tbeir simplicity
From the corruption* of a later time"—
who sang "The Doath of ran," who told us of "The Invasion of the
Norsemen," and carried n* back to the heroic age by that 6ne ballad,
"The 8ea-king'« Burial"— him from whom we have learned more
deeply to reflect upon the c'aiius of benevolence and justice, and whoso
one thought aeems to be— to lessen the evil and iucrease the good.
We understand too, that iu lecturing at Brighton next week, Dr.
Mackay presents himself for the first time, publicly, bofore his
countrymen.
What the poet will do, bow he will sing, we know not. Will he
come with a lyre, a vencrablo countenance and gray streatniug locks ?
Will be sing to us a new paean ? or will be by turn* excite our patriot*
ism with his " Battle of Inkermann," and then melt tho soul into pious
humility by hi* " Magdalen of St. Stephen?" Will he sing " Old Tubal
Cain was a* man of might"? Will tho poet tell u* somewhat of other
poeta as well ua of himself? Will he not only »how us wbat ha can do,
but also how to do it? We shall see.
A WAIL FROM THE ORCHESTRA.
O.v. t, lately, in poetic mood,
When night hnd gather1 il darkly,
I sought an inspiration high
From foaming draughts of Barclay.
The room waa snug, the tire waa bright —
The doors and wiudows barr'd in;
There mote not be a happier wight
Than I near Covent Garden
The theme that tempted then my lay,
Iu Music's chosen dwelling,
Soon made me, to Amphion's lyre
A sonnet londly swelling—
I sang how its enchanted string
Br ancient story's showing,
Made lofty walls and stately
And palaces be growing.
And there was one, iu well-woru
And boots of faded varnish,
Iu wide-tnouth'd wonder listen'd he,
The whiles my lay I garnish.
Good soul, be reck'd not classic lore,
But said " It's very funny,
To think how artists once were paid
And made a mint o' money !
No doubt the man you mention now,
Might be a good musician —
Indeed he must have been, and I
For such good luck am wishing.
The (idler who a house can build
Is now a lucky follow —
I know / scarce can pay my
With my old violoncello!"
', 1858.
Old
HoLamRTa.— Tbe
TJppertbong, have
orgauist for the
Mr. Jamas
of St. John's Church,
Sykes, of Scbolea Moor,
is the above church.
Digitized by Goo
THE MUSICAL WORLD. [October 28, 1858.
678
RICHARD WAGNER'S LOHENGRIN.
(From toe \ ,ttltrrlui»ueJ* Jfiwft JsJfcsSfj
(Concluded from page 868.)
1. Bichahu Waokbk endeavours to characterise tho heroes
anil mojv prominent situation* of his operatic dramas by fixed
and couaUutly rocnrring motives. This endeavour was preriously
to be found in the opera* of C M. von Weber, especially in his
L'uryanth*. The system is much more consistently and compre-
hensively carried out in Lohengrin than in Tannhiiuser. There
m no objection to the principle, but, in this instance, litcieiie, every-
thing depends on the iray in which it is executed. If tho latter ia
delicate, intellectual and skilful, if the motives are perceptible,
merely as bright flashes in the background, an indisputable
advantage is gained for the opera, and the musical unity of this
complicated art-form, nay, we should not hesitate long in de-
claring such a plan to be the sole correct itnd sujjieient one. We
must be allowed to remark, however, that the manner in which
the principle is employed in Lohengrin is an exceedingly clumsy,
and, so to speak, sententious one, inasmuch as, to each figure and
situation, a placard is, as it were, stuck, which announces, " loud
and clear." " Now I am coming, and hero I am." Should any-
one, however, think that the motives which characterise, or,
rather, typify Lohengrin, Elsa, Friederich von Telramund,
Ortrud, the King, and the holy OraL are important of themael v«s,
this is a mere matU-r of last*. We do not cousider them so.
They are certainly characteristic, but in the ordinary sense ; that
is to say, their character is such as abstract understanding in
combination with a slight degree of education can always pro-
duos with little trouble. Their principal importance, too, docs
not consist in the invention, which, as we have already said, is not
particularly great, but in the orchestral colouring. It is not tho
phrases with which Friedrich von Telramund, tho King, and
tho Holy Oral, announce themselves, which play the principal
part, but the double-basses, the trumpets, and the flutes. I*
there any such very great art in thin, or have we not rather an
instance of tho means bu which a mind possessing but little fancy
tries to effect its purpose 1 The manner in which Wagner em-
ploys the principle leads to insupportable monotony, and
wearisomcness, nay, as far as the trumpets are concerned, to
torturing discomfort. By the adoption of such a form, howevur,
the demands made by an opera upon the composer as a musically
creative being, are certainly very much modified. Instead of
being always now, and displaying his mastery in tho maintenance
of the fundamental tone and similarity of cliaracter, the com-
poser simply repeats what has gone before, with slight variations,
and a completely material and increased gradation, etc.
2. Kichard Wagner despises Melody and does not care much
about her. The feeling appears reciprocal, aud it is, perhaps,
out of more spite, that It. Wagner speaks so rudely of the
gentle virgin in his books. Melody or no melody is a subject
about which we will not nuarrel, but what wo require from
every work of art, connected wit h stringed or wind instruments,
is well-defined, palpable, nay, we would almost say, plastically
pereeptible forms, and thoug'hts which flash before us, as if they
proceeded from a distant star ! We are sorry to say that scarcely
the slightest trace of such forms and thoughts was visible to our
weak mind, during the four hours Lohengrin took in represent-
ation. In fact, we will speak our opinion houestly and boldly i
this psalmmatically-rccited, musically-unmusical declamation
wearied as indescribably, and yet shall we not bo allowed to con-
fess it I Such a protracted application of this principle was,
certainly, never practised by any composer since I.ully (and
most undoubtedly not in any way by Uluck) before Wagner,
and the mere putting such music to paper would have produced
a very narcotic effect on Momrt for instance. Whenever I!.
Wagner steps out of the phrases which are at everyone's
command, and only employed by him with more prudence than
by many others, and endeavours, in sonic degree, to present us
with more definite forms, we aro immediately reminded of
C M. von Weber, nay, of Mendelssohn and Spohr. In this
particular, Tannhiiuser is more original and less poor than
Lohengrin. The scene of Venus 's grotto iu the former opera is
the only composition at all comprehensive, as well as decidedly
bold and successfully carried out, which Wagner has yet been
able to produce.
3. Music is an art free as the birds of the air. It possesses
no laws, not even of acoustics, which the artist has to respect.
This principle is nuuounced " loud and clear," in 'Wagner's
scores, and ins disciples follow him in this particular with won-
derful sagacity. There are two laws of organic musical
construction which have notthcslightestexUtence for K. Wagner:
the laws of the various keys, and of harmonic combinations.
With regard to the first, somebody once observed to us, rather
wittily and appropriately, in refereuee to TaniJuimcr: "Thefoor-
and-twonty keys do not afford a good basis for the ear." Now,
let anyone, bearing this in mind, go through Lohengrin or
Tannhiiuser, and he will find it is a rare exception when
R. Wagner remains for eight, nay, only four bars, in the same
key. Thus, for instance, the Herald gargles out his short reci-
tative before the sacred court is held, in six or seven keys, and
on account of the unnatural springs taken by the harmony this
single piece might in future Iks given to every singer for the
purpose of testing his powers ; whoever could get through it
would bo availablo at all times, and for all the scores of the
Music of the Future for which we may yet hope. The notions,
however, which Wagner appears to possess of harmony aud the
succession of chords, etc., must, to judge by the results, be
actually barbarous ; at any rate, all our own auricular nerve*
revolt at them. If the reader will only turn to page of the
pianoforte edition, line 3, and realise, " loud and clear," th«
return from F to A major, or, at page 47, in the first four ban
before the light, the harmonical succession: G, B flat and A
major, then O. K, and I) major, and, at page »J3, the last few
bars— especially the fifth, and, lastly, if he will only reflect on
the horrible transition from A to B flat major at page 62, he
will, perhaps, pardon us, if despito tho celebrated name with
which our investigations aro connected, we exclaim S " This is
mere bungling, nay, it is tilth, tho most despicable violation oi
the rules of art !" and if anyone should cry out and tell us thai
we are stupid, because this music docs not please us, we appeal
to a far moro certain organ than the brain, and reply : " You
cannot possess ears, if vou aro fund of revelling in such discord."
4. " When ideas fail, 'a word is introduced a\ tho right time."
Wagner employs everlastingly the same means. If there were
no chromatics, no tretnulo of the violinB, aud no trumpets and
trombones, Wagner would bo obliged to lay down his com-
mander's staff, for we have named the principal forces with which
ho fights his battles. C major, C sharp major, D major, E flat
major, E major, serve to portray passion, affright and excitement,
and tho reader will be able to open but few pages of the score
without finding a climax of this description. In order to express
a mysterious feeliug, on the one hand, and, on the other, a
horrible, demoniacal feeling, was not Apollo gracious enough to
allow us to discover tho iremulo of the violins and basses?
What more do we want, since we possess this 1 The trumpets
and trombones, however, are Wagner's j^ts, and whenever, by
way of exception, he soars into the realms of melody, he is
fondest of employing the above instruments, especially the
latter, to support him. < >, it is something magnificent to have a
song of joy fthat shall, for instance, celebrate a marriage feast)
brayed forth by a collection of trumpets aud trombones. Who
would deny tlie result ? Wagner understands effect, we mean
clumsy, material, coarse effect, as well as anyone of his prede-
cessors. IIo frequently approaches closely to Verdi, and is
indebted for his beat things to Meyerbeer and Berlioz, from
whom ho takes his treatment of the orchestra, although in some
particulars he goes beyond them. Exactly like Meyerbesr,
Wagner is fond of letting the greatest soun<U, the "sweet"
toying of the violins and the lisping of the flutes and oboes,
sweep over tho stage after the most overwhelming outbursts of
braying noise. We first have unmeaning tumult, striving to
appear like strength that would move the world, then unmeaning
coointr, striving to represent the tenderest sensations; in one
place, untruthfulness aud ti n naturalness, and, in another, the
gradations Wagner employs " to carry away" tho spectator with
him, heaping up, in order to depict a forcible situation, tho tone-
masses from imperceptible beginnings, as it were, to colossal
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THE MUSICAL WORLD.
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proportions ; nil this is imitated pretty nearly, from the well-
known chorus of the conspirators in Meyerbeer's IliujutnoU.
Wagner surpasses in all material details his model Meyerbeer,
the coDnectiou with whom he thought he could not repudiate
more effectually than by abusing him to his utmost, but Meyer-
beer is far superior to him in intensity of specifically musical
capability ; compared to Wagner, he is an absolute Croesus.
It was lately remarked with great justice, that Wagner reverses
the natural mode of constituting the orchestra. The wind in-
struments, especially the brass ones, occupy nearly always the
first places, while the violins are generally employod in the
highest passages. Tf people choose to call this kind of music
new, the reputation of a great musical discoverer would belong to
Richard Warner, so far as he was really the first to discover all
these things, but he found them, one and all, ready to his hand,
and merely pushed them to the most extreme, most unlovely
and most inharmonic lengths.
But enough of this. We hope we have satisfactorily explained
the reason why wo cannot enlist ourselves among the admirers
of Wagner's muse. But, some one may probably object, if such
is the state of the case, to what is the success attributable ?
Let the reader turn over the history of the immediate as well as
of the more remote Past, and call to mind what triumphs, by
no means transient, it chronicles. Success certaiuly amounU to
proof, which exceeds tho authority of any mere individual,
however high-placed, but then it is only that success which can
look back hundreds, nav, thousands of years, and not the success
of ten, or twenty, which is as readilv granted to the most pre-
posterous as to the most worthy things. Besides, may not a
great portion of the present success be really set down to the
unusual nature of W agner's operatic subjects, to the enormous
scenic splendour they require, the colossal masses they sot in
motion, to the varied interest connected with Wagner personally,
as poet, composer, author, agitator, and reformer, and to the
excessively active exertions of a party, very devotod to him,
and who, by incessant announcements, keep tlie world in excite-
ment and suspense ? — all things which lie far beyond the actual
artistic productions. Mis success, like his works themselves,
certainly does prove something for Wagner ; it proves that we
have to do with no insignificant person, but with one distinguished
by varied intelligence, and endowed with energetic mental
powers, for without these, such success and such works would
be impossible. But a man may be still richer in giRs of this de-
scription and yet knock in vain for admittance at the gates
within which eternal art resides.
While endeavouring to describe R. Wagner's muse generally,
wo have characterised the music of Lohengrin, and shall add
only a few more observations. In a musical point of view, the
third act is the most successful piece of composition. Tho scene
between I/mengrin and Elsa, in the bridal chamber, contains
much that is beautiful, and, now and then, is marked by agree-
able touches of warm feeling. Wagner sometimes manages the
choruses — aud largo masses generally — in a very skilful manner,
and frequently imparts to them, even musically, a certain
antique stamp. The first chorus, for instance in the first act, at
Lohengt ill's arrival, is admirably carried out, aud surprisingly
effective, while the effect of the concluding chorus depends on
the ordinary common operatic means, and that of the nobles,
preceding the bridal procession, endeavours to produce an im-
pression by a coarse imitation of nature, and excels by a con-
strained and unnatural treatment of the voices. But Wagner
uses us worst in the second act. We hope we shall never hear
such a braying of trumpets aud trombones again tilt the Day of
Judgment, and we confess that, as often as the horrible trum-
peters, who always announce tho approach of the king, appeared
on the stage, we began to tremble in all our limbs, like children,
wheu they know there is goiug to bo a volley of musketry, or a
discharge of artillery.
The opera was received, on tho whole, favourably. Tho audi-
ence welcomed the first and third acts with tolerable warmth,
but were somewhat more indifferent about the second. A portion
of the success may be fairly attributed to the perfectly; exquisite
manner in which the opera was produced. The first place
belongs to flerr Ander and Madlle. Meyer, who sunt; *»d
played the parts of Lohengrin and Elsa with nearly ideal per-
fection. Had we not already long valued Herr Andcr as a
thinking artist, we should bo obliged to do so now, after this
admirable performance. Throughout the opera he recollected
tho part he had to represent, and never assumed a tone or in-
dulged in a look or gesture, which did not befit the "holy
knight." Madlle. Meyer has evidently thrown her whole soul
into the part of Elsa, and we blame her the less as all the
advantage falls to our share. She was rich in the most beauti-
ful and most touching points. Herr Beck (Friodrich von
Telramund) possesses in his wonderful voice such a natural gift,
that he requires to exert himself but little to captivate us.
Mad. Hermann Czillag (Ortrod), and Herr Schmid (King
Heinrich), were, on tho whole, deserving of praise, although we
should not say the latter could be entranced by the ascetic
demeanour his part imposes on him. Nor must we forg(
nrabanek, who acquitted himself with certainty of the I
ingly difficult part of tho herald. Both the chorus and I
were admirable, and the wonderful precision
the opera as a whole roflecta tho greatest credit on Herr
who, as Captlltnei*ter, directed the performance, aud Herr Eckert
Ijwtlv, scene-painters, costumiers, stage-managers, etc., honestly
contributed thoir share towards the success, and we think that
the management need not fear producing TannhUuMr next year,
for R Wagner should bo heard. To this he has a right,
C. D.
COME WHEN THE FLOWERS ARE SLEEPING.
(BALLAD FOR MCSIC.)
By Jambs Hipkiks.
KssriCTfULLY Dedicated to Hidami Wnga.
One eve ai on my couch I lay,
I heard, and twice cro'dawn of dny
The lamt tweet music came again ;
Mcthought some lored•orie• whom 1 ween
In form snd graceful m»jci ty.
By far excelling all I'd teen,
Tbui soft and iwertly sang to mo —
"When the nightingale's sweet mystic taie
la o'er night's stillness creeping.
Come then, and meet me in the rale,
When the lovely flowera are sleeping."
■ Bow beautiful in pearls of dew
The gentle spring ia smiling now,
Young leaves, and flowera of every hue,
Come laughing forth from earth* and bough i
Kach bird, each brook, each breeze now pours
Its soft tweet music through the air.
On winga of lore each insect soar*,
And seems tj fay — ' I'm free from care."
"When tho nightingale's sweet mystic lata
Is OT<r the stillness creeping.
Come then and meet me in tho vale,
When the lovely flowers are sleeping."
" Ifnsh, — hush, ractliinks they're slumbering now,
With curtains-green closed round each head,
Befresh'd by nils which sport below,
They'll wake, and sweeter fragrance shed,
And softly-sighing soathembrcizs
WUl breathe perfume o'er plant and tree,
uch treasures will thy fancy please
And all he dearly priied br ihee.
*' Now the nightingale's aweet mystic Islo
Is over the stillness creeping,
Oh ! come and meet DM in the vale,
While tho love!) flowers are sleeping."
£rsto— the Muse of lort-poctry
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THE MUSICAL WORLD.
[October 23, 1858
THEATRE ROYAL, DRURY LANE.
Management of Miss Louiia Pyne and Mr. W. Harrison.
an- 1 Friday will be re prated Flottw'a celebrated opera
MARTHA characttfa lj» Mm UhiUuPjtm.
c Muu Suaau Pyar. Mr. Grots* H-.oey,
.. Mr. Klrby, Mr. W HarrWiu Ou
iy(l0*lli. 100th, and 110th tiiuce). BihV. high!y
OaBTILLR. Mia. Loui*. Pyne, Miaa Su»*n Pyu.;,
, Mr. A St Albyn. Mr. Oeor*,- Howy, Mr. B.rtl»-
PeUy. Mr. f. Owttau Kally.
Tueadav. Thuridar. and S.Uirday ""
«ua»«aln'.D|»ra. THE P.OSE OF '
Mim M Proaoott; Mr. F. Giorer. ~. .* wmmm, —
man, aud Mr. W H.urle>u. Conductor. Mr. Allrod Mellon. To _
dcw Balel Dir.rtiMoineul LA FLEUR D' AM OCR, Mdllee.
9 at heXpaet aevoo.
ROYAL PRINCESS'S THEATRE.
Farewell Seaeon of Kr CHARLES SEAN a* Manager.
ON MONDAY and during the Week will bo presented
gbakaper.-. hUtorfcal tnuredy of KING JOHN: Kin* John by Mr C.
Kean; Cutut/tnoe by Mr. 0. Ke*n. Preceded by the farce of A WAT WITH
MRI.ANC1IOLT. On Monday, l.t, November. SlmkarW. tragedy of MACBErii
w.U ft rrrleod.
ROYAL OLYMPIC THEATRE.— On Saturday evening,
October S3, will Ik j.reern-cd H o come ly of LADIES BEWARE ! To Uo
followed by the drama of THE BED VIAL To eoueluda with A TWICE-TOLD
'i A LK.
GREAT NATIONAL STANDARD THEATRE,
BHOREDITCH. —Proprietor, Mr Joua D.a'Ql.aa».
Seeoud week of the oriulnal A.l.liibt drama of THE FLOWERS OF THE FOREST
and the celebrated actroM Mad.ime Celnte, with Mr, P. ml Bedford and
Mr*. W«[a«, Ute Mua Uarrlet Gordon. Engagement of tho Inimitable Fleamore
ami Mdllo Aunol, wlto will ap|> nr < very oveulng In an entirely new BALLET
COMIQUR On Moudiy ami. tnrloir the week by permiuion of B Wcbatar. lea
THE FLuWEKS OF TUB FOREST OyncLia, her original eh»nu:or. M*Lmie
Uleate; Tbe Kiucliin, Mr. Paul Bedford : Lemuel, lira It lloiraer ; beta.
Kn. Wetav late Miaa 11 ffordo i. To bo followed by a new balUt, enUlU-d MT
FETCH, In which Mr. Flomnoro aud Mdile. Aurlo! will appear. To eoucluie
with OUR FAMILT UENTIBT.
TO CORRESPONDENTS. ~~
Mark. — There ia a Philharmonic /Society at Gildersome. The
Korunch Philharmonic Society hat existed now for nineteen
year*. There in a Philharmonic Society at Redditch.
A UmiDRirr in Bath. — The passage it as follows: — "Musical
scienm has been cultivated rery successfully here, by professors
and amateurs. In addition to those specified by Mr. Monkland,
ice mai/ mention the tune of ' AtUd Robin Gray,' which was
composed by the Rev. If. Leeves, minister of Laura Chapel and
rector of Wrington. Of the late Henry Field, one of his eulogists
has said he ' was one of those energetic and a if ted beings lent to
the world only at the distance of ages' In the histrionic art,
Bath can mention the celebrated Mrs. Barry. Cooper Uht well-
known tragedian, and the leading professor of elocution in Lon-
don for many years), and Daniel Terry, were both natives of
Bath. The same may be said of MaUinson, whose powers of
delighting are still remembered. His song, 'Pretty Polly
Hopkins; even now resounds in our ears in going through the
streets."
J. M. (Glaagow.)— Apply to Messrs. Boosey, 28, Holies-street,
Cavendish -square. Our correspondent's suggestion has been
anticipated.
Readi.no.— IP« cannot decipher the signature of our correspon-
dent. The paper which he me
A. Q. — We are unable to give our
to give our correspondent the information ht
THE MUSICAL WORLD.
LONDON, SATURDAY, OcToaKa 23rd, 1858.
To shine above our fellows is ono of the great instincts of
our nature. Every man likes to display bis superiority—
to show how much bettor and wiser he is titan others. If
Jack slaps Tom on the shoulder in tbe way of compliment,
or blows him up for some lapse of sense or language, it is
not so much to acknowledge merit in his friend, or to find
fault with him, as to indicate how bimilnrly he would have
acted in the one case and what he would have avoided in the
other. We are nil born counsellors, and are all ready to
proffer advice at every opportunity. Each man, in his own
opinion, is pre-eminent in some respect ; if be cannot aim at
accomplishment, he knows how to appreciate; if be cannot
speculate he can practice. Self-judgment is never lowered,
self-esteem is never annihilated, self-love is ever omnipotent,
and the end is, that the majority of mankind are preachers,
sermonisers, howlers in the wilderness.
When Mr. Gladstone at the " Working Men's Concerts "
at Liverpool proclaimed in rhetorical nourishes tbe virtues of
music and its ennobling influence, and aiwstrophised the
rough artisans assembled, lauding them for their preference
for the fine arts over potations and tobacco, did not tbe
speech of the honourable and learned gentleman tacitly
imply, that his auditors were u set of ignoramuses who required
to have their feelings and sympathies explained to them,
and that he, a great and gifted man, had come to tell them all
they required i Mr. Gladstone is no musician, and knows
nothing about music ; why, therefore, should ho go to
Liverpool, and address a large audience on the subject!
Why travel so far, and put himself to so much trouble and
expense, to talk truisms and pro|>ound platitudes ? Were
not the mechanics of Ijancashire aware before Mr. Gladstone
informed them of the fact, that music was cheering and
enlivening, and that a concert, after a bard day's work, was
an agreeable relaxation J Why deliver a lecture to prove
that of which the support of tbe humbler classes for many
years had left no doubt f
Mr. Gladstone, perhaps, would have exhibited a sounder
judgment and have elicited more unqualified eulogium had
he adhered to his truisms and platitudes, instead of venturing
upon opinion, and touching, however lightly, upon the un-
safe ground of criticism. " They who consider music to be
a powerless thing," he exclaims, " who think it ranks
among the trifles of existence," etc. Who, im ask, consider
music to be a powerless thing — who rank it among the
trifles of existence 1 Not the mother when she lullabies her
baby to sleep; not the ploughman when he guides his
horses or steers as much by his whistle as his hand ; not the
soldier when he is tired in the battle by the blast of the
trumpet or the beat of the drum; not the exile when he
hears afar off the strains of his native home ; not the poor
maniac when his frenzy is soothed by plaintive airs; not the
groves when awakened by the songs of birds; not the stars
when listening to the melody of the spheres. The right
honourable Member was in the position of one who did not
know exactly what to say. Ignorant of tbe art on which
be was about to discourse, but called specially to the task,
and not liking to refuse, he was determined to make a hail-
fellow-well-met affair of the whole transaction, and, heedless
of conservative strictures or aristocratic condemnations, to
fraternise for once with tbe coal and cotton population, to
" go in" for music, as the saying is, to eulogise everything
and glorify himself How well lie accomplished his desire
everybody knows. The gathering was immense, the speech
flowery, brilliant, and to the purpose — the purpose of the
honourable member — the fraternization was complete, the
glorification perfect. Mr. Gladstone spoke like Demosthenes ;
the crowd applauded like the Athenian plebs. Where most
dust was thrown in their eyes, they shouted most ; where
the golden speaker flattered most, they clapped and pounded
hardest. A Lancashire mob is not to be out-done in civility
by a parliamentary orator. Moreover, the gratitude was
greatest ou the side of the audience. What they did not
understand, politeness compelled them to accept as compli-
mentary. The balance was consequently in their favour.
The scene was in the highest degree exciting. It was also
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THE MUSICAL WORLD.
681
instructive. Much was to be gained by speculating on the
feet, that a gentleman entirely unacquainted with the art,
was discoursing about music, and explaining to the ]>eople
what the people know and could better have explained to
him.
When next the right honourable Member for the Univer-
sity of Oxford has the temerity to stand up in the pulpit of
the musical professor, wo strongly advise him — presupttosing
the new speech to be founded on the old — to omit the fol-
lowing statement, as not having the slightest foundation in
truth :—
"I Ventura to assure you, from my own experience, that thirty year*
rtho common opinion was, that Eogliahmcn, in general, not of one
of the nation, but of all classes, were devoid of any gift by which
they could either tuem*elre» execute the music, or by which they could
appreciate it, and that the appreciation and the gifts of music were the
reserved and cxolusive inheritance of the few."
We cannot exactly make out what the learned gentleman
means by " the gift of music," but surely ho is young enough
to remember some of those who could " execute" music thirty
years ago, of whom wo need only mention the names of
Braham, Sinclair, Kitty Stephens, Mrs. Wood, Mad. Veetris,
Wilson, &c, to say nothing of a host of ballad singers, a
class of vocalists too much neglected in the present day.
No doubt music has made most rapid strides within thirty
years, but the Past must not be belied to oxalt the Present.
In his ecstatics the famous rhetorician only considered how
he might please and amuse, bequeathing the art of instructing
to thuse who knew something about the matter. He was
eminently successful.
Tite other day wo found, under our street-door, a paper
eloquently describing the talents of a certain mender of
broken-glass. The paper was ingeniously drawn up, no as to
convey one meaning, when held at such a distance, that the
largo letters wore alone legible, another, when the small
letters were, by increased proximity, rendered legible also.
Afar, tho printed discourse alluded in brief and mysterious
terms to surgery, capital punishment, and mad politicians ;
but on close inspection we found that the chirurgic art of
which profession was made was confined to tho healing of
broken utensils ; that the hanging which at first sight looked
so formidable merely referred to chandeliers, and that tho
" mad politicians'' were lugged in by head and shoulders as
possible breakers of decanters, and therefore as possible cus-
tomers of the advertising artist.
And after the perusal of this paper, we admired greatly
with what a genius must Mr. Thingummy be blessed to
heal patients whose wounds arc apparently so difficult of
cure, and then to describe his uwn proficiency in terms so
eloquent and alluring ! With these thoughts in our heads
wo went to the Olympic Theatre, that for a second time we
might witness a performance of the Red Vial
We saw and wo marvelled. Our admiration for tho
metaphorical gentleman, who vaunted his skill as a repairer
of glass and porcelain, vanished altogether. What was his
talent compared to that of the man who could mend such a
completely brokeu bottle as the Red Vial I On Monday
week we saw that unlucky vessel consigned to " immortal
smash." It shivered before our eyes, amid the denunciation
of a heartless multitude, and the mere collection of the
fragments, to say nothing of their rej unction, seemed
utterly impossible. Instinctively sympathising with the
falling party, and therefore preferring the Trojans to
the Greeks, we wished that the £<4 Vial had bow
a leathern bottle of that tough nature immortalised
in tho excellent song which Mr. W. Chappell is doubtless
about to republish. But we might wish what we pleased —
Dagou himself was not more completely smashed than the
Red Vial
But now — mirabil* diciu — the Red Vial is again an en-
tirety. The public demolished, Mr. W. S. Emdcu has repaired,
and defies the world to sec the faintest indication of a crack
or a rivet. This is something like a talent. We have not
the slightest doubt that Mr. W. & Emdon could collect all
those broken bottles that fortify suburban gardens against
fruit-stealing urchins, and convert them into fitting recipients
for port and sherry. For never was bottle so thoroughly
demolished as the Red Vial, on Monday week; never did
bottle show so little sign of a fracture as the Red Vial now.
Admirable repair! But we are not quite sure that the
article was worth repairing.
DRAMATIC INTELLIGENCE.
Princess's.— Tho revival of King John at tho theatre in Ox-
ford-street, has been the single novelty of the week. This Is
not the first time this play has been produced by Mr. Charles
Keau at the Princess's. In 1852, if we mistake not, King John
was brought out, Mr. Wigan performing the part of Falcon-
bridge, and Miss Kate Terry, Prince Arthur. It had a long
ruu, although, apart from the acting, it did not challenge any
large admiration from the public. Upon tho new revival, na
may bo imagined, a far greater amount of pains and care has
been expended. The aaiuo opportunity, however, is not afforded
in King John as in some other Sbaksperean historic dramas
for the exhibition of gorgeoua scenery, magnificent processions,
splendour of costume, and variety in the decorations. With
great judgment discarding costliness where no costliness was
needed, Mr. Charles Kean directed his attention to chro-
nological correctness, and has accomplished what he aimed
at. In no production at the I'rincess's Theatre has the
appropriateness and fidelity of tho drosses aud the fittings
been surpassed ; but the general effect is not so striking as in
Henry the VIII, and Richard the II. In the portraiture of tho
usurper, Mr. Charles Kean has betokened his usual skill and
discrimination ; but tho part of King John is not congenial to
his rapid impulses and varying emotions. In two scenes the
actor is eminently fine— tho scene with Hubert, and the death.
Mrs. Charles Kean only requires a little more power to render
her Constance irreproachable. Mr. Walter Lacy wants a dash
of chivalry in his bearing, and more refinement in his
manners, to become the beau idial of the gallant Falconbridge ;
while the Hubert of Mr. Ryder is, in mauy respects, the most
striking character in which wo have seen that gentleman.
Commencement or the Jullien Era. — There is at least one
man who can anticipate the tendencies of the ago. While the
other powers of Europe are engaged in preparing their bands
foe the fearful work of discord, oue man has organised his band,
unlike tho armies which we noticed last week, literally and
directly to promote the great work of concord. M. Jullien is in
evory sense a great man ; he can do nothing except upon a large
scale, and what he undertakes he does well. His popular con-
certs, which ware so critical a problem before they were per-
formed, became an obvious truth as soon as ho had made the
public practically acquainted with his idea. No man has done
more to familiarise this metropolis and its least artistic classes
with the heartfelt truths of music. Liko all rhythmical
geniuses, he is fond of finishing off with round numbers :
M. Jullien finds that his next series of concerts will bo his
twentieth ; it will be his " last," — not, wo trust, in this life, or in
this country, but his last, " before his departure for his universal
musical tour." He calls the series his Concerts d'Adteu, and ho
will bo a whole month nightly taking leave of the United King-
dom in this its capital. We all know the soul and energy which
he wiU throw into that reiterated farewril.-,%ftf*or.
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THE MUSICAL WORLD.
[October 23, 1858.
The Late Mr. Thomas Adams, who for io many years held
appointments at St. (it-orgc's Church, Camberwell, nnd St.
Duustan's-in-the-West, died on the 18th nit., at his residence at
Addington-place, after a short illness, at the age of seventy-
three. Mr. Adams was born in 1785, and received musical in-
struction at the hands of Dr. BuBby. He was successively
organist of Carlisle Chapel, Kcnnington, St. Paul's, Deptford,
St. George's, and St Dutistau's. The two latter situations he
retained to the time of his decease, and, with powers of extem-
pore facility, unimpaired by age. In his uso of the organ, Mr.
Adams seems to have regarded it chiefly as a means of display-
ing his own peculiar style of composition and powers of execu-
tion. His published compositions are not very numerous. The
most important are. perhaps, "Six Organ Pieces," (N'ovello) j
original fugues; and fugues on subjects by great masters (seo
Novello's select organ pieces); miscellaneous pieces for the
organ and pianoforte, including, amongst other things, a "Col-
lection of Ninety Interludes," or short pieces, to be played
between the verses of the metrical Psalms in public worship.—
South London Journal.
Professor Wiijai.ha Fiukeu..— Professor Wiljalba Frikell,
who is not inaptly called "the magician of the nineteenth cen-
tury," was born at Scopio in Finland, in tho year 181 BL For
three years he studied at the nigh School at Munich, and in
1840 made tho grand tour of Oermany and Hungary. He then
visited the principalities of Moldavia and Wallnohia, Turkey,
Greece, Ttaly, Egypt, India, the Peninsula, Sweden, Denmark,
and Russia.* Kvcrywhoro his extraordinary performances ob-
tained for him the admiration anil patronago of royalty. His
original idea of performing his tricks without the aid of appa-
ratus, opened a new field, and attracted the wonder of all who
had been accustomed to the usual glitter surrounding a pro-
fessed conjuror, nc has been decorated and rewarded by most
of the sovereigns of Europe and Asia. The King of Denmark
bestowed on him tho Dauobruck Order for Civil Merit. From
Mehemot Ali (Viceroy of Egypt) he received a gold medal and
other presents. The Emperor of Russia presented him with two
diamond rings, aud tho Empress appointed him her professor
and phyticien in ordinary. The ''decorative school of con-
juring" had been so long in the ascendant, that it was a hazardous
experiment to overthrow the system, and come before the public
in "plain clothes." Professor Frikell, however, was the "right
man in the right place," and his undertaking has been crowned
■with success. Auother peculiarity of Herr Frikell's performance
is that ho tells beforehand what the results of his operations
will be, and thusoxposes himself to tho severest test, by putting
his audience on the right track to find out the way in which he
deceives them ; but sharp as the eyes of the audience may be,
Herr Frikell is always too quick for them. One great attrac-
tion of Herr Frikell is his quiet and gentlemanly manner ; at
the same time he is full of fun, and tho observations ho makes
during the performance of his tricks frequently excite roars of
laughter. Professor Frikell has given upwards of three hun-
dred performances in London, aud his tiance» have been attended
by a targe number of the aristocratic and noble families of Eng-
land, and, to crown all, he had the honour to receive tho royal
command to give his " Two Hours of Illusions" at Wintlsor
Castle, before Her Majesty, His Royal Highness the Prince
Consort, the Prince of Wales, the Princess Royal (now the
Princess Frederick William of Prussia), anil all the other mem-
bers of the royal family. A little book, which may be obtained
for sixpence, entitled FrihiCt Lt.iuont in Mcfjir, should be
purchased by all lovers of legerdemain."— Pictorial Timet.
EoTPTiAJf Ham.. — Mr. and Mrs. Howard Paul have succeeded
in establishing their Pntchvorl in public favour, and night after
night finds the elegant salle filled to overflowing. Among the
new characters that hit tho popular taste wo may mention Miss
Am elia Gushington, a sentimental creature who adores moon-
light and Byron. Her pretty song (by Herr Wallerstein) is
given with the perfection of archness and etpitqltrie, Mr.
Howard Panl's "Miss Prv," a whimsical compound of Mrs. Par-
1 made less thau a century ago. Mrs. Howard Paul introduced
au imitation of Mr. Sims Reeves in Balfes « Come into the
garden, Maud," tho voice, manner, aud appearance of the great
English tenor being counterfeited to admiration.
Richmond.— Mr. and Mrs. German Rccd gave their well-
known entertainment of Popular Illustrations in the large room
of the Castle Hotel, on Thursday evening, before a most brilliant
and enthusiastic audience. The celebrated artists were greatly
applauded throughout their performance, and no doubt will be
induced, by tho success of this visit, soon to favour the Rich-
niondites with another.
Quasi. HiRD Snow at tITE Crybtai. Palace.— Great prepar*tioa«
are being made to giro lilting eclai t.> the forthcoming Show of Can*,
ric* and othi r choice British ond foreign bird* in November. The
director* of the Cry«tal Palace ore resolved, that the lofOfl of natural
history, and the keeper* of birds in cages, shall have an unexampled
treat. This ha* induced them t-> ihrow open the shotr to unlimited
competition, wiiiL-h will of necessity bring together not onlj an immense
mimhcr and a Tint variety of beautiful living specimen", but will gratify
a tusto for natural pursuit', which wo rejoice to sco i« greatly on the
increase. No exhibition <m *o grand a »c*l« ba* ever before beat
attempted. The public will be pleased to hear, that the tropical depsrt-
ha* been set aside for tho purpose. Here
old-maidiam," is highly amusing, and
Where does Mr. Paul get the dresses
nation I They could not have been
tticiit of the Crystal Palneo
the bird", and "other tame animal*, will be broui
and Mr. William Kidd, whose *emec» hare been »eeured for the OSBS-
*ioD. will daily deliver an interesting and familiar lecture on the Philo-
sophy of Bird-Keeping, Bird-Breeding, Uird-'Iamiug, Ac. Tho adtin-
tales' of an exhibition like this cannot be too much dwelt upon. Father*,
mother*, teachers, student*, childreu — all are alike interested in it. As
for the exhibitors, they hardly need be told that tho show being under
tho authority of the director*, the most perfect good faith will be kept
with every iudividual. When we add that the management of the
whole turn been cntrustod to Mr. William Houghton, tlio gentleman
who has so ably conducted the various poultry shows ut the Orsstal
Palac, nothing* remains to be sjiid in praise of this national exhibition
of choice bin)*. The entries close on tho 23rd of this month.—
The Coltnje Oardtntr.
Southampton.— Mr. Alexander Rowland gave a concert at the
Victoria Rooms, on Thursday tho Tth iusiant, assisted by the
members of bis glee class, aud Messrs. H. Lazarus (clarionet),
George Collins (violoncello), and William Watson (violin). The
success of his last concert, three months ago, the selection of
music offered in the programme, and the names of <hc profes-
sional gentlemen assisting, attracted a large and fashionable
audience. The concert opened with Spohr's string qnartet in
O minor, by Messrs. Watson, Bauer (an amateur who acquitted
himself with great credit), Rowland, aud Collins. This fine
quartet was played with great delicacy, aud was highly ap-
plauded, particularly the slow movement, which is so impressive
and poetical. The next instrumental performance was a Rawinet
of Mr. H. Lazarus for clarionet, with pianoforte accompaniment
by its author. Mr. Lazarus has obtained a degree of perfection
on the clarionet almost unequalled, ;ind his performance vs.'
beyond criticism. He played a solo, introduction, aud polonaise,
in tho second part, which entirely carried away the audience,
who demanded an encore, in lieu of which he played a Swiss
melody, with variations, introducing a well-known Scotch air,
which equally delighted the listeners. Mr. Rowland's Htttvm
for piano and violoncello, played (we believe for the second time
in public) by Mr. Alexander' Rowland and Mr. George Collins,
afforded evident pleasure. Mr. William Watson played two
solos on tho violin. Tho "Airs Styriens," in tho second piece,
was much applauded. Tho SoUHIMt tie ft, Pttttlbomry, solo for
the violoncello, was played by Mr. George Collins. The pizzi-
cato variation was wonderful, and a staccato passage all in har-
monics sounded as from a violiu only. This was encored, and the
second time Mr. Collins played other variations. Mr. Alexander
Rowland played tho whole of the accompaniments on the piano
with his usual power aud ability. The gem of the concert was
Mozart's trio for pianoforte, clarionet, aud violoncello, by Messrs.
How land, Lizarus, and Collins, which opened the second part d"
the concert. Each instrumental performance was alternated br
a glee, by Mr. Rowland's Glee Choir. We have to congratulate
" on the progress his class has made since the Last
Digitized by Google
October 23, 1858.]
THE MUSICAL WORLD.
683
TONIC SOI^FA ASSOCIATION.
Ox Wednesday a toirie and conference- of persons interested
in the promotion of vocal music in schools, home*, and congre-
gations was held in the theatre of the Alderagate Institution,
convened by the Tonic Soi-fa Association, and consisting of a
numerous assembly of the teachers and friends of vocal educa-
tion; the object of the conveners of the meeting being to obtain
a full representation of all the different educational parties, aud
of the friends of various singing systems. Amongst those
present (including a .large number of ladies) were— Mr. E,
W. TTickson, Mr. Crampton,Mr. J. T. Tilleard, Mr. CS. W. Martin
Messrs. Sugdon and West, Westminster Training College ; Mr
Murby, Normal College, Boronph-rond ; Mr. J. Kntwisle, Royal
Schools, St. Ann's Society ; Mr. Reynolds, Home and Colonial
School Society ; Mr. Dnnning, Mr. E. C. I>aintree, Highbury
College; Mr. Curtis, Normal College, Borongh-road ; Mr. Lang-
ler, Westminster Training College ; Mr. Drew, Homerton Col-
lego ; Mr. Runtz, of the Birkbeck Schools ; Mr. Ooodchild,
Educational Institute-, Stock well ; Mr. Marshall, Coborno,
Endowed Schools, Bow ; and the Rev. John Curwen, the
principal promoter of the movoment, which it is stated now
numbers throughout England some OttyKK) pupils under clemcn-
Hlckson took the chair, and explained at some length the
e and progress of the methods and principle* advocated by
the Tonic Sol-fa Association, inviting at the samo time state-
ments from the advocates of other systems in relation to other
methods. The chairman proceeded to narrate tho origin and
progress of the movement dnring the last two-and-twenty years,
untd at length Government had patronised a popular system of
vocalisation and music as a branch of national education. No
doubt diversities of opinion prevailed as to the best system to
be adopted ; but he would urgo on Government, and on all gene-
rally, to be actuated by a spirit of catholicity in the matter, ami
so arrive at harmonious resultsi (Cheers.)
Messrs. White (Spitalfields school*}, Sarsous (Bine Coat
schools) Frampton, Daintreo (Highbury), Roberta, Drew,
Millard, Graham, Young, and other gentlemen, addressed
the meeting at considerable length on the specialties con-
nected with the Tonic Sol-fa, and Tedrachordal, and other
systems of singing, and resolutions were passed to the effect
that in the opinion of tho conference vocal music, when
truly adapted to the capacity aud natural tastes of childhood,
was admirably fitted to promote the healthy development
of the organs of the voice and the attainment of a correct
pronunciation, and that it supplied a means of brief recreation
in the course of the school studies of tho greatest importance
for relieving the attention and elevating the feelings. That the
principal and most important advantage of singing in schools
must arise from its power of cultivating right emotion in con-
nection with moral and religious subjects, the charms of good
poetry combining with those of good music to fix just senti-
ments on the memory, and devclope true sympathies ; and, con-
sequently, great care should be token tfiat the songs used iu
schools should bo thoroughly adapted, on the ouo hand, to the
simple, joyous character of childhood, and) on the other to the
elevation of tho moral feeling. That, whatever other musical
attainments might be required from young teachers leaving our
training schools, the principal requirement Bhould always be the
indisponsablo knowledge, without a l>ook. of a small selection
of school songs, the capacity of singing them correctly
and expressively, and tho power of teaching theiu by
whatsoever method the teacher liked best. These primary
qualifications the conforouco considered to be far more Important
than the most correct mastery of musical notation, of the science
of harmony, or even the mere methods of teaching to sing could
possibly be without them, it being, moreover, important that all
students of normal institutions, who leave such institutions,
should be able to sing at sight, and teach others to do so.
The resolutions were passed with much applause.
Mr. Martin, who conducted the great concert of school child-
ren recently given at the Crystal Palace, protested (amid ap-
plause) against any preference being given to the tonic sol-fa
system over any other. It was a mistake to suppose that the
tonic sol-fa system was easier or simpler than any other. Its
advocates aimed at teaching songs too much by ear (No, no), and
after learning it its pupils must come eventually to adopt tho
ordiuary musical notation. (Hear, hear, and No, no.) Having ex-
plained this in a long professional exposition,
Mr. Tilleard rose to propose, as a concluding resolution,
that all methods that aimed at usefulness iu schools should
bo scientifically truthful and progressive, introducing new
topiea in such a manner as to sustain a freshness of interest, and
enabling the teacher to take one truth at a time, and to assist
his pupils in discovering it. Tho lessons and exercises should
bo in themselves attractive aud easy to teach, making small
demands upon either the physical powers of tho teacher or tho
invaluable time of the schools.
Several gentlemen here rose to contend that as this proposition
comprehended the whole cardinal point of tho important ques-
tion which it was incumbent on the conference to decide on
categorically, and the other canons of melody to be adopted
having been approved of rum. con., it was proposed, and ap-
proved of, that the meeting should be adjourned to that day
fortnight for a special discussion on the disputatious points in-
volved in the resolution, and connected with the conclusions
to be come to by all interested in the results of thin vocal
controversy.
During the evening a baud of children sang a few school songs
to the audience in illustration of tho peculiar merits of the tonic
sol-fa system.
MoKMOUTB — (From a ComupoiuUnt). — Mm Waugh's annual con-
certs (morning and evening) took place on tho Uth inst. at the Borough
Court, which were, attended by fashionable and full audiences. Mi**
Waugh on tins occasion engaged tho services of the Misses MeAIpine,
from London) also Mis* Moss, as vocalists. Mr. (i. F. Davis sod
Captain Carter and Miss Waugli were the instrumentalists. The
Misses MeAIpine sang several solos and duets, in all of which they were
loudly applauded') several pieces were redemanded, hot as the pro-
gramme contained no less than tweuty-tliree pieces, they modestly
declined the honour paid them ; but resistance was vain in tho ease of
Balfe'a pretty duet, " Trust her not," which tho audience unanimously
insisted on being repeated. The duet from Martha, " Qaesto duol
cite si," was very charmingly sung, and redemanded, but was not re-
peated, the Misses MeAIpine merely returning to the orchestra and
bowing their acknowledgments for the compliment paid them. Miss
Moss sang nil her songs in a highly creditable manner, and was deservedly
encored in the quaint song of " Katey's Letter." She likewise sang
" Tho Skylark," by Benedict. Mis* Waugh in all her solos on the
pianoforte proved herself perfect mi*tre«» of the instrument over whieh
sho presided, and although young is greatly improved since last year,
ami » ith perseverance will clan* among our cleverest pianists. Capt.
C.srter played two soliM on the flute, and Mr. Davis two solos on the
harp, and the concert seemed to give great satisfaction to all present.
Nobthauitox — (From ft Cmretpondenl). — The Choral Society gave
a Grand Festival Concert on the 14th inst., whieh was attended by a
large audience, including the nobility and gentry of the county. It was
also honoured with the presence of the Earl of Westmorland and Lord
Burghonh, the former being President of the Society. Tho noble peer
is well known as a liberal patron of mure and on this occasion hi«
Lordship generously provided a complete orchestra from London, to
angment tho local baud, which is destitute of wind instrument*. Ac.
The Society, therefore, have reason to bs grateful for this proof of
Lord Westmorland's seal for its welfare, and the occasion excited great
iuterett at Northampton. Tho concert consisted of the Matt com-
posed by hi* lordship, and a select ion from Eli. Tho principal vocalists
were Mrs. Clara Uepwortb. Mr*. Winn, Miss Whjte, Miss Fosbrook,
Mr. Montem Smith, and Mr. Winn. The principal instrumental per-
formers were M. Sainton (leader), Me*»r». Packer, Isaacs, Amor, Folkea,
Curcton (violins), R. Blegrovc (viola), Aylwnrd and Petlit (violoncelli),
Blakestun and Corley (bassi), Bunting (flute), Ilortou (obo.-), Berg-
raunn (clarinet), C. Harper and Slanden (comi), Waetiig and Chi*,
holm (fagotti), and T. Harper (trumpet), beside* several others. Mr.
McKorliell was the onductor, and his pupil, Mr. Woodward, presided
at the fine Gorman organ, built liy Schnlgp, which, besides its prodi-
gious tone, possesses the rare excellence of svrise well with an orohe*-
tra. The concert afforded great satisfaction, and r "
on the society and it* i
Digitized by Goo
684
THE MUSICAL WORLD.
[October 23, 1858.
So tTHAlflTOX PoLTTCCIINIC InbTTTCTIOX. — On Tuesday even-
ing, the members and friends of the Institution enjoyed a musical
treat of the most finished character, and one of the beat of its
class that has been given in Southampton for a very long time.
The performers wore Miss Julia Bleadeu, Mr. Henry Nicholson
and Mr. Alfred Nicholson, and the ontertainment was entitled
Operatic Slttcfiei. Miss Blcaden, who possesses a graceful deli-
very, and a sweet voice, gave a sketch of the state of the Opora,
both Italian and English, in this country at different times, in
the course of which her illustrations, selected from the works of
most of the great masters, were snug with much taste and
feeling, and elicited loud applause from an audience so closely
packed, that the room was crowded to the very entiauce-doors
Her anecdotes of the Opera, too, were prettily related, and well
selected for the illustration of her subject. The Messrs. Nichol-
son ou the flute, oboe, and pianoforte, ably assisted Miss Bleadon
and gave the utmost satisfaction. — ffamps/iire Independent. '
HruuKOsriELD. — On Sunday, 10th October, Mr. James Baity*
a man very highly respected bv all classes of his fellow towns?
men, especially those engaged iu the musical profession, was
taken from amongst us, after only a very short illness. For
thirty years Mr. Battyo has held the office of clerk of our
parish church, the duties of which he has discharged with
great credit and efficiency. Mr. Battye was well known to
musicians throughout the whole of Yorkshire, having success-
fully competed for several musical distinctions. His anthems
and glees gave evidence that their author was a man who
understood and felt what ho wrote, and in his character as
conductor of the Choral Society's concerts he gained the esteem
of all persons. Blia remains were interred in a vault at the
parish church on Thursday morning, being followed by a large
number of musical friends and iprivate residents. On the death
of Mr. Horn, organist of St. Paul's, Mr. Rattye wrote a chant
to be sung on the occasion, and on Thursday last the same chant
was sung over his own mortal reinaius.— Leed* Intelligencer.
KoTTreaam.— The workmen employed in tbe excavation* near
Nottingham, July 2nd, aeeidoiitally found what ia auppo»ed to be •
eanoua muaical matruoient of tbe Saxon period, resembling petrified
atone ; two united tubes 4, inchea long, 1} inchea diameter, the left
having three aperturea or conical shaped holes, the right two also
and one underneath, diaeorered in the esrea of SnuTcnzaham tbe
Saxon word meaning the horns of caverns.
t is at Paris. The representation of his new work
at the Opcra-Comique, whether it will take place during the
present or bo deferred till the ensuing seaaou, will depend on
his return from Nice, whither he is gone to recruit his energies.
Milan. A letter dated the 9th, relates the following;-" Two
years ago a young and rich Sicilian fell in love with one of the
suiters l'Vmi the uw l-Un.i. „„.i j i. _ i .. ■
sisters Ferui the well-known violinists, and one day asked their
father whether he would givo his daughter to a younir man pos-
sessing an income of 20,000 fr. a-year. Ferui replied he would
so with pleasure, provided the suitor obtained her consent. The
young man went away without saying anything further; but a
short time ago Ferni received a letter from him, asking him
whether he was still of the same mind. This letter remained
unanswered. Ferni repaired to Milan with his two daughters
to give concerts at La Scala | but they had not long been there
when the bicilian called upon them at the Hotel doll* Bella I
Venesia, and repeated his suit. Madlle. Virginia, who was the
object of his passion, told him frankly that she was resolved not 1
to marry. 'Is that your fixed resolution!' asked the Sicilian
It is, replied the young lady ; on which the Sicilian rose, cast three
letters into Virginia's lap, and then stabbed himself with a
poniard. The consternation of the Ferui family may be imagined •
surgical aid was instantly procured, but there are no hopes of
saving the young man's life. One of the letters above-mentioned
was addressed to the police ot Milan, informing it of his intention
to commit suicide, in order to prevent any suspicion of murder t
tbe second contained his will, leaving half his fortune to Virvinia,
d'b.°?th«rh,lf to onc of the Public institutions of Naples
the third letter was addressed to his mother, announcing that ho
• live without her he loved. This sad event has
FIRST PERFORMANCE IN HAMBURGH OF
BACH'S " PASSIONS-MUSI K " ACCORDING TO
ST. MATTHEW.
At the commencement of last June, a number of musicians
and amateurs assembled, at the invitation of Her r Ave-Lalleuieut
and Herr Graedeuer, to make arrangements for producing,
during the sitting of Convocation in September, Johann
Sebastian Bach's grand Pauion, according to .St. Matthew, to a
Hamburgh audience for the first time. Only persons acquainted
with Hamburgh can conceive how difficult a task it wan to give
* performance of Bach's great creation, especially at the period
just named, ou account of the number of families in the
country, of the horse-races, boating clubs, the absence of tbe
vocal associations, etc. Such were the usual obstacles
in such a case. In that of Hamburgh more especially,
we have to take into account the small acquaintance of
the inhabitants with Bach's works, and, consequently, the
small amount of reverence entertained by them for hi*
name; the dislike felt by many persons for the Convoca-
tion ; the departure of the troops, taking with them some
excellent instrumentalists to the camp at Nordsteninien ; aud,
lastly, business, always business, the Exchange, always the
Exchange! But still there was a starting-point for the under-
taking; the Bach-Verein, founded, in 1835, by Herr von Rod*.
Incredible but true 1 This very association, which had set
itself the task of rendering the public acquainted with Bach's
music — this very association held aloof, from the outset, and
refused to take any part in the proceedings ! It based its
refusal on reasons which it summed up, in an official notice
issued by its own committee, in the two following sen-
tences : " 1. The work is too 'great' — according to the
experience we have gained — to be studied and ' worthily "
performed in the short apace of three months ; and, i. The
Hamburgh Bach Society cannot, as a corporation, co-ordinate
with any other association, in a performance of any of Bach'*
music." But all this, and a groat deal more, dii not deter hina.
who hail undertaken the trouble of getting np and directing the
work. With every rehearsal there was an increase in the
number, and (for how could it be otherwise t) in the enthusiasm
of those who collected to execute tho grand production. Madlle.
Jenny Meyer, Herr Sabbath, of Berlin, ana Herr Schneider, of
Frank furt-on-the-Maino, most readily promised their co-ope rati jn
as solo singers, aud when, on the 10th of September, the first of
the four rehearsals with full band took place, lo nnd behold !
the stage erected in the Catharinen-Kirche for more than 200
vocalists, and about 70 instrumentalists, was scarcely capable of
accommodating those present. We may be allowed to add, in a
few words: In the whole double chorus of singers and instru-
mentalists, there was not a single person who was not thoroughly
penetrated with the lofty seriousness, and the elevated dignity of
tho four choruses, with the religious inspiration of the choral,
and with the
not strive, heart ami soul, to reprodt
himself. In all the audience, which filled every nook and
of the imposing church, there was uot a single individual who
did not listen with eager attention, for three full hours, to the
tender or mighty strains ; and who did not leave the church
completely satisfied, and with the consciousness that something
'•great" had passed before his soul What shall wo say about
Solo singers 1 All three (who are so well-known that they do not
require any lengthened eulogium) performed their difficult task
with dignity, piety and inspiration, but we may boldly add
that, without such au Evangelist as Herr Carl Schneider
(formerly of Leipsic, but now engaged at Berlin), or at
any rate, without anyone approaching him in recitation,
understanding, and feeling, the execution of the work is
almost an impossibility. The festival was consecrated musi-
cally by tho presence of the artist who had undertaken the
incalculably difficult task of reducing tho score, by unwearied
collating, to the form iu which it is at present published by the
German Bach-Verein— we mean Herr Kictz of Leipsic, to whose
complaisance and readiness to give advice, moreover, the
directors and committee have owned themselves deeply indebted.
May the work be soon again be performed in the same place
an y the same executants!
uses, with the religious inspiration of the chorales,
fanatical fury of the Jewish choruses, and who did
art and soul, to reproduce the impression made on
October 23, 1858.]
THE MUSICAL WORLD.
685
THE THIRD " MITTELRHEINISCHES" MUSICAL
FESTIVAL,
Ik our 20th number, bearing the date of July 15, 1857, we
gave an account of the foundation of a muaical association by the
Middle- Rhenish towns of Darmstadt, Mannheim, Mayence, and
Wiesbaden, and described the second musical festival given by
the association, in Mannheim.
The place selected this year was Wiesbaden, a» d the days
chosen for the musical solemnity, properly so speaking, were the
2fith and 27th September. The town itself; its environs, the splen-
dour of the C»r-An*alt, the ducal court— *U these are so many
powerful attractions for strangers, that a musical festival in the
midst of soch anumberof sources of amusement isalinost too much
of a good thing.espeeiallyif werecollect thatWiesbaden.likeall the
watering places on the Rhine, overflows in summer with virtuosi;
who — celebrated or not celebrated— try to make a harvest, and,
if they do not precisely ruin the taste of the public, divert it
from that quiet attention and earnest love of what is highest in
art, with which the classic works of the great masters ought to
be heard.
What might have boon predicted with tolerable certainty,
really happened. From Saturday the 25th, to Wednesday the
2flth September, the town was visited by numerous strangers,
especially from the surrounding districts. Thousands were
brought, in endless lines of carriages by the Maycnce railway and
others, and triple extra trains were not sufficient to take the
multitude back again at night. The town presented a festive
appearance such as we scarcely ever saw at a musical festival.
The building (of wood) erected for the performances was of
majest ic proportions, and richly, nay, almost too richly, decked
out with flags, garlands, and flowers ; while a gay and motley
1 of persons, of all classes, swayed to and fro in the streets
srdens, the grand procession by which the singers and
ana of the associated towns were welcomed on their arrival
atnrday, and conducted with songs, music, and waving
era, all the ladies being seated in elegant carriages, to the
temporary hall, was magnificent The interior of the Curhaw,
as well as the colonnades and springs outside, was very beautifully
illuminated. But, on the very first day or the festival, which
was, moreover, » Sunday, the hall was not quite full, though
their Highnesses the Duke and Duchess, attended by their suite,
hononred the concert with their presence, and though Haydn's
Creation is certainly one of the most popular oratorios. At the
second concert, on the 27th September, scarcely half the num-
bered places were occupied, and even the places at the back of
the hall exhibited many vacancies. The ball, however, on Mon-
day evening, was crowded to suffocation, and all the rooms of
the Ourkatu filled with persons pushing about and being pushed.
On the third day, too, when there was no concert, nut only
festivities on the Nero berg, and fireworks in the evening, it is
said that there were from twenty to twenty-five thousand
persons present. The town was evidently fuller on this day
than on any other. The following is a list of the vocalists: —
id garde
usicians .
So-
I'TTUKW.
A'.toa
Tenors.
Ruses.
Totllof
the
Verrin.
Omitl
Total.
1. Dabjmtadt:
a. Muiik-Verein ...
25
16
13
14
67
b. Mosart-Verein ...
17
27
44
c. HarmoniioberSan-
I
gerknmx ...
13
10
23
134
2. MaTIKCS:
a. Damentesang-Ve-
»
rein
36
28
64
4. Liedertafel
83
68
01
166
3. MtKXRIlll:
MuMk-Verein
34
13
11
18
74
71
pSSav-Ytnia ...
66
34
46
68
203
203
160
90
133
193
566
66C
According to this, the chorus contained about 100 members
less than that at Mannheim, last year, but there was no defi-
ciency of fresh, good voices. The sopranos and altos were
powerful and clear, only the higher passages were not quite cor-
rectly intonated once or twice by the former. Knowing that
several Litdtrtafeln would be present, we expected to find the
male choruses stronger ; the tenors were well represented, but
we could have desired more sonorousness from the 179 basses —
which, at any rate, was the number given in the index of the
book of the Oratorio.
The orchestra consisted of fifty-three violins (at whose head
were Herr Kaldenecker, Concert-meitter, of Wiesbadeu, and
Herr Becker, of Mannheim), sixteen viols, eighteen violoncellos,
sixteen double-basses, a double set of wind instrumentalists,
seven horns, four trumpets, five trombones, one bass-tuba, and
kettle-drums. The regular orchestras of the Wiesbaden, Darm-
stadt, and Mannheim Theatres, and the members of the town
band of Maycnce, formed a very excellent body, in which most
of the wind-instrumentalists distinguished themselves by their
tone, and tho excellent execution of their solos. On the other
hand, we cannot conceal the fact that there were some instances
of neglect arising from inattention or indifference, and that, de-
spite all the technical excellence, wo frequently missed dash and
spirit in the execution — qualities which cannot be supplied by
rapidity and technical skill. As instances of carelessness, we
will mention only the prematureness of the clarinets in the
second part of tho finale of Schubert's Symphony, the absence
of the flute solo for fall five bars in the E flat major trio (in the
final chorus of the second part) of the Creation, which, as the
whole of the passages for two voices, J'oco adagio, up to the
entrance of Raphael, are accompanied only by wind-instruments,
was perfectly incomprehensible, unless the flute had gone out for
a walk. We cannot, generally, blame the orcnestra for
neglecting to pay attention to the conductor during the perform-
ance of the symphony, for, on account of the indescribably fast
tempo at which it was taken, the only thing possible was to dis-
tinguish coarsely the fortissimo from the ;>wno. Anything liko
delicacy of expression was quite out of tho question.
It could not escape the notice of anyone present, that Haydn's
Creation produced no very deep impression on the first day of
the Festival. But an explanation of this indisputable fact was
sought where it should not be sought For instance, it was
said: "The. chorus are taken too little into consideration."
" The character of the oratorio is not suited for masses," and
so on. Really, after the miserable performances of the Creation,
by large masses, performances which, ever since its first pro-
duction, have taken place all over Europe, and always been
successful, such an assertion is strange. " And there was light !"
not calculated for masses ! And the eleven grand choruses,
also, not calculated for masses 1 Instead of such excuses for a
failure, let us at once, with the disciples of the school of the
Music of the Future, declare the Creation fubbish of the old
perriwig style, and then we shall, at least, know what we are
about
The fact is that many of the choruses wanted spirit and dash,
and that the fine collective force under the command of the con-
ductor could not be heard to advantage on account of his strange
mistakes in the tempo. Herr Yincenz Lachner exaggerated the
time of most of the choruses and solos, in a manner which
agreed neither with tradition, although this has been handed
down to us pretty accurately, in the case of Haydn's two
oratorios; with the words and music; nor with the 'directions
of the composer. Not only did he take " rather quickly " — for
he did this without exception — but he completely disfigured, by
his hurried tempo, in tne first part, the chorus in A major,
moderato, the aria with chorus in C major, the con-
ehnrns. "T"
eluding chorus, "The Heavens declare," which at length dege-
nerated into a more and more exaggerated presto ; in the second
part, the soprano air, inscribed moderato, the chorus with trio,
" Derr Herr ist gross," with the bravura passages for the solo
parts, the bass aria in D major {Maestoso /), ana, as the n« plus
ultra of all, the E flat major duet, " Holde Gattin,' in the third
part
What might have been done by the forces at his disposal was
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THE MUSICAL WORLD.
[October 23, 1858.
shown by the few choruses, especially the final chorus of the
whole work; which were Bang in bolter time than those already
mentioned.
Wo most not, however, forget the fact that, for the perfect
success of tho Creadon, the execution of the solo parts is of more
importance than in many other oratorios. But, apart from the
incorrect tempo, of which we have previously spoken, in some of
them, and which was partly attributable to UM solo singers thera-
solve— Madlle. Lehnumun sometimes harried on perceptibly in
her airs— of tho three solo singera,Mndlle.< 'arolinc Lehnmann and
Herr Lipp.fromthe WieabadeuThoatre.and Herr Karl Schneider,
from the Frankfort Theatre, and now at the Royal Opera-house,
Berlin, only the latter was satisfactory as an oratorio singer. His
air in C major, " Mit Wtlrd' und Hoheit angethan," given in the
right time, with a fine voice and expressive manner, which an-
nounced a true nrtist, wan the only solo piece which merited and
met with applause. The audienco, at least tho Wiesbaden portion
of it, received Madlle. Lehnruann in a very friendly manner, but
•he was not equal to the expectations we must form of the singer
of the soprano part in the Creation, even if we had not h.ard
Jenny Lind, who, it is true, will not soon be equalled by anyone
in this music. Her voice is full and agreeable in the middle
notes, but at the two-lined F, it begins to bo sharp, and, indeed,
displeasing, while, for oratorios, she is deficient in musical educa-
tion, artistic expression, taste, and warmth. Bravura passages
and shakes will not stand artistic criticism. Perhaps our judg-
ment may seem somewhat severe, and we will confess that it
partly arises from the disappointment wo experienced, caused by
exaggerated praise. It is possible that, in the theatre, where the
public has become accustomed to overlook so much, Madlle.
Lehnmann may produce a favourable impression. Herr Lipp,
bauo, possesses a flexible voice, but it is deficient in nobleness of
chnracter. We believe, however, that careful study may gradually
cover this defect, especially if it produces more light and shade,
more expression and warmth in his style.
From what we have said, the reader will perevive that, if the
Creation did not, on this occasion, produce the enthusiasm it
usually excites among the public, this was, in no way, the fault
of the magnificent work itself, but of the manner in which it was
executed.
(To be concluded is our ntjet.)
CONGRKOATIONAL SINGING,
(From the Ckrulia* Examiner.)
The scriptural idea of public worship i« that the public- are the
worshipper*. The choir in Solomon's temple, though larger than the
largest modem congregation, did not monopolise, but onlv led, the
service. All Israel assembled must lift up the chant responsive as the
noise of many waters.
Throughout the iiible, commands to sing praiso are addressed, not
to tho select few, but to the many. " Let sll the people praise thee, O
God, let all the po#plo praiso thee." " Kings of tho earth, and all
people; princes and all judges of tho earth j holh young men and
maidens, old men and children ; let them praise the name of the
•Urd."
Yet though this is plainly tho true scriptural idea of public worship,
and though many laudable efforts bare been mado to realise it, the re-
sults thus far have been far from encouraging. Except in Germany,
congregational singing hardly e\i*ts, save in name. Pubiio worship is
merely nominal. Nay, too often in onr churches it may with truth bo
said, tho worship stops when the musical performance begins.
To bring on a true performance by the people of the people's work,
to make it general, hearty, good and enduring, is n vast lahmir, de-
manding incrediblo toil, and beset with almost ins-.iperable difficulties.
If music were taught in our public schools as thoroughly as reading
and writing, tho <a*o would be different. The same multitudo that
hesitate not to road tho hymns in their hj urn-books, could read at
sight the tunes in their tune-books ; and then choirs might use their
liberty of selection ad libitum, without excluding tho populace.
Again, if our churches wore built for singing purposes, the difficulty
would not be so great. It would seem to be a lirst principle of common
sense that a publx* building should be constructed with reference to its
special uses. Kwr> ei;!»v w t:.r emlx. /.incut » :nw idea. Who i the
sacrificial idea becomes thus embodied, it gives us a cathedral, with tho
altar specially developed and prominent, and the pulpit dwarfish an 1
thrust aside. Enter such imposing fane aud everything reminds you
that sacrifice, not doolriue, is the grand idea; that sensuous impres-
sion, not appeals to reason and conscience, is the architectural law.
Henee tho extreme Puritan reaction from Romanism incarnated
itself in a church without an altar, without sensuous appeals, and with
a pulpit, as the prominent feature, because doctrine, instruction, ap-
peals to purely spiritual powers of tho soul, was the enthusiastic pur-
pose. Mot orilv, however, was sensual appeal eschewed, and justly, by
the Puritan reaction, but unfortunately the ideo of worship was, if not
eschewed, vet undervalued.
The Puritan loved psalmody indeed, but abhorred organs and choirs.
But such congregatioual singing, deprived of the instrumental aid.
aud unsustained by the choir of trained voices speeddy degenerates into
the worst description of solo performance,— a solo voioe here, and a solo
voice there, uncultivated, diicordsnt, aud wholly abominable. From
t'lia to choirs the reaction wss inevitable. If wo must have solos, duets,
quartet*, let them bo at least cultivated oaojj and if wo must have ao
organ, let it not be tho nose.
Hut as choirs arose, so did the question what to do with them.
Architecture had provided them neither local habitation nor name. If
there be a frsllery, let them go up thither. * • • • •
Having thus the choir iu the worst possible place to be found for it,
snl the organ so disposed as to make the least possible duturbaaee,
let the people sing if they can. Tho people will not attempt it ; first,
boeausc they caunor, and second, because the cultivated choir do not
wish to have them. So the people are dumb, and public worship
becomes a Sunday opera.
But of all causes fstsl to popular [participation in sacred 'song, the
most radical has been the principle of singing the same hymn to dif-
ferent tunes. The principle is universal in this country and in England,
and so unquestioned, that it possesses all the sanction of an intuitive
truth. A common-metre hymn is sung to-day in Mear, to-morrow iu
Dundee, tho day after in St. Martin's, or in any other tone of that
metre.
If tho truth wore known, tho true philosophical secret of Germsn
congregational sinking i» that in tiennany a hymn is married to its
tunc, sud is never divorced; so that tho tune, instead of being named
Akrabbtm, Bangor, or China, is named from tho first line of tho hymn
that is wedded to it.
We have only to consider a moment the uatural result of the oppo-
site principle. The effect is, that tunc-books, boing a separate article
of merchandise from hymn-books, begin to multiply. American genius
is fecumL Tho greater the variety the better the selection. Every
year bring* forth new cjlbctiuns by the seore. Every choir wltt call
from the pages of from two to half a doicu, until a given hytnn will
hardly chance to be sung twice to the same tunc in a lifetime. Now
under such a system the people do not learn the melodies by heart,—
melodies often unmelodious, ever-changing, ovaneseent. They form no
heart attachment thou to the tune ; no affectionate association between
a favourite hymn and s favourite air. All is perpetually new, cold,
and purely scientific. And as association and sympathetic emotion are
tho strongest of all popular forces, it follows inevitably that the people
soon know nothing and care nothing for the whole business, except to
listen, to be amused, or to criticise.
On the other hand, tho same cause nourishes exelusivensss in the
choir. Having unlimited range mid wcll-exerciaed vocal organs, they
sre templed to choose new aud difficult pieces, to gratify their own
ta»te, display their power, and prevent popular intrusion.
Thus it happens that the whole service is corrupted aud perverted
in its inmost spirit and feeling. Worship expires. Tho love of ap-
plause becomes paramount. Evsrytbiug in the existing system tends
to fooler approbativeness. In tho concert-room or opera we know how
human nature is affected. Why must not similar causes produce simi-
lar effects in a church ? The audience in cither csso listen to a finished
performance. Can they escapo the instinctive tendency to criticise?
The singers know what the audienco arc thinking about, fan they in
turn rc-ost the temptation to propitiate criticism and elicit approval?
Both tiarties, m the church as well as at the opera or concert-room,
are thrown into tho mine relative mental attitudes, and tho temptation is
exquisitely adapted to dcvelopo tho result. The organist exhibits his skiil
of finger and toe ; tho choir display tiicir execution ; tho audience srs
entranced with delight, mid God, whom all should adore, is nearly
forgotten — lorgotlen it is to be feared, more entirely here where
directly addressed, than in any oilier pari of the services. Viewed m
this light, it eaunot be accounted a paradox to say that what we call
sacred music is too generally the must profane thing in existence. It
there is any depart incut of practical duty iu which tho churches "are
carnsl, and walk as men," it is here. Nor can congregational singing
possibly thrive while all these causes operate in combined activity.
To obviate such causes, as before iutimated, must be a work of time.
Digitized by Googl
October 23, 1858.]
THE MUSICAL WORLD.
687
Yet not the less for that should wo attempt the enterprise. Lit children
be taught to read music as early, and with as much nWMWilj. as to read
their mother tongue. Let every family bo a singing-school*, and at tlio
homo oltarlet children learn the hymns of Zion. la public schools of
every grade give music i» place as a daily exercise. Require of all pupils
a* thorough mastery of the gamut us of the multiplication table.
M usic is practically as valuable to men n* cither grammar or arithmetic.
It promotes health, chcerfalnes*, good order, and piety ; it rollnes and
purifies the disposition. Let tt he with ours as with 1'rusiian schools,
an indispensable qualification to the oflieeof teivchcr, that ono both sing
and play well on some instrument.
Furthermore, in all churches to bo built henceforward, let it bo a
problem to bo solved, how to adapt them for ussa of praise as well as of
instruction. On thin point we have umcli lo learn. A few suggestions
may bo offered towards the true result. But that true result, that
grand ideal of ■ house of worship is, we fear, known onlv to tho inOuito
arrhitect and master builder.
Ono thing may be laid down as settled beyond controversy ; and
that i», that tho best place- for tho organ is oa the ground floor. Tho
principle* of acoustics makes this as certain as any general rule can bo
made. And as where the orgin i«, there the choir must be, it follows
that the choir seats ntu«i not bo in tho gallerv, bat on the audience
floor.
The question resolves itself to this, then, whereabouts on the ground
floor to place organ and choir so as not to mar the symmetry of tho
interior, and yet to give to- both preacher and people' the best use of
the voice in thoir respective parts of tho public service.
Having thus marshalled the forces, and organised the host.it remains
to provide them with suitable arms, l'lnco in the hands of every man,
woman, and child • book containing both tho hymns and the tuno
which the people are to sing. The choir, of course, will possess its
own library, fur there are compositions which cannot bo executed by
the people, and mny bo sung fnr them by the choir, as at the opening
and closing of service, during the rite of baptism, or on any special
occssion.
But the main staple of worship is that in which the people partici-
pate, and that is to bo found in tho people's book. Here let the
people's taste be coniulrcd, rather Hum tha taste of choir or leader.
Give the people such tune* as they like, arid do not think, b?*au»e con-
gregational singing flourishes in Uerntanr, where they sing slow-
moulded chorals, therefore wo must sing slow-tnoulded chorals to make
it flourish here. The reason why congregational singing flourished in
Germany was, that the words were indi-solublv linked to those chorals.
Therefore, so long as the hymns lasted, the chorals must la«t. More-
over, there were reasons peculiar to European civilisation why Pro-
testant chorals should have a tinge of sadness not appropriate to our
circumstances. SCion hos been for tho most port in captivity in the
great European Babylon, and her harps hung ou willows.
Ofcoursawe shall sing those grand old chorals, in part, because
wo sometimes feel life to be but Babylon, and we ourselves captives by
the streams. Hut if any imagine wo are to bo shut up to those severe
strains, we who live in freer climes and more millennial anticipations,
they are very much mistaken. When I bey can reduce our free limbs
to tho suits of mail hanging u« in their old castles and museums, and
our tree thoughts to the cateobisuia of VVc.tmir.ster and Geneva,
equally antiquated and rust-eaten, they mny expect to imprison our
exuberant worship in tlm^e prison dirges of dynastic middle age, but
nut before.
Give us, indeed, a ftw tunes with the mould of kirk and cathedral
on them, we will not object. But give us also the inspiring melodies
of the revival and the camp-ground. Call them mcthoilisticd, penny-
royal, nay, even CiioctsjW, we shall not care. They come from the
people, the people love them, and the people shall have them.
Moreover, establish the unchanging law (a revolution in itself), that
the hymn given is always to be sung, to the tune accompanying.
The people" will know what to
for the:n to try to learn.
ex|»et. Then it will be of some use
Then they cm form assoeintioi s of ideas.
Children w ill loro tui es for their fathers' sakes, and there will be some-
thing pcruvm.tit in our worship from generation to generation.
Then let the oonirregotion sustain one weekly meetin? for practice.
Of course the choir will have the, best drilling wo ran give it. But
tho prop!" must meet. And if there is no other way, give up hnlf a
day on the Sabbath to the business, ant let pastor and people take hold
with a wlil, the choir at the helm, to learn the high praise of
God.
Finally, we need repentance for sin the matter. If the church ouly
coul 1 heroine suddenly cnn<rious of her adultery in this thing,— how
we have lung to man, and not Mod, how, in the" net of addressing his
majesty, wc have thought of our own flattery,— she would be in i
cloth and ashes in a moment. For sorely the indignity we offer Heaven
is tuo»t gross, the insult most keen and cutting. God is real. He is
the living God, True praise from us gives His heart true joy. Insult
under the form of praise wounds his heart most deeply. And not only does
it grieve him; it robs him of one of his choicest instrumentalities for
blessing us. He could bless this service to a degree now unkuown
through our guilty profanation — a decree almost miraculous. In
Christian souls he could take deep hold on emotions, reveal and express
such heavenly raptures as are now uneoneeived. Music, too, might bo
His sharp sword to convince of sin and lead to himself. When man
feels himself lost, and trembles at his own ruin, tnusio is the angel
voice that lends him to Jesu«, and souls may be born to God by the
songs, as woll as by the prayers and tears of the Church. There is a
contagion in those* holy raptures, when multitudes full of emotion sing
with all tho soul, by which the rudest natures are affected. When tho
wares of song rise and swell around them, when they float in that sea
of sound, all instinct and tremulous with emotion, does not then some
secret power unlock the fountain too long sealed, of their own better
nature, end do they not experience strange, unwonted promptings?
And when they feel the bondage of sin, and yearn for deliverance, why
should not the singing of some hymu of consecration be lo them Iiko
the opening of a door in heaven?
ADVERTISEMENTS.
GLEKTIELD PATENT STABCH,
t/SED IN THE ROYAL LAIXDRV,
MWHem av HER MAJESTY'8 LAUNDRESS, to bt
THE FINEST STAKCU *HB EVER USED,
Hold by all Chandlers, Croeera, *c, aVc.
MR. HOWARD, Surgcon-Doutust, 52, Floct-*treet, ha*
Introduced an entirely new dcsrrip'jon of ARTIFICIAL TEETH, Baod
without sprinsa. wln\ it ligature*. Tliey so porf.oUy reaemtJc the natural
teeth »• not to l.,e distil jjuUl.ed from tiicortultialsby the clown ol«r»er They will
nevtr t'ian*c c,>!<iur or decay, and will be fWn J s«|HTior to any teeth ciurbrlorc
mod. This method does not ventre Urn extraction of roots, or any painful opera-
ti^n, will support an J nrrsjrvo t«lh that arc loow. and is guaranteed to rotors
■rtiouation and maatirati, ii. Decayed ttetli stopped and ien.lcr. it sound and
UWTOl in mastication. U, FlSSI BUasl At homo from 10 till 5.
BOOSEYS PIANOFORTE OPERAS, complete,
cl,<ih. wltii preliminary onirics by Ikunaud Kjau, de*,:rlllnj tlio cl.iui
ot the plot aui musk-
s. d.
No. 1 Hainaw.bula 4 U
l! Norms .. • • - ..40
s PuriUni «0
4. Lucres** Borgia 4 0
5. Lucia di I-ATniuemtoor .. .. . . s 0
fl. Fillo .lu Reinvent 4 0
7. Fra Diavolo 10
8. Don ,luan SO
v. L s llujtueoota TO
10. 11 Tiovatoro . . SO
11. LaTiaviata SO
19. Le* Vipres Ncllicntics 7 0
13. Rhiolctto SO
14. -Luis* Miller SO
13. Martha So
Booscy and Sons' Musical Library, 88, Holies-street.
JJOOSEY'S VIOLIN OPERAS, K each, complete.
No L L» S.nnatabula Be lmi
2. tticnaJii ISorsia Douisottl
3. N»ra» Bellini
4 I..iCL.dlI*mmertuoor JJcnlsetll
5. Ellwrs d' Amove DoniKltl
rj- Eraoni Verdi
7. Masankllo Auber
«. Don Faaquale D uiiactU
9. furiuni BclUm
10. tt* H ii:ii«u-ls M.-y.-vt«r
11. UOarbler* Ibwali.l
IS. DonJu.u Mo«a.t
14. II Trovatoro J_ crdl
14. Tho Bohemian Gill Biif.;
15. UTmvlata Verdi
l<! Rlgt'lello Verdi
17. 11 an tana Wallace
18. Lj l*io| hM* >le;crh<er
ll>. Ficll i del Rwlmcntn Doi.irctti
Si). Luwa Miller Vsrdi
It Martha Verdi
Boosey and Sons' Musical Library, S8, HoUeE-ttroot.
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THE MUSICAL WORLD. [October 23, 1858.
JULLIBJTS CONCERTS-BO YAL LYCEUM THEATRE.
PROSPECTUS.
MONSIEt'R JOT.L1ETS TWENTIETH and I.A8T AXTOAI. SERIES OF
CONCERTB will CuMMENCK uu MONDAY, the First or Nnvcnib*-. and con-
Uuim lor One Moulin, being «ncuu Meiua. Jul.icn a I'AltLVi LI.U eir "CONCElill?
U'A IrlF.U." prevloua to Ilia departure on hi* Univer«al Musical Tour through tbe
capitals and iltte* of Europe. America Australia, the Colonial, And civilised (own*
of Asia and Africa, accompanied by the elite of hi* orchestra nod other art lavs,
savant", and homnics do lettrts, formhur the nuclcu* of a society already con-
stituted nnder tlio tillo of •Bocie't.S do llbrooolo Unlversclle." with the object
not only of diffusing tlx divine and civilising art of music but ol prwBOtiiig.
through harmony's powerful cjoqu'.nce, a noble nr.d philanthropic cmuse.
la taking leave of tbii grc.it country of order, liberty, justice, and progress.
Mom Jullien fears that it will bo impcesr.hle fur 111 id Ui express In an advertisement
l! r deer, foeiln,; ol ^mdtud.' hi I al Ufiroen t which uvertioweTX t L. n- art, " ItM lie
calls to mind the kind hoapittlity extended towanU him by the people ol Great
Britain, and the long and uniutcrrui.to.1 petrouago bestowed upon hit endeavours
toaiivonoo musical art In the United Kingdom.
Mom. Jullien i<egret* that through same combination, against which ha baa
been unable to combat, ho bat riot fncroedcdtnohulntog one of the larger thna'res
in which be hn hitherto given hia Annual Scrim of Con carta— tit. : Dniry-Une,
CoTcnt-trcrdoi, or Her Majesty's Th. -aire — establishments which m iy be cunafd r*d,
and arc, in foe*, better adapted for the accomroodatn-n of hit patrons; but I hia
vvry deficiency of apace Moo*. Jiililon baa sought to turn to advantage by selecting
for the jiraeul season virtuosi of European rrput ■■tiou and vocalist* of tho highest
talcr.ta and renown, and by allowing only the tf'ite of hia orchestra lo perform —
tbua making up f-r quantity by quality, and endeavouring thereby lo realise the
dream of Bettboven. who eiud, " Men ievo dn bean poor I'exeeution do me* »ym.
ylionic* o'est uu orcliestre de oO." Kn in the great master himself we here learn
that bit symphonic* won* only comrosol for sixty performer*, and, in fact, many
drco.ro*b*ncea bar* *howu that by doubling the porta, whether of airing or wind
Instnuneut*. tbe orchestra has lost that perfect balance ID tho ro all'c power of
combined aaunda which It la essential ahottld bo etrictly proportioned for the
perfect rendering of many tne'odka, harmonica, and puaaage*. called, in counter-
point, luntatl'Oaauil fnsatl Cn ler those circumstances, Mod*. Julhen can assure
the public that he baa apnrvd no effort to render the Concerts at the Hoyal Lyceum
Theatre a* attractive aa the flrat aerie* which he gave in the name establishment
In tho yoar IMHI
The Immense progress which musical art has mod* in England within tlx but
29 years ha* cuurmrriged Mona. Julliou to corntroeethc 6rst part of his performance*,
chlrfly of classical work*. Aa in the case r»f those festival* which he flrtt kntro-
ducol In England under lh» title of " Nights," dedicated to one or other of the
groat matter*, a great portion of the first part will be dovoted to tho music of
Bertricrveo, Mozart, Mendelssohn, Haydn. Ac. This idea Moos. Jnlllen had
outertainod for the last five years, having become personally convinced that
England was rapidly earning the title of a great munieal country. Now, at Uvt,
be focla irrotitiea to anoeuocc that thia season the first part of hia prognunmc will
preacnt a selection of a far higher order of music than hitherto, and will foc^udo
important work* of Mo/jm t, lieethoveu, MctidelnNohn, and other groat composers,
ancient and modem, which have not prevkmaly been performed at those ciioerls.
Anvmg theau may bo mentioned the mastcrp oco or Beethoven, tho Ninth Syni.
phony, commonly known aa the
CHORAL. SYMPHONY,
composed to Schiller'* grand poem, " Tho Ode to Joy," celebrating tbe union of all
nation* in one Joyful concord.
Mendolaaohi.'ii odlcliraUd 1 .OBOES it NO. or Hymn of Praise : and Gregory th«
F.r»t » CANTO PEHMO and FUGA FUGABUM, conceding with the HYMN
OK UNIVERSAL HAItMONT.
Tho secuitd part of the prognimme will bo MISCELLANEOUS. *ud will bring
forward in review those original compositions and arrangement* of Metis. Julllen
which hare received the largest aboro ol public approbation during his musical
career in England ; also, hi* Litest orchestral production*, which have never been
performed by hi* orchestra in London, hut are now quite the vogue Ui Ernnoe and
UeiTOaJiy. Among the latter irny be cited "Fern Ixavea" Value, "Toe Campbell*
are cnmln' " Quadrille ; "Ixs Feuilh'a d'Automn*" Va'«e, "The Frikoll" (lalop,
a New " Chinee* Quadrille," and " I* Gmii<lu Morche dc* KaUona, rt Progrt* de*
CiviliMtinoa," cotnpoe d on the authentic Natlenal nymn* of every country, and
descriptive of tbe convocation and assembly of tlio Universal Cougrcaa, elected by
every- reigning monarch, every aelabluhed government, and every nation of tlio
worM. united In one peaceful couiedcraUou by the power* of harmony.
Mona. Jullien la moat happy to state that among tho artlsta who will appear
during his fire well acason, lie I* enabled to announce the name of the celebrated
viobniat WIEKIAWSKI, wbo, In Franco. Germany, Ruasi*. and Italy, bo* <sla-
blished one of the grratett reputstiona aiuoe the appearance of that marvellous
genliix, PagnulnL
nents are alio copclnde'l with never al prime donne, who will make their
appoannee In etlcceulon lor ihorl pcrienls each
Thof.vo, -
nmrile Eugiiih aoprano, alios VINN1N0. will commence tbe aei«on on
MONDAY, the 1st of November, sod will be followed by Meadame* lit: HI Its
DOUVr. KTAUBACU. EN0ERS90HN. CF.IinONI. *c, and Madllc. JK1TY
TltEFFZ, who will arrive expreaely from Vienna, to bike her farewell of tlio
Subhc In London, previous to accompanying Moos. Jullien o« hia Uiiirrrail
lusleal Tour.
Trinelptl Cornet*— Messrs. Dubbme and Leloup
Leivlu' « — Mcsara. Willy and Li!hou.
Snut^tnf d'Orchestrc — Mr. 1-crav.
DirocUir of the Chorn* and Maestro al Pisno^Mr. Land.
Conductor— M. JULLIEN.
Superb Decoration* It la Renaissance, designed and executed by M. VII brant
tli* celebrated dceoretivo artiit of Brussela, will adorn the theatre The cryatnl
oiiande'iera and prismatic buntorn* will be supplied by tbe celebrated firm ol
Messra Ihefrios aud Sons, Tbe goa arrangements wilt bo under lb* *oW ditectloD
ol Messrs. J one* and Outbwmte. and the general flttlnga-uti and arrsnafrtnenU for
tbe accommo-latlnn ef the jnibhc luivo bocii entruated to toe care and experience
of Mr. Burra Jackson.
Further details and notices of r .resent and luture ainuigcmrtitswill be contained
In the programmes and ail vet tiseoictrt*.
Adml»«ion, One Shilling. Private boxes, stalls, and reserved scats to be secured
at Jullkin and Go. 's. Sit, Regent street ; from Mr. Hammond ; and at tbe Box-
office or the Theatre from Mr. Clutter ton, price £i 2a.. affl Us. 8d . sfl is., and
10*. Id Reaervol sent*, tt, «d. Letters oud ooinmnnicationa to be sddorsaed
to Mona. Julllen, tU, Boarunmre-. t.
o
I
WM. BLAGROVE'S ncwly-invenUMl FOLDING
• VIOLIN MTJTR, corurtnicteel en a* to impart to Oie VMin
pore tone, without Injury to the instrument, used la the orchosU" of the. R"rv
Italian Opera. *c . *c. May be bad or all muaic-sellcrs, and cf W M Hlagro'e,
Tl Mortlmcr arroet.aivendiah^qriare, W. Price 1* eVL : or.tn morooo-i cssee. J.
T
TJST PUBLISHED, in cniwn 8vo., 2s. Gd., « Handv
•J Book of Musical Art by tho Hon aud Rev. T. C. Skefflngton, M.A Losttos
James Blackwood, Palernosicr-row.
Orisioss or Tltx Pars*.— "In tbe page* before its, wo think Mr. gi.rfrir.gtrs
lit very successfully and ably succeeded in perfursalag the task heasl clown fie
hliUMli; and unites. In tbe manner in widen lit treat* hi* tubject, the kno«l*»<rt
of a aound end *ccotnpli>hr»l muwictan with tl« eJeganeo and rcsidtas; of the
ocl.oUr. A s-arcbing si Irit is brought to bear III a critical «io*ldera*oa of tb*
om^js, ute*. and effect of the divine art. Oar resd vt will, we are sure, be) anus*
pUosed with thia luaateily little work.' -*rtif J Tims.
PIANOFORTES.— DENVRANCE'S COMPENSATING
PIANO may now be seen at Iho depot. 81, Soh enquire By rj» op^.l^mi
cf tbl* principal a heavier tiring am be used, the result of which Is, that the fuJ
power of a grand it obtained from a cottage Instrument, at tiro nan* tin* tb*
wire* and tho frame on which they are strung expand and contract wit* «b« ;
of temperature cipially and together, jo tl*t tho neeotsity far freqiwjnt tuning, ss
in the ordinary iu*tium*nt, i* entirely obviated For fu'nesa and rou nines* cf
(one, with extraordinary power* of nn..lul.it:ou. these imtrumctits are ejurte on-
eqnalUsi, tit the aame time tbe |«rico Is no higher Hon that of au ordinary r1"
rpiIREE INSTRUMENTS FOR 'INSPECTION.-
A Amateur purchasers or Case's Patent Concertinos, or Prat ten* Perfected
Flutes, or Tkroeey's unrivalled Ooiuet-fc-Platon*, may receive three of airy insert.
mutit f..r »elcctlou (carriago froc), on forwarding a reference and an uodertaklSi
lo keep one. Bocssry and Sena, stsnuracturers. 24 and IX. Holies-street, LcsvJos
BOOSE Y AND SONS'
DUaTBBsVtlO
MILITARY BAND INSTBUMENTS,
REED AND BRASS,
Have boon used and approved or bv almost every Regiment in the service, at h"***
and abroad Estimate*, llluatrated pro«pectu»e». and full porticuiszs will bo (a-
warle.1 itrallson appllcattou t>i the Manufacturers, Booecy and boos. It and ri
Uollea-atreet, and Red Lion-yard, London.
PTJBLIC4TI0NS FOR A BAUD.
BOOSET'B MILITARY JOURNAL for a Reed Biuvl. Monthly.
DOOSEY AND SONS' SUPPLEMENTAL JOURNAL (Late Julllcu'a) for a
Roed Bml, Monthly.
BOOSF.VS BRASS BAND JOURNAL, for Eight Peiformer*, Monthly.
BOOSEY-S BRASS BAND JOURNAL, for Sixteen Performers, MooUily.
BOO.HEY-S DRUM AND F1FK JOURNAL, Monthly.
MOO^EY'S ORCHESTRAL JOURNAL. Monthly.
TO CORNET PLAYERS.
33L' iflnjtsiB's %tuus patent.
BOOSEY AND SONS' First Class 0>rn»k- a- Pistons with
MOlltATO's PATKNT WATER R13RRV0IR. on six diSerrnt model*, at
used by the leading Cornet players, civil and military. Price* from Four to Eight
Ouinraa each. Motrato's Patent I* an entirety now invention, applicable to Or,
Cornet *-!1aton or any other brast tnatmiuout. It* object is to absorb tad
ei nvvy into a small leserroir the moisture that accumulates from playing whiek
It effectually accomplishes without in any way injuring the tone of the Oornet
thereby eradicating au evil hitherto experienced by every | erfonner on t tarsts
Instrument. The patent can al*o*o* npplle>t to any Instrument at presexit in use
Drawing* Mot full |iartictilars per |»al, gratia, on application lo Dim* j and
Sena, Musical Instrument Manufucs urers, 21 and t8, HnileV-slreet. London.
Purchftscr* can have three iustnimonte on approbation, carriage free, ce
forwarding a reference and on underuiking to koe|, one.
Published hy Josjx Roosxt. of OaeUebar-hlll, in the parish of Ealing, is the
Couuty of M Iddlrxtx, at the office of Douskv ek Son. IS, Holies-street. Set
also by ltrtu. IS Johustreet, Great Portland street ; Atxxs. Wsrwick-
l.uic; Viixxxs, llolywell-»tro»t; Krirn, Paowsa, A Co.. ts. Chcsrwod^.
O. M m: Kiiv. f«. Newgate-street ; JoMK BlIRrBEBD, Ncvegsts Stl***. :
IUkxv Mar. II, Ho hem. bar*. Agents for Scotland, Patxosos sk S«.v-
Edinburgh and Glasgow ; for Ireland, H. Bint LU Dublin ; and all Musi:
aeliera.
Pri uteri by Wiliuh Srxjicrn Jour tow, " Naaaau Steam Press," W. St. MsKln'i
Isae, in the Pariah or St. Miutlu-iu-lhe- Fields, in the County of Middlesex -
Nif.in.lav, October 13, 1848.
Digitized by GoogU
'Tub wohth or Abt h'iliu mcht imikknt n Music, bisci it mqcibes so mayk&ial, so scbjict-mattib, wuosz
BK DBBDCTMD. It U WKoi.lv FORM ASD POWBB, AJfD II BAUBB AND BNXOBUH WUATIVB* IT BXPBE93ES." — Ooetke.
SUBSCRIPTION; -Stamped for Postage, 20s. per annum-Payable in advance, by Caih or Port Office Order,
to B008EY * SOUS, 28, Holies Street, Cavendish Bquare.
VOL. 36.— No. 44.
SATURDAY, OCTOBER 30, 1858.
< nucE a.
1 STAMPED 6d.
TO MUSIC-SELLERS. — WANTED, by a respectable
yo'tog man of good address awl business-like habits, a sitiiatlon in t>i«
muaic trade. Haa bad tan years' experience in
and cau furnish unexceptionable references »« to
A. B.. 15, Sussex-street, University-street, W.C.
M
R BEZETH has Returned to Town, and Removed to
MR. JULES BENEDICT begs to announce that he will
return to Town for tbo season on Monday nt it, Noramber L Utter* to bo
to Mr, Mitchell, Royal Library, Ji. Old Bond-street, or 3, MaucLoeter-
M
R. G. PAQUE begs to announce tbat he will return
to London for tko viator soasan at the baginning of November. All
to be addressed tu 120, Groat Portland -street, Fort'-ruid-placo, W.
HERR LIDEL begs to inform hi- friends and pupils that
he hu returned to town, and will continue his Singing and Violoncello
Lessons as usual. Addrcan 42, Morningtnn-placc, Hnmpotoad-road. N. W.
8 GOV ERNE88. — A htdy of considerable
requires a daily engagement. Acquirements : EngHY
tag. You jig children prefeirod- Address. M. A. B
i* and fH, I loilcs street, Cavendlsh-squara, W.
THE COLOURED OPERA TROUPE, ckht in number,
In full Court oo* turns, will give their Concerts of refined Negro Music and
Character, every evening, except Saturday, at eight.— Stalls, Ss. ; Reserved Scats,
rt cvory Saturday, at the Queen's
NEW SONGS. — " Let me wlnspcr in
Balfe, composed for -md sung by Mr. Sims Hoove*
••The beating r.f my own heart,'' by Maentrren, song by Madame I
at ilia Blrmluixham and Leeds Musical Festivals.
"The highland blnseorn," by W. V. Wallace, sung by Mis* Dolby.
• The joy of loving tboe." by Walter May,«rd, sung by Hlgnor Mario.
WE ROSE OF CASTILLE QUADRILLES, Walta*,
.from Babe's popular opera. Tlie Hose of
i Co.
1 A V AUGER'S NEW PIANOFORTE PIECES.
Titauiii .. .. .. .,
Moment do Tristose ..
La BranvllUentic
La Baloise— Valae do Bulon . .
La Fruito — Galop brlllant
March* de la Pnuoossc do Fruaso
.. d.
» 0
3 0
3 S
I 6
S 0
9 0
CRAMER, BBAI.B. *«u Co, J01. Regent-street,
Who publish all the works of this celebrated compote
MUSIC STRINGS.
14, EAST PLACE, KENNINGTON ROAD.
Paris) Importer
meolK. list of I'tirM
MONSIEUR ALPHONSE VILLIN (
of Italian, Frrnrh, and German Strings lor all Ins
and samtilea fi-rwarde-l (free) on a|t)tUe.>tion.
IDio celebrated ACRI RKt.ES. now utilvorsally adopted by all Violinist*, cannot
be bad GEN U1NK but at the above addroas of Monsieur A. VUlta, sole and exclusjTO
Wholesale Agent for Uie Unlud KiBudoin.
ROMAN AND NAPLES STRINGS (not to be surpassed) are sold by Monsieur
YiUta fully IS per cent cheaper than any other bouse. In the trade in England-
B RADFORD THIRD TRIENNIAL MUSICAL FES-
TIVAL—The Festival will take place In llveAutumu oflSW. and be given
for IhcBcucM of the Bradford Infirmary and Dispensary.
SAMUEL SM1TU. Chal.caan.
PROFESSOR WILJALBA FRIKELL. — POSITIVELY
111". LAST WEEK- Potygrapblc Ball, King William -street. Chart tig-cross.
The season will terminate on Saturday evening, and the Last Afternoon Perform-
ance on Saturday, November the 6th. at S. Every evening at S. Private boxes,
rue guinea; box stalls, Ss ; orchestra stalls, Us. ; area, X*.; amphitheatre. Is.
Places may be secured at the Polygraphs Ball, and at Mr. Mitchell's Royal
library, 33, Old Bond-street.
\f JULLIEN'S CONCERTS. — Royal Lyceum Theatre.
1*1- • — M. JULLIKN*S TWENTIETH and LAST ANNUAL SERIES >4 CON-
CERTS wdt commence on MoKuay next, and continue f< r One Month, and will
be given as M. J allien a Farewell and "Concerts d'Adiou." The celebrated
Violinist, W1ENIAW8RI will m*Vo hUtnasr api/caraoce on Moxdat, November 1.
Admission, Ono Shilling. Private boxes, stalls, nod nerved scuts to be secured
at Jullicn anil Co,'*, 214, Regent-street ; from Mr. Iiarnmond; and at the Box*
ofliceof the^Theatrc; '^"^^ ^ff"""' J"0" ** Sealf ' IU te'sdu' m ito
Moos. julliti^U. ^g'ent'strect. "*™ *° """"^ "° r *
ONE OF
TO B
ORGANS IN THE WOULD
E SOLD,
»vi7jieur. sea a
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL
Apply to the 1
THE IMPROVED HARMONIUM. — Mr, W. E. Evams,
of Blieffleld (Uts of Chelteul.am). wUl txhiblt at BlagTove's Concert T
71, Mortimer-street, Cavendish-square, hlv Imi<ruved Harmonium ; and I
hilly invites the Clergy, Musical Prvrfcasors, and the labile to a
One woes, commeiicliig Nov. Mb. from 10 till S.-Adm
Free.
V;
tn« rantoaAi-r. or
GBACIOOS MAJESTY )
TDK PRINCE r"
TUE ROYAL FAMILY.
begs most respectfully to announce that lie is open Lo
i In- highly .,;r< tut retUog, pUaaUig, anS iuatr
MUSICAL ENTERTAINMENT,
UTTTUn
DR. MARK AND HIS LITTLE MEN,
From the ROYAL COLLEGE OF MUSIC, Bridge-street, Manchester, numbering
upwards of thirty Instrumentalists, and a most cflbctivo CWu* the wuo'e
JUVENILE ORCHESTRA,
LitUe English, Irish, and Scotch hoys, from Ave to nixtooo years of age, who
operatic "election*, solos, duet*. quarUU. quadrilles, marubea, -.aid polkas
sink' scinirs, choruses, etc , in a most cftoctire manner, and to whom
gratuitous gcneml and musical education in order to IllusUate bat hi
system of musical ediicvion, and with whom he travels about f
ex '-IU- mi interest fur ar-d help to entabhsh musical institution!
servatoirtv of Music" for lltUc children In every town. dtrSia,
i,Tcat cm p Lit,
to the Royal CoUcKtj of
44
THE MUSICAL WORLD.
[October
MESSRS. DUNCAN DAVISON AND CO.'S
PUBLICATIONS.
PIANOFORTE.
UMM UX)^ ' riicu artao ut.u ji.j yet *> fai,~ Kevtcu. oil HoUl.arot a
" 8uilA-.*l ilOVT " .. ,. •■
"BACMAXA." aoleet plwso* (Prelude* and F"2ii*a) from tbo Pianoforte
worka of John bVUwllau Bach, net included ia the iorty ciglii Prci'idca
.aid Fug-i*»
No. I. Fuga Bchcnttndo, In A mhinr . «
'X. l*rvliKiv and Fugue od the name Bach •
». Prebide cm fughctti In It major
To* above have been ] Hayed in |>uulic by Mb,* ArabolU Go-Marl
URtbV'AC (Jpit.) "tteJUFiglu^aboquarteliruui Rl;"Ml ')
"Qwndo It acre-' and "Ah! fa gtirato'' (from lAiim
Millci)
HUnoMUI.LEIt <F.) " Blanche." rolka Mjuiirk..
FUMaOAI.I.I (A.) "CLARICR." (Lie only oo-rrcl edition, a* played
M wAndieiUG ddard .. ..
DMlOWfB. A.)
a. d
UOMloXfK i
J ) Three Uodi r olmo werrto
. . H ) »Me»rtion f<ir Iho Drawln,- Romi of Hinofurte W«rks by
celebrated Oumpoaer* :
Xo I. "Imilraikn."!! Wolff
1. "Uakty.- Handel ..
Pay.
l o
i «i
4 0
5 0
MONIOT (Ei'OCMji A Suinuili * Fa*, ' Rowan c ., .. mm •< 1 I
MnMSIIELKM fj.) Triumplnd March I •
ORSVILMl (lb' Hon. Mr. I
Urand March, with Introdnvtkn inid Quiet Sua, dedicated lu
1I.IUI. tbo Duke of Cambridge ..It
Idee* Fugitivea (In A bookal :
Book I, dodbutcd to tbe fit. Hou Couutoa* iitnuoojl . , .. 4 '
Book 2. dedicotexl to Iter I'xcvllwioy the lit. Hou Count eaa CJevwWy 4 "
k'Atiildila, Nottuina, dedicated to the Hon. Mia. Edmund rb!, pa s (
1a Oaataiiaa, Notturno, dedicated to tbo Rt Boo Uidy do Itoa ,. I •
Fcuille* 'i'Autouti''. Villous dedicated to Miss Cecilia Elltao ..It
I<o BUn Vcnu. Vatac Vark'f?. dedkated to Mrs. France* MM .. > '
Tho (Jirolwe, Polkas, dedicated to Mr*. Hoaoair* Bering .. .. a *
The Hamt'toti Court, rotk.u, dodicat.d to tho Counteaaof Ataosiicld :
Three Waltze*. and a Oalop
Sot nf Qu:«lnil«. iKllo.tcJ toLady WfMam Hirvey .. I c
McKORKEM. (C ) Stmwnlr do 0]«ck (Armide) 1 »
_ " t;i Joy«i»»."li.ioroiiir dot Oiunpo Rljuooo .. '.. J n
MEYi:nil!;F.U (0.) QaitriNnc M tcIio am FtiniUauut Ac
Coini^wod ia b..uour if tlie nnriiNCT of tho Tnzi<xam n-.ynl of
Enitood with IMuoe Ftrdalck WufLn of Pnmla.
OSBOI'.NB (tj. A ) •"Piiulln'\" Noctumo $ t
RICnARDS ftlklKLET). " Ktliel" Rotuaocc (to Mtss ArmboiU Oodd^rd) .. ».
REPERTOIRE
DES BOTJFFES PARISIENS,
a OHUHIM "t
QUADBTLLBS) WALTZES. P0LKA8, &c. &c,
rno>c TUE
7 nirnE.vi AT
THE THEATRE DES BOUFFES PARISIENS, PARIS.
1 "TrouiW!t.u.u.
T "WvodMllr uait
3. "Lraidou*
4.
dVk«." Walti
Vn)U
d.
5 6
« 0
'.' 0
s a
J. " U Viuloucox.1 P»'kA
ft. line nuit blaiKhc," Qtiailritlo
7. *' \'«nt du ftMr." QuodriUo
H. "Lo ViolOQOMX," (jUivltillo ..
• i.
..3 4
..I *
.. t ♦
UN'TKB ($KU»tH.
PIANOFORTE D TT E T.
ing tbo eokbnited Soneoa*lc " Cnm' o (T
mrait cffei tiTL' ducm thnt wc hnro ev»r Uotouod la"— lirfr;^ol Jtial
■TI>U imnr of tl
TWO FLUTES AND PIANOFORTE.
KlMtt (Ammiu) •Vumico," Huo on tlM "C.n.lnd of Venice," dodlco'cd to Waller Stuart BrwKlwood, Eoq ..
V O C A. T..
I Ilk VOICK AND StKOI.Vd. I.y A»u.> FeiuUNI ..
' JKro u a nmlly bcu»i.i!c book urK>n «Uat itik^fl.t l« d>u^i<lcic.l * wr.rn-oikt subject, fe'tflv >r Foirnrl, bowr Tie, Ian pot lofnatbtng to *iy.
I". Hi* rt.-m.irkH it|oci Hki (••naoUoo mid <-ntUvaUou of the volco <:li.i,lny not oaly xu intimate kwwlod/c of th^ iniiijoct, but a
rvmarkf about the enrfy cultivation of tbc. uatnru! tone nt tlic apcnkiiifr Toiee nni botli now and iotetvtlingr." — Afi<*,coi HVrf'r.
a, .1.
6 •
ft'
-ol It.
i o
: c
•. d
AUkLAfUA. "Tbo Cucko> H ( " Hall, beontootu strain -r of the ^-rnror I ,.
,. "Suiisliuio" ( 'I Uito tUo n»i*)dne crerynbero' — Haht
HoWITTj
BALFEfM W.) •• I'm not Sti Iotu. re-»enibcr." sun%- tvith the ci-ei'c^l <;Ut
by MJIIe. Vktolro B.ilfc an well o» by Mr. Cluulot Briluni
*' Obi tako mo |o tby lictrt acaiu V" .. .. ..
" Ol>o of tbo moot cUHroiUii' mclol'.ca Mr. B i.tc ]im ctct rotnroa; I."—
t.<tfrmui Mail.
UR.V1IAM (CiiA»i.D.X "PorMTore. or Ihe Carrerof HaTclotk"
BKUCl! (l^ubij. '• Wbeu I ira» young," »u»if by II Jlle. Ji :ty do Tietfa . .
.. "When first you ahoDO Ix.forc mc. " sing by M*!atn>:
Borrh»r<lt
t'BUWKLI.(Uom.iLn), "iloumf.. ly. ting nioiinilnlly, ' with violin or fluU
acoompiiiilineiit
" Wbrri- la tbo »ra." with violonecUoor tenor aocotn-
ronlnioiit s
DAVISON fj. W ) TlieCo.in.tt. ' 1
DBH> tUtltfJ.) "Quick arujo, otableu tolncn" ton-; l.yMdllo Jetty dcTroffj 2
KNUMWSOHN (Hj ' Sweet hltk Jouny |
"My Mary" a
I USTkR I Ai i. Ki. " Mcnfly, morrlby jLinca (b« iikj.ii. 7b« ibyUrt: «
anu< bv «»!n..i.> ltmli»Bktrt 1
OREVILLfc(TI,c How Ma* ) "ub. I wouM wrud with the. bu " .. .. j
„ lillto as n dutt for larytono aiul - imhw .. j
,, "4'iind mi dmiuoral'." duet (nt iwpr.«n'>
and tt nor t
L'itto as ,« 6V>lo, with ■MnWtaanaVMataunt .. 1
n Eusltah War H..n«. "Wlio r»ir» it lief ' Jbo .
JJonla bv Alttvl Tonny>5li 1
National ^eog. "NowtoAima" .. .. I
CP.OiVKKORCo) "Attaly d^Kdl
'May »••*
GROSVEXOR (8 ) "I will K-o f.itl;
filing Antlum lor rnlii a and or^i
UAI.EVT (F ) • Ixird li« «» wo l»ift
"Ho will bo b-io"(II v
UAR0ITT(C. J.) ••Toroonow" ("O:
chiMb.x.l") ..
i the ttrencth o| tlic lord God," T'uack*-
ro Uico," 1'iayor from 1m Jiitvo
vmlr). f.oii La Julvo .,
bright and Jojiiie wcro tbc daya of
t Q
X *
J0HN"8(M»a C A.l "Tbo incrry. mprry lark waanpatid (inging" iaLnmont) 'J
MACPAURES(0. A.) "P,
I
MEVkRBKER.
I love when i be ami h:i« aot") long by
I« Signers Famagalll t
"Tlw two ami leo" 1
•TbUh. naetolovo la holy," Serenade fu 5 «r>|<r.in«s 2 aitoa.
and i luiaaoa. n lthotlt aceonipanimcnt In vol ,'
i^cnaiate vocal |«rtac.<cb
„ Th.. l^rd'BPn.}-.r(E.iftlah and Tjtln worx'.«) for
o'to. tenor, an.l baas, organ ad. lib In aooio
Beimmt* ro<.iil |m«a o-ich
■ Here, here on IM m.Jiintaln," ShophoTd'o aoi
elattouet obblijato .. .. • ., ., ..40
\ iolonecllo or violiu to tl ,e ni^vo r-.irh " 6
" NoarL-.theo." wiln v. Ion. olio "bblfato « O
MON K (B li.) "Go ail by IU r.uiu.uir rt" * O
M..ZAIIT, "The rory »t.gelawoo|.. dear' I «J
PfiGllfUii .lA*ta»> ' W*.-l»AHllb^er.' S«
KEirilARDT(A.) • Tlxm art to .mir ,»vl yet ao f.o ' (•..« of the ntort
lotRil ii Ming, of tho dav) S •
HT. i,I-,GKR(S, j.) " The old willo.v troc" S 0
MVIER(Kf..«it.:;. " Tho Goat l«.nl" (k-sbrvi let) Jo
• TlieF.xile'-(L,KxiM) 5 •
" flic I'l 'hrrnuuiV rimiK '* (^bana n do P«V*e»ir) go
"Wlim o'er tlw meadow* si«n" (with llotn oetotn-
pinimci,.). mm I.t Madam* S Lirdot 10
Violoncello jvtfttu ditto • •
TAP.VnT.Pfr/Miiu) "Ttio TruobaJonr'a kaiuwil ' fa
LONDON i
DUNCAN DAVISON AND CO.,
Dfo'OT (if.NfiBAL DE LA MAISON MRANDUS, DE PABIS.
244, REGENT-STREET, CORNER OF LITTLE AR0YLL-8TREET.
October 30, 1858.]
THE MUSICAL WORLD.
cm
REVIEWS
"llBSAKl Drkaic!" Sonfl. IWry by 'ient.yscn. Music by F. &
Cox, Profe>»or sad Af«ocUtc of the Royal Academy of Mniif.
(B. MilU.)
"Thi MoTliaii'a lli.i - -i.xa," n Poem, by Liculonnnt Anderjoii, 12tli
Bengal JI. I. 8ct to Music by George Unwell, and dedicated to
Mrs. Endrrfohn. (J. Wil'dama.) ,
Mr. Cox In**- if i the beautiful stantu* of <»ur not over-
productive Laureate with feeling and sensibility — »> iniiuli
so, indeed, that wc arc worry to find (page 4 — " But the
tender grace of a day that is dead") two bare almost the
identical property of Mendelssohn, and (pago 2 — lino 1 —
bar 3) a baas which is equivocal, and might be improved in
several ways. We do not recommend Mr. Cox to cut out
Mendelssohn, but we do recommend him to mend his bass.
Mr. Russell's song ought to be good, but owing to certain
inaccuracies, as Herr Molique used to any, it is "not quite
Ijeautiful." It is Bpohrish, but hardly so correct as the
patriarch of Howe Cassel knows how to make hu music. The
harmony, for example, is defective at page 2, line 1, bars 1, 2
(" little lowly same jwge, lino 3, bar 2 (" nothing but
that "), where the six-four on B is cruelly abandoned for a
chord of the sixth on E ; same page line 4, bar 1 (" left to
«n>lhe her paui ''), when' the progression is unintelligible;
and in one or two other places. In the List bar of line 2,
page 2, the engraver has omitted a flat to CJ, in the treble
cleff of the accompaniment. The words of Lieutenant
, are tender and unaffected, and would alone be a
lendation to the ballad.
! delight. As a inert) piece of display for the pianoforte,
although destitute of originality, it b assuredly (" assure -
ment," m M. Theophile Oatiticr would say) effective. We
wish all dance music for the "talon" were only half a*
good.
~ Ualkd.
1 Eight Htmx Trsxs" (peculiar metre). Composed by John 'lowers
of Manchester. Ni
These eight luues (aduptcd to the same number of bjniiis
in the t-lTcctioii of the Society for Promoting Christian
Knowledge) are not ouly remarkable for " peculiar metrcw,"
but for pectiliar harmonies. Wo liavu no objection to the
metres, but we have a very strong objection to the har-
monies. Iteally, we have ->eldoin encountered such crude
and indigestible part -writing. It would take up a whole
eoltunn of musical type to point out examples ; nor would
the pains Iks reasonably bestowed, for it is to lie feared that
one who writes like Mr. Towers would provo as obstinate as
»'s " Km i i l r QrAnniu.K"— Second Edition. BUgroTe,
Tins spirited set of quadrilles, consisting of figures after
the style and manner of divers peoples given to the practice
of dancing, was reviewed some time since. The "second
-"affords us no occasion to modify the favourable iiu-
al ready expressed. On the contrary, it enables us
to confirm it. The '• Congress of Dancing-masters at
Vienna" was evidently assembled to good purpose, and
we con see no reason why M. Cellarius, with the conceit
E jeu liar to his nation, should (as we loam from Mr. James
yrn, translator of the figures into English — whatever
that process may involve) have taken the pains to "alter" a
good thing, omit some of the most genial passages (instance
"Die TTngarn" and the "Laudler*). and change the title
from "Empire Quadrille" to "Le Viennois."
"La Dxlix ds Xoir." Impromptu Maxurkn, pour Tinno. Par
KatUa* Ton Hoist. Weasel and Co.
There is no point in thin Mazurka sufficiently new to
call for remark. It is well written, however, and full of
those toft, enervating harmonies, not to speak of enharmonic
transitions, in which young and ardent amateurs take
"J.r.i Ms »ntm:; in This* Eae "
Written by Ji>»»iu#
: •
Rsukin, eompo«cd expressly for Mr. Sim' Rccrc, by M. W
i Cramer, Bealr, and CaappcU).
If Mr. Balfe would consent to substitute E, D sharp for
the E which stands so naked and solitary on the words " ear,"
" hood," " bright," and " round," we could at once point to
this ballad as one of the most graceful of those eplumera
which he present* to the world with such profuse and
constant liberality. For general purposes the key of B flat
will suit better than that of five sharps, in which the song in
now published.
Ma. Aluxrt Smith at IIoso Kotcu — '• Homo Koso, Aug.
22. — Here we are all safe and sound, among them at Inst, sur-
rounded by junks and pigtails, and noble ladies and gentlemen.
I have bought the inclosed pictures from a splendidine reliant
who has come off to the side of the ship on three plonks, by the
aid of a broomstick. We left Singa]K>re on the 23rd ult. I was
immensely delighted with it; it is quite a Chinese place. The
shed shops arc such rich places, they sell tho most wonderful
things in them — toys and gods and lanterns, and joss properties
and queer crockerv. The tilth they eat in the eating-nouses far
surpasses that cooked at that old trattoria at Genoa, It consists
for the most part of rats, bats, snails, bad eggs, and hideous fish',
dried in the most frightful attitudes. 8ome of the rutauratenrs
carry their cooks hops about with them on long poles, with the
kitchen at one end and the taUt-atnanqer at the other. These
are celebrated for a soap made, I should think, from large cater-
pillars, boiled in a thin gravy with onions. The barbers also carry
their shops about, and they shave, cut beards, and syringe ears
right In the middle of the street. A Chinese merchant asked
me to dinner. I went, of course, and after dinner we started
for the theatre. They played a Chinese opera, with about fifty
performers ; there were lots of devils in the piece, with
tumbling and fighting in every scene. They only had oue clarionet
awl two gongs in the orchestra, but when there was a situation
in the piece one fellow knocked two hollow cities together to show
the audience they were to applaud. The merchant lives in first-
rate style, and has a wonderful garden. AC tlie fruit tree* are very
small ; there wore pines like cabbages, and a quantity of a large
creeper called " monkey-enpe," because down the stalk there are
regular pitchers and tops filled with water, from which Jacko
refreshes himself in the woods. There were also among his live
stock Cashmere goats, porcupines, kangaroos, Fekin pigs, and
Brahmin bulls, and in the jungle across tho valley tigers and
all sorts of novelties. I slept on shore that night, or rather I
went to bed, hut I could not sleep, as I missed the noise of the
screw and tho creaking of tho timbers, and the bed was too
steady. The lost night before we got to Hong Kong we had
an ' entertainment ' on board, and I was stage-mannger.
We made a first-rato room or sails and flags, and the whole
affair went off capitally. There ore no hotels ot Hong Kong,
but a very nice club, with bed-rooms. I was proposed ami
elected as soon as I arrived, so that is very jolly. To-day Jthcy
dead rein '
hold a Chinese /tie in honour of their dead relations. They
keep firing crackers all day in the streets and burn thoso long
pastilles. I don't think they care much al>ont their religion ;
they go into the temples to get cool, or sit down, or go to sleep.
The children are frightened at the gods, they are so hideous ;
(hey roar with terror when they nro placed in front of them.
The |>eople walk about with their haU on, and whistle and
smoke, ami do what thov like ; the merchants selling gilt paper
and pastille* sit round the sides, and sometimes they beat a
gong to attract customers. Nothing that I can writo now can
give you tho least idea of this wonderful place j I see every hour
how very faithful Cooke's descriptions wert."— (Extract from a
private Utter,)
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TiTE MUSICAL ^OBLD.
[OcroBKit 30, 1366;
WESTMINSTER PALACE BELLS.
To like Editor of U' Jfasieaf Worli.
Sir, — Though I know nothing of bells, I know something of
tall-music — and something of inniic without Ik lis. Permit me
then to my a word or two In reply to Mr. Walesby.
I think him wrong on more grounds than one, and conversely
I think tht] notation flxed on by the belt committee right.
First, in bell chimes we want a sprinkling of tn*to*.ly, which
the original notation ha*, that by Mr. Walesby has none at all.
Secondly, tho objection made by Mr. Walesby as to the want
of repose t'« the musical ear at the end of each chime, and his
proposal to end on tho tonic-note, la exactly what i* not wanted
— no full close in music thonld be permitted while the subject is
•till in a Stale of development. Consequently, the half close at
tho end of each quarter is musically ana tintinnabulary correct.
TJurdlv, and chief of all tho faults in Mr. Walcsby's system,
is that bis notation is devoid of rhythm. In tho first quarter we
have two mimims to tho bar; in the sccoud wo havo three, in
fourth, four ; in the original notation it is regularly barred
crotchets to the bar.
o said that I know nothing of bells— except when they
call me to church. Mr. Walesby may be tintinnabulary correct,
but he is certainly musically incorrect.
I am, Sir,
Your most obedient Servant,
A Clergtma*.
Oct. %\ 18M,
NCEKT.
rorU.
THE OEM OF THE
To tin Editor of tH Mm
1)R g|g
Last Friday Evening a coueert took place in Nott.
No. 1. Quartett in 1> minor for 4 Stringed Instruments, by
Mozart. This was played tolerably wolL
No. 2. Sonata for piano aud Violin. Dedicated to Kreulzer
by beethovcu.
This was played very well.
The Piano by that occasion was not powerful! enough and not
good enough for that kind of music.
3. Trio, by Tosca, this was played very well. 4. Quarte tt
for Piauo, Violin, Tenor and Violoncello— by Mcudcbhon, that
is one of Mendelsohns best ( 'ompositions. We hope to hear
that (Juartett again, then we cau judge better. Mr. Shelmerdino
was much admired, & was the Gem of the Evening.
Mr. H. Tanner, presided on the violin in a masterly mauuer.
Mr. Praeger presided on the Tenor, and was much adored.
Wm. Sbclmeruiuc Etq. has been engaged to conduct the forth-
coining Saered Concert Klijah which will take place in Nott.
Mr. Snelmerdiue is just tho musieien to conduct that class of
music. I am Dr. Sir
Yours Itespectfly.
■ ■ J. C. Praeqer.
THE BRUSSKLST'ONGRESS.
(Letter rno* Lamaktidk.)
Paris, August 15, 1858.
M. le President, — Imperious aud obvious (mnsibles) circum-
stances render it impossible for me to assist at the Congress to
which you have been bo good as to invite mo. I regret this the
more keenly from the fact that the office of reporter on the
law of literary property in Franco led me to undertako serious
labours upon this question; you will find the results in the
.Vonifeur. It belongs to Belgium, intellectual ground par excel-
tenet, to take the initiative of progress in the more fully carry-
ing out of the constitution of truo property. A sophist has said,
" property is robbery." You will reply in insinuating the most
saered ol properties, that of intelligence. God has done it, and
man's duty is to recognise it.
Receive. M. le President, the assurance, etc.,
* Lamartine.
Aix a Matter of Taste. — A woman will tolerate tobacco-
smoke in a man she likes — and even nay she likes it; and yet,
curiously enough, how she dislikes it in a man she dislikes! —
ANOTHER OFLNION ON " LOHENGRIN" «•■
v i k n n a . ™» ^T323?"^
(From the iSieJtrrktUiscic Mvsil-ZeHsmg.) W9„
Is the case of new works, which, in accordance with the to-
tcntiou of this author, am meant to effect a r*for*aa*ton, and
embody a complete system, to effect which a constant agitation
is kept up by an active party, as speedy n production of them
as possible, as, indeed, of every other art-production of any
value, is not only on act of justice, since nit honourable judgment
U due to every honourable aspiration, but it is| a* tb* ssme
time, an act of wisdom, because, through the ready production
of a work of this description, the deceptive nimbus, wtrtcli sur-
rounds everything system actually kept from as, disappear. «f
its own accord. In the domain of art, just » in tfeat of relrgioft
or politics, persecution assists pretended as well as real error,
while the freedom of regular propagation and iradisturbed
investigation causes everything to appear « Its true Mf**
Following out this principle, we bare advocated, wten
addressing all our musical institutions, tht pro***** o/ttow
rorks generally, even when we did not agree with the artistic
tendencies of their composers. The principal consideration will
always be to art justly towards every vital effort, Without
making any exception on account of the special form under
which that effort maybe exhibited. Btit if this first Arty Is
fulfilled towards the composers of the present day, w* most be
allowed the greatest freedom in judging their efforts, and we
must sternly defend those health;, prices, on which tmsy
work of art, if it deserves the name, must be uitcondittonalry
based.
Regarded in this light, the production of "Wagner* £a4ffsaW»,
at the Imperial Opernhouse, Vienna, strikes us as a wwy signi-
ficant and satisfactory event, not as being a victory achieved bj
the so-called " Music of the Future," but as a first guarantee of.
at least, a partial change in the system pursued at oar Imperial
<)]*rnhou9e, where, it would seem, the ropsgssnxv kiHierto
evinced for everything new and unusual has, at lasty given wnj
to a reasonable mode of looking at matters of art.
The divided and partially brilliant success of the first repre-
sentation of Lohengrin, on tho 10th August, has bean traaai-
inously acknowledged by all the Viennese critics, competent aaxl
not competent.
What a welcome opportunity for the organs of the Weimnr-
Lcipsic party to indulge in a ■ Te Deum laudamus 1" Vreaha,
which has hitherto been branded as heretical, will now probably
rise in value, that is to say, in the estimation of the above parts,
and, by the applause it has bestowed on Wagner, have earned
the recognition of its right to pessese a " Future ! AU asser-
tions to tho contrary, adverse criticisms, and objections will
wisely be passed over in silence by the organs of Warner's
party ; the applause bestowed on certain passages, wiB be
claimed for the whole work, and the success oi the whole wark
will be claimed for the "Opera of the Pntnre."
But we, who, perhaps, look nt the matter with somewhat
harmless partiality, and, nt all events, art better acquainted
with things here than our colleagues in Leipsio and Weimar,
can only perceive, if not an intentional deception of the pubHc,
at least only a gross piece of self-deception. That Lohtngri*. was
produced is a proof of the artistic feeling of the new manage -
ment, a feeling which, we trust, Will be extended not to tile
" Music of the Future " nlone, but to every effort of real taleu:
of the Present. In the fact of the tnMie having readily come
forward to welcome this praiseworthy step, we see a new proof
of the susceptibility of the Viennese, ana their yearning lor
fresh and better things. With regard, lastly, te the nicest* of
Lohengrin, we consider it as the merited recognition of Wagner's
talent ; recognition which he has achieved not through his
system, but in spite of it, recognition, therefore, which is in no
wise to be attributed to the new operatic system, or to the
so-called j»arty of the "Future.* vnWfciarilC as asm* clearly
cxplnin ourselves on this point. , t*a i'je*
Musical Vienna has troubled itself but very little with tke
factions existing in musical matters, for a considerable \
the North of f*
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TliE MUSICAL WORLD.
rj9;i
•nut with the siibjstjts of dispute, ami the warfare carried on in
consequence by the various musical papers, and, above ail, does
not think of them, when streaming into the theatre to hear a
now opera, 1 A Viennese ta, on the one hand, too uneducated, in
many particulars, ond,on the oilier, too reasonable, and possessed
of tooaouad a judgment in musical matters, to look for anything
else'at the theatre wit the utd»icmed,unditturbed enjoyment of the
uurk nf jrt k- ./•;« j .•.<•' of its representation. The reader
perceives, *« by no tnuau* wish to depreciate the success of
LvhtHyri't, which strik'* us as all the mora satisfactory and
natm id, rfov the . very reason thai Wagner has to share it only
with tbaortitU who represented, and the gentleman who directed
liia work, while we must decidedly refuse to acknowledge, and,
in doing so, we Hunk we truly render the opinion of the Viennese
public— that the so-called "Music of the Future f tho ideas
wbioli Wagner ectmciotos with each passionate pathos in hU
writings ; the tendency whi.b Heir Brendel advocates so cleverly
in his paper, have achieved, with Lohengrin, thai triumph, aliout
whicb the members of Wagner's party are eo enthusiastic. In
reply to this, we shall be told : "The public was not, perhaps, quite
coueeiour of what it f«lt ; but the applause bestowed on Loltenarin
involved vhe recognition of thorn principles which Wagner wishes
a," To our mind, however, the direct
Whatever produces a satisfactory nnd
i in Wagner's opera is precisely that which
M not the practical realisation of hi* theoriet of reform, or that on
whicb be and his adherents laythe greatest stress in their argu-
ments—but that which, iu every opera of the Past or Present,
would be considered good and appropriate, dramatically true,
and musically beautiful.
. Wagner's talent strikes us as indisputable, but his tyttem as
by no means so. We invariably perceive the greatest develop-
ment of bis talent in the very instances where lie is unfaithful
to his own system.
Wagner's polemical and reformatory writings arc distin-
guished for their clever and soaring, although frequently super-
abundant and verbose, exposition of the defects ana excrescences
chnging to modern opens. But, from the very outset, Wagner
confounds the abate with the right employment of allowable
means, and erroneously pourtrnys every abuse as an incurable
omental evil, ami all that tho greatest masters have
I in the shape of operas as a failure. This is a crying
which is au evident contradiction to the wclf-
I by Wagner, as a musician, for these
But his rhetorical mode of exposition always
darker, more unintelligible, and more superabundant,
enever he has to sot up a picture of the future to guide us,
instead of the past, which according to him is languishing iu its
but death-struggle. His ideal of the true, and only possible
opera, is, as far as wo can comprehend what he means,
either a highly ita practicable step baclvardt, to times long
ainee past, or an intended completion, and perfecting of that
which has been done, in the same style, by the masters of the
Past aad of the Present— of that which, therefore, in both eases,
according to his principle, has already existed, without the
slightest intention of really re-modelling it. If opera is indeed
to be only a succession of recitative*, without n resting point — a
mere musical intoning of tile dramatic dialogue, without any
specific musical aim and subslanct — such unhappy eagerness
to exaggerate Gluek's strict theory, and to return to the infancy
of opera, can only end in a very deplorable result. If this is the
ease, Wugocr is no reformer, but the most violeut reactionary
in the domains of art, who despises the progress made since
P.tineau and Lolly, and, most impracticably, would, instead of
developed dramatic mutio, snob as we have possessed for eighty
years, restore the recitative, which, if solely and wholly su-
preme, would constitute the essence of mouotony. Directly tbe
dramatic actios aad dialogue are regarded as the principal
things, as. fcke « aim," and Use music as tbe "means" only, Uie
latter iuas n risk of being justly discorded, as completely use-
less, nay, as an impracticable adjunct, even interrupting the
dtal(wue,and impeding the action. Music iseffective andagreeable
only wien it appropriate the meaning of the words, and imports
to the m • heightened efeot, possessing, at the sane tuns, dmmat,c
truth and murionl enbetance. If this, however, is Wagner's pur-
pose, if his only iuteutkm was to restore to opera dramatic truth,
in which, from various errors, it is occasionally deficient, then
he ought to bave said so ; then, instead of stepping forward as a
reformer, he ought, as a true disciple of honoured and great
men. to acknowledge that he, in his way. wished to effect
nothing but what Gluck and Moxart, Ciraarosa and Paesiello,
Mehul nod Uoieldicu, Chenibini nnd Snonlini, P.eethorcu and
Weber, Spohr and Weigl, Meyerbeer and Lortriog, also tried to
effect, andwhich they succeeded more or less in doing. The
above masters hove, each in his own way nnd in proportion to
bis powers, produced effects that are extraordinarily beautiful
and great, precisely in muiicaUy-dramalic character nation, and
not, in order to be eliaracterurtioally true, by descending to abso-
lute recitative, and banishing the cautilena; no, they enjoyed
tho privilege of uniting beauty and variety with truth, of blend-
ing melody and dramatic expression, of retaining the form of the
aria, the duet, etc, and, at the same time, of being so frue, that
Wagner cannot bo more so, although he sacrifices everything,
even beanty, to trnth. What becomes, then, under these cir-
cumstances, and the crushing weight of thuxe facts and exam-
ples, of Wagner's system of the "Opera of the Future."!
[To U continued.)
Let Poet. Sill
JANET.
momr Mrrtt*.)
whsl mains they will,
worth their
jthV
There's none, I'm sure,
Then active little Janet.
This little meld, of whom 1 sisg
(And the t rut h I'm only ststinf ),
essly upon the wore,
tired of ■
Should any sinner wanting i
Iuto " Kotwrti ' cosuee to pop,
He'll «y that little J sect
I a wuilrvM is jirwt ckop.
As i
Though full of human kindness,
She5!! seen brine him to bis A##r (bier).
bis dinner mayn't cent mueh,
: her a "little desr."
She'll soon resign bin to a ileai (staks),
And that without remorse ;
Though the's got tlio best of
She csn giro lots of "piqui
(QUKSIl MIT ax.)
She's ai bright snd ss sharp si any steel,
Though sn sctire life she's led ,
Kver ready to serve with malt or a meal,
And I'm eurr no one's better bread (bred).
(lovo xistbs.)
Bho's s good little girl, snd no mistake j
She'll stand uo noussnse from " muiT or " poltroon ; '
For she very well knows how to serve out s cute,
Or to polish a high " mettled" spoou.
There see "kossoos • who think she'd make s soodQasenof On tee,
While other* with faces quite murky.
Would much like to Uke her upou s luug lease
Saying she'd jest suit them to rule over Tnrlty.
There sre folks who cell her s nice little duck-
Son, e who ssy she's got a good heefl—
While others who sro isdly in greet wsnt of plonk,
Ssy tlist when vexed she's s Uttle too tart.
nun asp cnosrs.
Onr own " little Jsnct" will however do for s tout,
Whieb too highly buttered can't bS i
And should you e'er wsnt a maiden who'd well rule your rootf,
Our - little Jsnet" would suit to a
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694
THE MUSICAL WORLD.
[October 30, 1858.
MORE OR LESS OF IT TRUE.
(From the Senate.)
Mad. Malibran received for each performance, at Drury
Lone, £160.
Mad. Urisi received, for singing at a musical solemnity at
York, £400.
Lablacbe was paid, for singing twice, jCI.V).
Huiumcl left, at hi* death, 37.1,000 franco, and a large number
of valuable present* from all the court* of Europe. Among
them were 26 diamond rings, of high price, 34 gold snuff-boxes,
and 114 costly watches.
Rossini was offered a million (of francs ?) in Italy, to sing the
part of Figaro himself.
For n single singing lesson given to Queen Victoria, Lablache
received 1,00c franca.
At one $oir(e in London, Mad. Gritd earned P>0,000 francs
Mdlle Taglioni's second benefit at St. Fetersburgh brought iu
2O4,00o francs. During the performance, the Emperor sent her
a bouquet composed of turquoises and diamonds. At Hamburgh,
this lady received 3,730 francs a night.
Twenty-four performances at Rome produced Rubini 30,000
francs.
Faganini, who, as we know, did not sacrifice on the shrine of
sentitnentaliam in money matter?, wrote, one day, to Mr. Loveday,
as follows : —
''Sib, — I am obliged to express my surprise at *eein
i express u
thiuk of disoharg ing your dent, to inc. four negligence compel*
bow little you
ine
to refresh your memory. The question involve* certain detail* vou
"»ght not to hsre forgotten, I -end you, therefore, my little account,
i»nd expect you will pay it <400u :—
'■ For twelve lessons given to your daughter, to tench her
liow to express music, sod to conceive the sen-0 of the Franc*.
nol*» 2,400
For pluyiug eight tune* at your house, au<l, on various
occasion*, some piece* of inusio li-t.ooo
" Mokiug a total of 20, 1UO
"I do not add to this account thel**»on» I hare giren your daughter
at table, at dinner, or in a conversational m.mner, Sx.
"NlCOLO PxOAKlNl."
When Napoleon heard that Mad. Catalani was about quitting
Paris, he ordered tho great singer to wait ou him at the Tutle-
vieB. She trembled before the grand virtuoto on the cannon.
"Where do you want to go?" inquired the Emperor. "To
London, sire.'* '* You will stop in Paris. You must do so. I
will see that you are well paid. Besides, your talent is better
appreciated iu Paris. You will have lOO.Ou" francs a-year, and
two months' leave of absence. The matter is settled." Adieu,
mndaiue." But tho matter was not settled for MaiU'ntalar.i left
Paris secretly, and without a passport, and set out lor London on
Iward a vessel that was taking hack some prisoners of war to
exchange. The parage occupied twenty-four hours, aud coat
her 3,000 fraiics.
Handel composed his ltina/Jo, iu 1710, in a fortnight.
Hi is opera was, for twenty Years, a great favourite with the
Knglwh public, and so ruu after immediately it was produced
that Walsh, the music-publisher, made 3,750 francs, while the
composer received far less. Happening to meet Walsh one
evening, at a party, Handel said .juicily to him: "My dear
Walsh, in order to equaliso matters between us. vou shall write
tho next opera, and I will sell it."— Febdi.vasu Sin*.
SHORTFRLLOW SUMS UP LONOFELLOW,
(From Puarl).
Mn.wt Staxdish, old Puritan soldier, courts gal Priscilla by
proxy. '
Oal like toe proxy the best, so Miles in a rage takes and
hooks it :
Folks think he's killed, but he ain't, and comes back, as a friend,
to the wedding.
If yon call this iuk-SUndi
you off Miles,
iinh stuff poetry, Pwh will soon reel
THE UNIVERSALITY OF ELECTRICITY.
(From PmifA.)
Ova daily reading proves that electricity i» now fairly taking the
circuit of the entire globe. Xo barrister goes so extorsive s circuit, or
talks *o much wilh so little noise. The beauty or electricity is, thai it
talks without being heard, an accompli-luucnt which ladies hive but
yet acquired.
Amongst the recent marvels of electricity, wo have1, o record two —
Til. I pianoforte playing, and toolhdrawing. We need not asy that
both performance-" are at times equally chocking. There are occasion*
when wc would sooner hare a tooth drawn, we think, tban lialea to an
excruciating extraction of agonising sound* from the piano. So much
depends upon the instrument, snd the use tliat i» mado of it ! Accord-
ing to your manipulation, it becomes either an instrument of ptesMre,
or an instrument of torture. But if it is occasionally horrible to bear
o*e piano (aud the horror occurs in every capital, that has aiy preten-
sion* to be considered a Fianopolis. more than one day), consider srhat
it must be to listen to five pianos rodtw tempon J Electricity con-
fer- this terrible dexterity on every pianoforte practitioner. ' Tbi*
quintuple achievement vs. actually accomplished by a Mr. 1
at tlie National Theatre at Brussels. The fife pianos
together with electrio wires, which were connected with as electric
battery iu another room, and you had the whole lot of them jingling
awsy at once. No necessity to encore a piece of music at this rat*,
when you lake it in fire times over at a single hearing. What a fearful
power to vest la any man's hands! If electricity can do it with fiva
piano*, why nut with fifty? wby not with five hundred? Where i* it
to atop ? If that is all, we do not see what there is to prevent a
pianist, who holds tins eleotrie sccomplUhment at his ftagen'-eaoV,
from performing in every capital of Europe precisely at the same aim-.
Fancy lA,tt going through his pianolbrtrflatic gymnastics on five
hundred Broadnoodft, and being board aimultanconaly, without ths
interval of - •am- a vibration, all over the world! We should not be
*afe anywhere. Be might pursue us into the very centre of the Desert.
What exquisite revenge he might take on his detractors .' He might
muliuously place a piano on each aide even of mt, put one over oor
heuiU, and auother under our feet, and by playing upon them, unseen
by ua, and unknown to IIMM 2,000 miles oiT, tend u* ravine mad is*
less than half-an-hour! Wc hope electricity will never lend itself to
tuuh base machination*.
Wo have heard of men riding on tire hones ; but wa do not thiuk
tluit u piauoforte-pk) cr ahould try to emulate a horse-rider by ptaving
upon five pianos sll at once. One piano at a time u quite enough,' and
frequently too much; but bring tlte rteetric battery to play upon an
allied army of t'ollords, ami wc will not answer for the world being
strong enough to aland the shock. Further, wo have a presentiment
that it would he shivered to littlo biti by sheer force of mclodv. a* we
hare seen a magnificent barley-sugar temple on a supper-table totter snd
fall with a crackling crash, into a chaos of golden rnius, by the violence
of the Stamping music overhead. So it would be with the world!
After one five-hundred pianoforlo esWe, there would bo nothing lets
of it but nu immense dust-heap, on tho top of which men and i
would be lying like so many oyster-shells and lobster's claws.
As for the tootudrawing by electricity, wc do not jump to it toeasilv.
It is actually done, however, in fur leas time than \ou can think as io
what you .hall have for to-duj, s dinner P A single tooth, we snppeee,
is charged at the rale of :i single message; a double tooth doubtlessly
counts tor two. We wonder if the tame shock that polls oat the tooth
Ha convey a message to tell your wile that it is out! and "oat (as
Ucorge Cruikshank s drawing informs us with jumping glee) in less
than a minute." The description of this uew style of deutition neglects
to inform us, whether a new set of teeth can be supplied bj the same
process.
The anticipated benefit of the one discovery tends greatly to
the dreaded evd of tho other. If pianoforto playing by eh
threatens to increase largely human au flaring, &i »U events dental
surgery by tho same invisible agency promises to considerably
it. It is sll a question of nerves, and io the elcetrio contest
ears and teeth, let us hope the molar* will have it.
The question is, wbat will not electricity do next 1 We do not despair
of the good time coming (and it hss been a lone time Mi the road),
when we shall be able to ait quietly in ourerm-chair sud electricity will
do everything for us. It will cook our dinner, sew on oor battens
write our letters, make our clothes, whip our children, black
boot*, ihsve our stubbly chins, and even help us to s pinch of i
if wo only wish it. We almost believe it will in time so far
• perfection a* to carry W tip to bed, undress us, tuck as up, •«<
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October 30, 1858.]
TftB Musical world.
— —
blow out t!ie candle, when we arc too tired, or
ourselves. But there U on* thing, we arc afraid, that it
and that i», help ua to pay our income-tax.
Alas I there is n limit eren to electricity !
to do it
er will do,
CURIOUS MUSICAL QUESTIONS.
ASHWKItS To OcrBREBPONDItNTS.
(Fruui the York Musical RecuK.)
Of the
ViRoiseiA L. — "What is the meaning
Trochaic, as used in the ' Ualklujah t' "
Iambic,
Our hymn* are «U composed (n stansns ; moat frequently in staniae
of four Imea e«eh, though tometloKs in sUnsa* of six or eight hnea.
Kaeh line of • stanza oonaiite of a certain number of syllables ; thua ,
for example, in long metre there are four linra of eight syllables each ;
and in common metre the firataod third lines have eight si liable* each,
and the second and fourth line* hare six syllable* each. The syllables
are part of them accented and part unaccented r most frequently there
ia one aooenteii and une unaccented ay liable in connection ; but some-
time* there oi-o three syllable* thus connected, cither one accented and
two unaccented, or r-i'e* ttrta. There grouping* of the syllable*, a* we
may call them, are termed poetic feet; and there arc, of course, dif-
ferent kind* of poetic feat, according to the number of ayllables, and
place* of the accent*. A poetic foot of two ayllablei, the firat being
unaccented and the second being accented, ia called an Iambu*. and
poetry thus written is aaid to be Iambic. The long, common, and
short metres are Iambic. If the accent be on the firat of the two syl-
lable*, the foot i* called a Trochee, or Trocua, and poetry thua written
ia called Trochaic. The seven* and eight* and sevens metre* are
Trochaic. If there be three ayllables, the first and second unaccented
and the third Accented, the foot ia called an Anapest, and the poetry U
Anapestic, When, in three syllable*, the first ia accented, and the
second and third are unaccented, the foot is called a Dactyl, and the
poetry i* called Dactylic, or said lo be written in Dactylic feet.
iSaamim the bymna to which the tune* classed under Ue different
heads, Iambic, Trochaic, etc., arc adapted, with reference to their
rhythmic structure. Take a look also at these words in \\'tlttei>s
Dictionary. As a further illustration, wo hare changed a well-known
tune from it* usual Iambic measure Into an Anapestic form. See the
tunc, " Quantum MuUtus," in Ihi* number of the Retirir, in the har-
mony of which we hare aUo made some slight alteration*.
E.— " 1. What is the difference between A flat and 0 .sharp ?
I mean, in the Hound iUelf. 2. We know that the interval
» two letters is a step, and if a letter is sharped, its
a balf-etep higher, while a letter that i* flatted
I a half-step lower. Are they synonymous ?
X Yet a diagram of the finger-board on the violin shows a dif-
ference. 4. Please inform me iu the next number of the
Heriev. fl. Also, what does * signify placed by a note H
1. The tone* named A flat and O sharp differ with respect to rela-
tion, hut not with reaj ect lo pitch. The same airing on the pianoforte,
and the aauie pipe iu the organ, ia used for both; there it a difference
of rel it ion hut not of pitch.
'l, "Wo know,"aays onr querist, "that the interval between the two
letters is a step." We suppose he means the letter* O and A j though
' 2 — , r* .... ..,.r~, ... ...... ............... „, ...._a_
no reference ha* been made to them, but only to Q sharp and A nit.
lie proceed* and ears \ "If a letter U sharped, its tone become* a
half step higher." lathis true? Let the Normals answer. We hear
the loud .Vo from every voice, for they aU know that the pitch of a
let its name he what it may. cannot be nltered. Can A flat
ge the pitch of a tone t They all answer again, -Vo, ; lor the
i of a tone cannot be changed. But this is a digression intended
only to e ill attention to one of the many inaccuracies heard in muatcal
teaching* or description'. ••Arc they synonymous?'' Ye»j they
are the tame iu pitch.
3. We know that the finger-board* of violiua are sometime* so
marked as to show a diflVreiwe - yet on inquiring of some of the most
distinguished tioliuisls ia the world we have been told that they use
the sanio *top both for G tbarp and for A flat. Wo suppose others do
not, but endeavour to carry out the thoorctioel or mathematical dif-
ference in their practice i yet in lome ease*, aa enharmonic changes, no
one would do this, but would continue the ex
relations, or when the relation of a tone change*.
NIGHT AND MORNING AT MALTA.
By , j axil s Axniow, lt..\'.,
Author of " A Qlatt of Ale and a Sandwich," " Sketches in SI) B/rffl,"
It is evening at Malta. In the midshipman's birth of the
" Ridiculous" (the worst ship in tho navy — supposed, from the
of ita timbers, to have been made oat of the lunula of
of Admiralty) dinner is just over, and dissipation is
about to commence. My last glass of claret (though prince of
wines !) has gone down with the sun— not in company with that
orb, most obtuso of readers, but collaterally. I qualify it with a
alight nip of brandy, pale, and such as can be obtained only by
those who have a comprehensive tick. Most of ns are going on
shore to spend the evening ; young tilugg indeed is the onlv ex-
ception ; he is staying on board to writ* to his aunt. Poor
be uat ! We had to cob him with a sword -scabbard tho other
day for talking about his mother at mens. But he ia the son of
a Manchester manufacturer, so what can bo expected of him 1
Young Hyacintho and myself (Hyacinth© ts the son of the
Duke of Convolvulus — descended from the Convolvuluses who
were marshals of Normandy in the reign of Charles the Bald —
wear an ouvie/iantam, gulet, on a field azure, pale, fiehc, &&) hail
a shore boat and go off together. We bilk the boatman, partly
because the Manchester fellow always pays him, and we have a
gentlemanly dislike to " abine with Pye," and partly because we
have no cash. It is, besides, so amusing to hear a Maltese
swear ! We march along the Strada Coapetto (making eyes at.
n pretty Sicilian on the way — to see violet eyes in this climate
is as refreshing as a glass of enrneoa) until we arrive at the
Plaza Corpo dt Bacco, where (aa everybody but the plebe know)
is situated old Gloriaua's eafi. At the end of the Plaza you may
hear the mrailiar click of the billiard balls, and the clatter of
equally familiar voice* In the upper* room all the old fellows
are aasembled. Tomkins, of the "Ineffable," ia telling an
amusing storv, and a knot of youth* have suspended their play,
and listen to nim aa they aland chalking their cues. It seems
he has shot a consul (only a Greek one) in the morning, while
carelessly popping about at Becam e* Nobody would have
taken much notice of the affair (it could scarcely havo been con-
sidered an insult to the national flag), but for Totnkins's imper-
tinent defence. He aaid, it seems, that he mistook the old
gentleman for a kangaroo— -which animala he was too ignorant
not to know (being of a parvenu family) do nof run wild about
tho island.
However, everybody was greatly amused at the incident, ex-
cept myself perhaps. Tho poor old gentleman had a daughter
with violet eyes (probably now weeping) and his hock was first-
rate. We all toasted Tomkins iu the beet lacbryma that credit
could procure, and then sallied forth ; insulted two or three
Maltese unprotected females — thrashed a couple of English com-
mercial travellers (who talked of making Cobden bring the
matter before Parliament)— and, in short, enjoyed ourselves
amazingly. Bam, of the " Unendurable," who has learned to
swear aud talk indecency in Maltese, was in particular very
useful aa the spokesman and interpreter to the party.
But notwithstanding these wild diversions — which arc so
seductive in tender years and a soft voluptuous climate— I
■till studied my Plato before going to bed, and dreamed of the
soul and ita aspirations, and then of somebody who ahall be
nameless. Aa I took
(771* reMojthuMiL it lot.)
SciaBoaotHJn.— In the New Mu*ic Hall, Spa.' at Mr. Yahr"* eon.
certs, Miss B. Crostland sang a pleasing selection of song* in good
•tyle. She has an agreeable voice. Her effort* ware rewarded by
repeated applause. Mr. Lambert sung Wei**'* "Tillage Blacksmith"
with good effect, and in Schubert's "Wanderer" displayed a great com-
pass of voice. He was encored in Snaith's "My bonnie bark," a new
long that will become popular with bass vocalists. Mr. Murray played
a eolo on the harp, and Herr Wiener a fantasia on the violin. Mr.
Vahr's waits is a pretty composition. The concert concluded with a
popular galop— Motion Messenger, Oct. 16, 1868.
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THE MUSICAL WORLD.
[October 30, 1858.
THEATRE ROYAL, DRURY LANE.
Under the Munngemen t of Mm LoaUa, Prae ui Mr. W. "
production ok •' maritana "
great success of " martoa," and -the rose ok castiixe.-
Don Queer de Uiuau (liin
• r«uU,i Pyno.— Ou Tucaday
On Mou-lay and Tburadsy. WaUjoo'a MARITA>'A
ortrfnit character* Mr. W. II vrl*t.n ; Maritaim ML
»odl ri<tiy(llllha- "
aud Tbaieday, Mi
■ ■ — — — , ~—
ROYAL PRINCESS'S THEATRE,
law well Swuon of Mr. CHARLES KEAN M Manager,
(")N MONDAY, Wednesday, and Friday. MACBETH.
iffh. I^AWA^rH' m^l — -° J0U1<-
■■
AL OLYMPIC THEATRE. — On Saturday
vj.u.;
of I.ADIM BEWARE
To conclude wlti TO
evening,
SB 1 To&e
'.> OBLIGE
G
REAT NATIONAL STANDARD THEATRE,
BIlORESITCa — Proprietor. Mr. Joan Dodclaw.
M/id. Co tin wary awtuW-THE GREEN BUSHES f ,r tl roe ntanU. by parti-
„ uJLiSL •?™tmu"1 ™ceae.f THE FLOWERS OF THE FOREST. Lw
o U»fbt«r at th.. nevr BaHt.t-Oo.nlqn.. Mad. ' ele-te, Mr I«,u: B-dtard. M'.m
Sja AWaw JWCaa th» Theatre Royal Adaipui, th. InUn.taelJ. Fletcmore, and
J?. '!u,loL *ntJL,n« >•»« m°« eltrucUre Comp.ny Id Loo Km. On Muudar
J'7 If, "K *rirt»y. *• eommetLC" with TUB GRERV BUSHES Mlim'J
DEATH".
Mejuire Qfcso*, born Slaa Fay, formerly an Aetna* of the Bruewls
1 hea,r». »"d of 'ho Porte-ftiint -Martin and the Variete* at Paris died
at the beginning of tho pwreftt month at Joiaeille-le-Pont. She be-
cmg d to a family of artiat*. Uer grandmother wae Mad. Kooiaeloia
th,- fat im and nnthcr -rr« both nrtore, the father, M. Etiennc Fay
bj-i g alao a compoaer of mueio; her ai.ter wU Madame Volnii
(W.^etoeya^i an,l her brother, M. Aogueta Fay, called Daron .«
a-.^ho-t u. the TlK3.tr* M.diere at Bruaeele. Eliei Fa, accou>„.n>ed
U r .later Uontine, aurnamcd " la pHitt wntUU." and played with
« 1' U£*"U' °Ct0b*' *nd """-M 1820. Married toX ."[or
rf« i *21 "* ;'r'"^ rfo""0> .to £Te th"» repre.ental.ona at tho
■aSt l M'»'naw. Brneaele, 10 December, 1838. From 1838 to
18*0 the was engaged tliere ae the rcpreacntatire of Jtunrs
TO CORRESPONDENTS.
A C. S., Thobsbt ABBtr.— The Artitt in question did receive
•recently Me compiimtnt of a ihower of boxujuete at Her
THE MUSICAL WORLD.
LONDON, SATURDAY. Octobbb 30«, 1858.
Ever, since we can remember affairs connected with the
theatre, the « star-system " has evoked unqualified and
umveraal purgation fTOm the critics. Extrevagant terms
£ wf ft" ^ conseq«^t .Iwrwn have proved
a fruitful theme to thoee who have taken, or appear to have
Ukeu, a deep interest in the advancement of the «ta<-e.
Ihat one actor should be paid an exorbitant sum— the
tuvoiunte phraae used to be, "more than the salary of the
i a i° i °f th6lTro*snr>-"— and another receive what
would barely keep body and soul together, seemed a paradox
!^f^ JftlC°' rRd WM ^voly Trebled by the
tnfenor members of the profession, a larg.- and in-
fluential cla« of the community. Had mantJer* followed
the immediate advice no Keiieroualv tendered to th,^,
and ropudiat*>d tho « aUr^yatenV-' "
have benefited I Not the actor who was not engaged ,
not the manager whose theatre lost a special attrac-
tion; not tho public who were deprived of beholding
a favourite. When the Chartiat, in the apirit of uaive*al
benevolence, wotiud up his favourite argument with the
cliuchcr, " Is'nt one man tts good as another 1 " and the Irish-
man replied in a spirit of benevolence still more universal,
" Faix an' that he is, an' a grate dale betther," we fancy
Paddy had the best of the argument. At all events he put
a stopper on the Chartist's mouth for ever. For ourselves
we think there is aoinething to be said in extenuation of the
" star-system," if not in its defence. If you want a superior
article of dress, or furniture, or ornament, you have to pay
a good price far it. An artist regulates his terms by the suiu
which ho thinks he will bring to the theatre— his exact worth.
People cried "shame" on Mr. Runn for giving Mahbran the
ruinous sum of £,125 a-nightat DruryLauofor singing; sard
on Mr. Webster, of the Haymarket Theatre, for paying
Macready at the rate of £10 an hour for acting. The answer
is irrefutable— both Mr. Bnnn and Mr. Webster put money
in their pockets. When Mr. Sims Beeves lately was paid
X300 per week for singing at the National Standard Theatre,
and Mademoiselle Piccolomiai received more than £100 for
her vocal services at the Crystal Palaoe for one concert, both
sums would appear preposterous did we not consider that the
artists brought to tho treasuries tho money that paid them.
If a singer or actor is worth what he brings, and he brings
what he is worth, there is an end to all argument about the
" star-system.1'
There is, however, another species of "starring" which is,
we think, far more open to condemnation »"»n th^ per.
taiuing to theatres— we mean " readings," " lectures," and
" monological entertainments,'' in rooms, halls, or cbambara.
On the stage the public voice has created the artist, and has
assigned him his rank and station. By the public breath
ho has been called into existence — by the public breath he
lives and has his being. The " reader," or " lecturer," on the
other hand, builds his own stage, erects his own pedestal,
sou himsell upon it, and makes himself his own idoL He is
his own "one bright particular star" that shines in a
heaven of his own making. He keeps himself aloof
from comparison ; he hides his head from competition ;
he brooks no rivalry; he submits himself to no tost; he
is his own advocate, judge and jury, and his auditors
the cohesive and shrinking public, who feel they are oat of
the sphere of animadversion, and dare not lift up thetr
voices in hazard of opinion. One man lectures, as it is
called, on Shakspere ; another delivers himself of au essay-
political —polemical —astronomical —architectural — musical
—medical— telegraphical ; a third exhibits himself in various
disguises and monopolism a whole drama ; a fourth reads
his own books. The lecturer on Shaksporc is simply a bore,
whom we religiously believe nobody would pay to hear or see
unless he were somo actor of note. The most intolerable of
Shakspere's commentators is the lecturer. He who reads an
essay in public is obviously circumscribed in his arena ; and,
as he limits his operations to Institutions, Polytechnics, and
Scientific Societies, must be credited with more charity.
The " Entertainer" is a comprehensive term, and includes all
who, hko Mr. Albert Smith, Miss P. Horton, Mr. Woodia,
and Mr. and Mrs. Howard Paid, undertake to amuse the pabr
he by their unaided talents. That the "entertainera" afe»v«
named have all proved, and continue to prove, eminently suc-
cessful, constitutes no answer to the bread principle we- wish U>
be who invites tho public to Come, hear, and
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October 30, 185a]
THE MUSICAL WORLD.
697
«oe himself and nobody else, a priori looks more to self-exalte,-
tion than the world's benefit. We know what h temptation
it is, having three talents, to exhibit them siniultancouslv.
Wo know, too, that the majority of mankind—
" wish to soo display 'd
By ono thrte t*l«nti, for thero were no !«*"—
" The Tv c. , the words the _
Could hardly be united in a
ij that beyond mere momentary amusement
there ia no result; that the
»f exhibitions, however musical,
leaves no lasting impression-- involves neither advantage,
nor profit
Against the reader of his own books in a public room we
still more strongly protest, and are grieved that the sanction of
illustrious names should have been given to snch a precedent,
their illustrious names to constitute a ]>owerful precedent.
Henceforth every puny satirist, or camlist, of sanguinu
tendencies, and born with speculation in his soul, allured
by the linked reputation and money wrought from their
"readings" by renowned novelists, will rush to the plat-
forms in town or country, and invite the ]>opulace to hear
him howl through his own tale, Christmas piece, or bit of
poesy. The world will be menaced with public reciters of
their own works. Fortunately the evil carries with it its
own cure. The " reader'' who has no reputation will havo
no audience. Of the crowds who flock to a reading by Mr.
Charles Dickens or Mr. Thackeray, for ono who goes to hear
a hundred go to see. None has a chance in this race for
popularity who has not previously rendered himself famous.
Tim ooixtitutes the bout public safeguard against the pre-
valence of a class of entertainments of the slightest recom-
mendation and benefit It would lie deplorable indeed were
the giants of our literature, through any necessity, much
more through want, or love of money, compelled to abjure
all writing, and, in place thereof, to exhibit themselves
periodically in public to gratify prurient curiosity or a fake
Uste. While acknowledging the almost unparalleled suc-
cess invariably attending the 'readings" of the popular
gentlemen just named, let us, in a spirit of lovo for all that
is good and great, be allowed to entertain a hope that
both Mr. Thackeray and Mr. Charles Dickens may tte driven
baok from the glare and flurry of the lecture-room to the
solitude of their closets, convinced that there and there
alone cau be fulfilled the high mission entrusted to "
M. Julliec commences the twentieth season of his annual
concerts on Monday evening at tho Lyceum Theatre. The
change of locality ia attributable to various causes, none of
which need be stated in this place. It is, however, to be
lamented that a largo theatre waa not available] more
especially as the concerts are on the same scale of magni-
tude as ^ when they were given at Covent Garden andHer
Majesty's Theatre, and the band is no leas jwwerfuL Nor has
M. Jultien altered the pricci of admission in any way, so a*
to compensate for the inferior size of the house. If, never-
theless, the Lyceum be crowded nightly, M. Jullien, not-
withstanding the expenses of principals, band and chorus
with the new decorations and fittings, will liave no cause to
complain ; and of the result we do not entertain a doubt
™ Ikm*>n PnMic "m *>* witii «*ret that the present
series will constitute the " Farewell Concerts," or " Concert*
cTAdiew" of M. Jullien, previous to his departure on his
" Universal Musical Tour " through the capitals and cities
of Europe, America, Australia, the Colonies, and the
civilised towns of Asia and Africa. This grand lournie of
course cannot be accomplished under several years, even
with so energetic, enterprising, and untiring a director to
carry it out ; and, consequently, the London public will have
to lament for so long a period the loss of their most delightful
and admirable winter entertainments. That M. JuTlien's
place cannot be filled up, we think, will be admitted. Not
merely the enterprise which sees no obstacles, the
energy which never fails, tho faith never broken, tho little
show for self-aggrandisement and the directness of purpose
always on tho side of right, havo tended to achieve fur
M. Jullien his great popularity — although these would have
made any public man popular; his undoubted talents
and skill as a musician and orchestral conductor have
equally tended to place him in his high position What
M Jullien has effected in the way of conciliating public appre-
ciation for the most intellectual of all amusements, in making
more universally known the works of the great masters and
by frequent performances creating an abiding love for them,
and how he has converted what used to be a pastime and
relaxation into an entertainment fraught with meaning and
instruction, are now matters of history. The good that
M. Jullien has dona in- this way oauuot be overlooked.
Moreover, he has kept for twenty years, almost continually
employed, a large force of instrumentalists; and to his
exertions, in a great measure, is due the strength and effi-
ciency of our present orchestral bands, many of our most
famous wind and string performers having been discovered
and imported by M Jullien.
When all is considered, we have no doubt that the "Fare-
well Concerts'' will constitute a series of fltes, the success of
which will plead powerfully to M. Jullien for a speed v
return from his universal tour, if not, perhaps, tempt him to
forego his determination of withdrawing himself for so
unendurable a period from so many constant friends and
true ;
There ls a certaiu periodical of great interest to the
student of modern literature, of which, however, students
never speak, — resembling in this particular the ancient
Egyptians, who, while enjoying the blessings of the Nile never
revealed its source. Possibly tho ancient Egyptians did not
reveal the source of the Nile because they did not know it
themselves. Possibly, also, the students of modem literature
never speak of the periodical, to which wo refer, because they
never heard of it The name of the latter, at all events, is
BenCs Monthly Literary Advertiser, and its purpose is to
rug later new and forth ooining books and engravings. Who
lieut may be, we do not know, for the periodical is printed bv
Woodfall and published by Tucker. He may be a living
personage, or he may be St Bent, patron of tho booksellers,
as St Crispin of the shoemakers. There is a legend, how-
ever, that describes him as an actual specimen of humanity,
so remarkable for the elegance of his costume, as to elicit
from a waggish publisher the facetious observation, that
although the bow should not always bo bent, ~
Following the bent of our inclination, that is to say,
turning over the leaves of the periodical in question, we
head of
Digitized by Google
698
THE MUSICAL WORLD.
[October 30, 1858.
•' Miscellaneous announcements of forthcoming works by
various publisher* :* —
■ThirtY-Firo Year, of ft Dramatic [Author's Life, by Ed*. FitibsTI,
a., author of ' The Siege of Roclielle,' Ac.— Zeil in the Work of the
Ministry; or, (he Me>n« by which erery l'riert may render his Ministry
iMJuowrnble ind fruitful, by M. I/Abbe Dubois.' AeicAy.
The latter of the two works, with which Mr. Newby
intends to edify mankind, we leave to the care of our esteemed
contemporary, The 1'abitt, hut to the forim-i- wu call tho
especial attention of our under*.
Thirty-five year* of Edward FiUball's life ! Why, this
will be almost u complete history of tho melodramatic stage
of London, written by a man, who was the hailing dramatist
of his class, when that elai* was in it* lufltillOOcL Hi*
productions may look somewhat crude and disjointed, if re-
vived now, but they were epoch-making works in their day,
and those who crack jokes about liis bluo ami red lire will
do well to bear in mind that it was not speedily extin-
guished. Tho life of the man who writes an epic poem,
should be itself an epio, nays somebody ; ami we may add
that the historian of melodrama sh»uld'be himself a melo-
What floods of information respecting transpontine
brigauds and ghosts are about to hurst upou us, — what
levelations about Easter piece* at Dmry Lane ami Coveot
Oardcn are about to be made! Mr. Fitzball's ghosts did
not come from Paris, hut were racy of the British soil; his
Easier pieces were not burlesques, hut were works composed
iit a faithful, earnest spirit. If Mr. Fitzball does not
effect as mach for the history of English melodrama, as was
effected by Thucydides for that of the Pelepoimesian War,
we shall be grievously disappointed. The advantages de-
rived from a personal observation of events are common to
the ancient Athenian and the modern Ih-iton.
But don't let Mr. Edward Fitzball describe himself in his
title-|xigti, as the author of the iSiege of IlochtU*. The
libretto of that opera lives through its connection with Mr.
Bolfe's music, but it is no type of the independent, self-
supporting Fitzball drama. Raise the Siege, Edward Fitz-
ball, and put up the Flying Dutchman.
Miss Amt Skdowick.— We understand Miss Amy Sedgwick,
of the Hnvmarket Theatre, was married on Tuesday Inst, to
W. Parkes', Esq., M.D.
Mr. ahd Mm. Charles Mathews.— Such has been the pros-
perity of the Haymarktt Theatre, since the return of Mr.
Charles Mathews from America, that tha receipts of the first
six nights amounted to upwards of ^l.itxt.
The Vocal Association.— This Association is preparing to
resume operations for the forthcoming season. The annual
meeting is to take place on tho 2nd proximo, immediately after
which the weekly rehearsals will commence. Great care will be
taken by Mr. Benedict in securing the efficiency of the choir.
None of the old members will be allowed to renew their sub-
scriptions unless they promise to attend punctually at rehearsals,
and no new members will be admitted unless they give a similar
promise, and pass a strict examination, both with respect to
quality of voice nnd knowledge of music. The concerts, six in
number, will take place in St. James's Hall, and it is in rontern-
plstion to give, in addition, a series of six '' u n dress" concerts.
After tho purchase of music, and the payment of all expenses up
to the present time, the Association has still a balance left on
the favourable side of the banker's account. — (Commt(niintc>l.)
New Pise-Art Society. — Wo are glad to bo enabled to
announce the formation, nndcr high and influential auspices, of
a * Society for the Encouragement of the Kine Arts." The pro-
gramme will, we believe, be issued in the course of a few days ;
meantime we may say a few words concerning the objects of the
society, which include the following— to create a true sympathy
between artists and those to whom they minister, and to elevate
tho aspirations of both in the mutual relations so established—
towards this end to attempt the diffusion of sound principles of
art and criticism amongst tho public by means of lecture*, dis-
cussions, and classes for study, illustrated by important rxaujpW*
selected from the works of eminent masters pi all
award auuually prizes, medals ol honour, am
to the producers of works in limiting, iwili .
music ami poetry, such works having Uieu produced in public
within the twelvemonth prodding the distribution ; conversa-
ziones to he held monthly during the session, to which ladies
will bo admitted ; two exhibitions of paintings, sculpture, &e\,in
each year— one of aucieut, the other of modern art — to be open
free to the public ou certain days of the week, and certain days
on payment ; a permanent exhibition of engravings, and a
library of reference illustrative of the arts of design of all ages;
the establishment of provincial councils, with honorary secre-
taries, under whose auspices will occasionally be held meetinp
and exhibitions, with distribution of prizes, in their respective
localities. Wo wish success to this project, which will usefully
occupy new ground.
Dr. Mark axd his Littlb Mum hkforji tub Quetw.— " Ou
its arrival at Doucaster," writes a punctual contemporary, apro-
po* of Her Majesty's return from Balmoral, " the bells of the
new parish-church ran" a merry peal, and as the train stop|>ed
in the centre of the platform, tho royal saloon being exactly
opposite the mayor, town council, and borough magistrates, toe
' Little Men' of Dr. Mark played the National Anthem with
great precision, and they occupied a good share of Her Majesty's
attention. Mr. Denisou, M.P., the chairman of the company,
who was iii the train, presented the royal family with the morn-
ing papers, and two copies of the Donaisler Ouu.Ua, containing
a full description of the new pariah -church, and tie report of
the opening services, as also at the railway church of St. James,
were presented, and Her Majesty was pleased to accept the
same. Dr. Mark, through Colonel Fbipps, presented Her
Majesty with a beautifully printed prospectus of his new College
of Music at Manchester."
Leicester Poi-clar Concerts — (From a Correjjyondtut). — The
first eoncei t of the series came off on Monday evcuiu" last at the
New Music Hall,uudcr the direction of Mr. Henry Nicholson. Tho
programme was well selected, aud gave great satisfaction to a large
audience. Miss Julia Bleaden sang • The good-bye at the door,"
and Loder 's ballad, " Terry Malone," the latter receiving aa
Mr. Sansoine, a local tenor, who possesses a good voice,
and sings in an agreeable manner, was much applauded in the
songs, "Ttaba, dear est," and " Oft in the stilly night" .\Jj\A.lfred
Nicholson delighted the audience by his performance of an oboe
solo, eomposedexpressly for him by Mr. Emanuel Aguilar, and
extremely well suited to the character of the instrument. Solos
for cornet-ii-pistou and violoncello were very well played by Mr.
Smith, ami Mr. Selby, of Nottingham, the latter 'gentleman
being encored. Instrumental selections from Ztirrcia ItorgUt,
the 7'rovatore, Jcaliana in Alrferi, Are, completed the evening's
eutertainment. Tho subsonption for these concerts is tola
season much larger thau before, thus rendering the success of
the undertaking assured in advance.
Ee-ocknixo ok the Parish Church or Middlxwicjc,
Cheshire— (From a Correspondent). — This ancient and beau-
tiful edifice has been completely renovated nnd restored to its
pristine beauty by the munificence of the resident gentry of
this part of Cheshire, at an expense of upwards of £400, and is
now an ornament to the county. There have been two hand-
some painted windows, and other substantial church decorations
placed in tha church ; also an organ, of denuau construction and
every modern improvement, lmilt by Mr. J. Jackson, organ
builder, of Chester. The instrument Joes the build.T very great
credit indeed. After sermons by the Bcv. Canou SlowoH, of
Manchester, aud the Rev. Archdeacon Wood, on Sunday. laat,
tho collections realised about £00 for the organ fund. Jfe.
Twiss, of Hartford, presided at the organ, and conducted tha
musical services of tho day to the entire satisfaction of a Vrcu.
congregation assembled to witness tho re-opening of their church.
Digitized by Google
October 30, 1858.]
THE MUSICAL WORLD.
699
Halifax Glkr and Madrigal BonwrT- (From a Corn-
rfmw). — ThU n«wly-estahlished and rnpidly rifling society
it* second concert in (lie Odd Fellows' Hall on Monday
rag. The attendance wn* very large, the place being
crammed from floor to rtmf. The concert was opened in a Tory
spirited manner by the choir singing Novello's arrangement of
■ Rule Britannia ;" after which came Smart's Part-song, " Ave
Maria"— the first piece bringing ont all the tone and force that
sixty voices were capable of producing, whilst the latter con-
trasted with it beautifully in softness of tone. Space wonld not
admit of noticing all the pieces, but in addition to the two
: were executed : —
Button.
Thomsi.
Allen.
Rtay.
SpoflbrtU.
Duriby.
Webbc.
Taut Sokos.
"Ah, could I with fancy"
".Where ij the sunny land" ,.,
" 1 lore my low"
" Dawn of day "
Cuontrs Olces,
"Come bounteous Mny"
" Awake Koliau Lyre'*
" Wheu wind* breathe *oft" ...
HAmrau.
•' Flora gate me fairest flower*" ... Wilbyc.
Since the formation of the society the rehearsals have been
guided by Mr. R. 8. Burton, organist of the parish-church,
Leeds, and chorus-master at the late Festival, and the instruc-
tions given by that gentleman have been the means of produc-
ing a degree of finish and effect in the performances which
would, we doubt not, compare with any other society of equal
numbers. The unbounded applause given on Monday evening
proved how much the music was appreciated, and five pieces were
encored. Leat the singing of chorus glees, part-songs, &c,
should become monotonous to the audience, the committee had
engaged nerr Grease (clarionet), Signor Rossi (bassoon), of tho
Manchester and Liverpool Philharmonic Concerts, each of whom
played a solo and a duetto, whioh had been arranged by Bignor
Rossi, specially for this concert, on airs from Aonna. Beet-
hoven's Quintet in E flat was also given, Mr. Wormack (oboe),
and Mr. Oddy (horn), of Leeds, making up the five. TV piano-
forte part was admirably played by Mr. Burton. The society is
recelvlug ample supitort from the inhabitants of the town, and
the subscribers arc looking forward to another treat in the course
of the winter.
Lsedb — {f rom our Correspondent). — Since the highly success-
ful festival given in this towu at the commencement of last
month, musical matters have lain dead, until last week, wheu
au attempt to get up an inferior festival to benefit the funds of
tho Dispensary was made by the Town Council. As might have
been exacted, the concerts have signally failed, and wc cannot
conceive how any set of gentlemen could for a moment believe
that, after the town had been feasted with the highest-class
music, performed by the rinost talent in England, any-
thing short of really good concerts would answer. There
was only one an uouuceu vocalist who was likedy, by reputation,
to attract an audier.ee — that was Miss Vinning. All the others
were local; and, although some of tin m arc very fair singers,
and deserve encouragement, they cannot yet draw many auditors
by the mere announcement or their names. In fact, to show
how injudicious tho arrangements for these concerts were, I
may state that only two male vocalists were engaged for the
tbreo concerts — the tenor(Mr.Inkeraall)beinga third-rate vocalist,
and the bass (Mr. Hiuchcliffe) being so coarse and unrefined iu
his singing as to prevent many persons from purchasing tickets for
the concerts, notwithstanding their wish to hear Miss Tinning,
and benefit the Dispensary. Haydn's Creation was given on
Thursday evening, the principal parts being sustained by Miss
Vinning, Miss Whitham, Mr. Tnkcrsall, and Mr. Hiuchcliffe.
Mr. Spark presided at the organ, and Mr. Burton conducted.
The principal soprano solos were given in excellent style ; so
were the choruses; but tho band was not equal to the tusk,
albeit there were a few good nlayors engaged — including
Mr. Nicholson (the flautist), Herr Gro**Olr. Bowling,
and Mr. Pew. On Friday evening there were engaged
for a miscellaneous concert, Miss. Whitham, Miss Free-
man, Miss Newbonnd, the two gentlemen before named, a
chorus of about 170 voices, and Mr. Spark, organist. The only
thing in the programme calling for special remark were the
organ solos, and groat anxiety had been felt to hear the grand
instrument in its more finished state. The organ is far from
being even yet completed, and the main cause of this, I hear, is
owing to the many hindrances the builders havo had
to co tit end with, arising from the occupation of the
Hall by various parties. One thing in quite certain —
that unless a speedy alteration be made in the Leeds
Town Hall orchestra, in order that the temperature inside tho
organ at night (when the room Is occupied) may bo considerably
reduced, the instrument will not only be injured, but it will be
impossible to listen to it with pleasure — so horribly out of tune
does it become from the heated atmosphere. As to the admir-
able quality of the organ, there does not exist two opinions in
the minds of those capable of judging; but in making this
remark, I am reminded strongly of an article which appeared in
the Musical World a few weeks sinco on the absurdities of pro-
vincial criticism generally. Even the most ordinary musical
person could not havo failed to discover that the only cause of
the disagreeable tone of the organ on Friday last was that the
reeds and mixtures were sadly too sharp, arising from the cir-
cumstance above stated. Yet the Lt«l* Intelligencer— a paper
of sufficient respectability to have known better— gives the
following dark hints as to tho organ:— "The instrument is still
incomplete; but as the builders' work has been progressing
since tho Festival, a good deal of anxiety has been felt to hear
it again, without the accompaniment of other instruments or
voices, in its more advanced stage ; for great expectations await
the result of the very liberal vote of money by the Town Council
to secure tho possession of an organ of the grandest and finest
character; and tho future success of the cheap concerts, for
whioh the instrument is hoped to be more especially useful, must
mainly depend on the favourable impressions it may be capable
of producing and sustaiuing by the richness and variety of its
stops and combinations. Wo will not, with onr present imper-
fect knowledge of what the instrument may be capable of,
attempt to influence public opinion, which will, no doubt, find
its own conclusion in due time." No doubt ! At the third con-
cert, on Saturday night, the attendance was very poor, and I
learn that the receipts are not sufficient to cover the expenses
of tho concerts. The deficiency will be made up from the
Borough Funds.
This Dajhr aix Camumas. — The approaching production of
a now play in Paris, by Dumas, juu., has caused the following
statistics to circulate, which arc not a little curious, as exhibiting
the pay of a French dramatic writer : — By the Daum aux Corne-
lias alone he has gained upwards of 300,000 francs; and about
half that sum by the Demi Monde. Whenever either of them
is plavcd in Paris, from A'S to A' 10 is tho author's share of the
night s receipts. Before the production of tho Dame aux Cami-
lla; M. Dumas was but little known, and he did not scciu
likely to increase his reputatiou by this dramatic work. The
manager of the Vaudeville did not like the piece, and would not
spend a farthing upou it in the way of decoration: he predicted,
as a certainty, that it would fail, and altogether treated the
author in much the ssuio discouraging maimer as poor Gold-
smith was treated try Caiman while She Stoops to Conquer was
yet on unacted comedy. Youua Dumas had so little hope of
success that, on the morning of the first general rehear*, u, hu
offered to sell his entire future interest in the £>am« aux Cami-
liat tor G,000 fr. (££W). Tho offer was accepted by the person
to whom it had been made. But the bargain was to be settled
by ready cash. Tho purchaser had not enough money in his
pocket to close at once. He went ont aud obtained it; but when
he returned M. Dumas thought better of the matter, and refused
the sum. He had taken heart, and was resolved to wait and
see what fortuue had iu store for him. The result is well known.
The pecuniary success of the piece was almost without prece-
dent; and in a few :
mouths its author was raised to comparative
affluence. We may well imagine that he frequently <
himself on his lucky escape from a bad bargain.
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700
THE MUSICAL WORLD.
Paris. — On the 4tb October, a young lady, who but recently
left the Conservatory, where she wm a pupil of M. Guilliam,
and who has substituted for her own name, Guillat. that of
Audibert, made her first appearance ul theOpura in // Trovatore,
rut Azuoena, the part usually filled by ilad. Borghi-Mauio. It
may bo aaid that she exhibited intelligence aim talent, ller
voice may be classed among the uuiZ2«-»o|U"anoa, n class by no
mean* suited for Verdi's fierce gipaey-woman. Her voice is
rather deficient in fnlnesa in the lower notes, but the middle
ones are better and more vibrating. She produced a deep im-
pression in certain passages. She possesses, moreover, fire, and
gave promise of sonsiderable histrionic talent. Mad. Lautere-
Gueyiuard U still the same maguiliceut Leonore. What a line
voice ! What fulnew, and, above all, what correctness. It
has not it* equal at the Opera. On Friday, M. Gueymard made hia
re-appearance in Hubert. It was very lucky for the public that
Meyerbeer did not think proper to take advantage of the oppor-
tunity, and introduced into the piece a sixth act, which he was
reported to have composed, ana of which marvellous accounts
have been circulated beforehand. Had Meyerbeer done so, a
night-eap would have been an indispensably necessary article.
But the additional act must first exist, for, as yet, it is but one
of the thousand canard* invented to excite public curiosity.
M. Gueymard was welcome- 1 back with pleasure. The audience
were especially deairons of once mora bearing his brilliant and
sonorous voice, as a slight change for Roger, who so frequently
gives signs of exertion and fatigue, and needs a short period of
reposo. Since Monday, liobtrt has become four times centena-
rian. This is a very rare age at any theatre, and especially at
the Opera, where the performances are necessarily serrated by
greater intervals than any where else. Mad Hillen, who has
just been engaged as chanteme Ugire, has been playing success-
fully, for several years, at Brussels, Ghent, Lille, and Nantes.
Tho efioct produced by Madame Cabel in La Parte du Viable
is one of the great element* of the success attending this revival.
At the Italians, La Trat iota has been aucccededby Higoletto.
Verdi and his admirers will not com plain. On the present occa-
sion, wo have not got Madame Fenoo, but a fair artist possessing
neither thai lady's physical beauty nor enchanting voice. Madlle.
de Rnda, who is said to be a Hungarian, is a young person, rather
tall and slim, who has not long embraced a lyrical career. She
has, however, song at a few important theatres, and, among
theatres, and, among
i she achieved a very satisfac-
tory amount of success. But in Paris, and especially at a theatre
where so many iliustrions artists have shone, it is not sufficient
to display great promise ; it is necessary to possess, also, great
power and talent of the first order, to captivate the public. Now,
although Madlle. de Rnda may possess brilliant qualities, which
may procure her sincere admirers, she has also several imper-
fections, which prevent her from being classed among really
tirst-rata artists.
At the Thoatre-Lyrique, while Lt None di Figaro produces
tbe most splendid receipts, the off-nights always command good
houses with Pneiota, the Midscin, and Broekosanc. The
management is carefully preparing Mozart's Don Juan; Lt*
Ckecront d* Jeanne, the virgin score of M. Bellini, the nephew
of the composer of XontM; La Fie Oaraboete, by M. Masse,
and Fttutt, by M. Gounod. It has also revived Oberon and
Dtr Freuchuii, and there is some talk of submitting Mendels-
sohn's Midtummer Night'* Drtam to the judgment of the
Parisian dillHanti, Mozart's Don Juan promises to prove very
attractive, as there is a report that M. Corvalho has determined
on playing the part of Leporello. After all, this gentleman
has, for some time past, enjoyed such success as manager, that
he may well rely on his lucky star, and succeed even in a part
where he will have to contend against tho romcmbranco of the
illustrious L*blachc. Tho revival of Oberon was received with
unanimous applause. Many pieces were encored ; among them
wore the overture and couplets — " Tra, la, la," so deliriously
; by Madlle. Glrard. How, indeed, was it possible for the
I not to applaud so admirable a chtf-d'annre, such fresh
dm sic, oversowing with melody I O, young
itate over this score, and see what grand and
be produced by inspiration and science
is always in the moat mysterlomi
is noi wron? t4>
•es a vary
united. A new tenor, of the name of Onaartft, to make bis
dtbut in M. tJounod's Fatut. M. Carvalho is taking the i
care of this gentleman. If it were possible, he would shMj
up in a case till the day of his fh-*t perfm
sible lo describe the precautious w ith whi<
rounded. Whenever he visita the ( '
no one U allowed to i
turned out. It is well 1
take such care of this sucking Tamherlik, wb*
line voico, and if his acting Ib only on a par with tu» amgrng,
M. Cnrvnlho will not have bad his trouble lor nothing. ' ;
■ . J^L^-'1^-'' i^awlfl ad aswhr
" i ... j,.,.. n-v/od
BEETHOVEN,
(From Di* GrtntM**.)' -I 9t*9 SOJ J--U
As early as tho year 181.1, during the Vienna Congress, w*
made the acquaintance of Beethoven. At that time tfie privwte
counsellor of tlte King of Prussia, Mr. Duncker, lived in oor
house. Mr. Duncker was very fond of music, and a great
admirer of Beethoven. He had written a tragedy, LtonortPro-
ko*ka, for which Beethoven composed a few pieces—* short but
most beautiful hunting chorus, a romance, and some musio with
an accompaniment for the harmonica, in the style of the melo-
drama. Besides these, the poet got Beethoven to score for him
hia grand Funeral March from bis Pianoforte Sonata, Op. 26.
Sister and I asked Mr. Dunckor why he had not begged for a
new march; but he thought a better one could not be com-
posed. All the pieces, with exception of tho Funeral March,
are still in our possession. We hid even the pcrmUBson to pub-
lish them with the name of " Friedrich Duncker," but jt sever,
come to that. The splendid march, I believe, has been per-
formed once a year in a private musical circle in Berlin. The
tragedy has never been performed. Duncker had a great m.xnjr
consultations with Beethoven about it. Beetheven waj not
satisfied with the words to the Hunting Chorus; and even after
they were altered, and altered again, he wanted the Sooent upon
the first syllable. j ,-v/£ jftaVrv All
When Beethoven was appointed guardian of his Drotber'i
son, a new life seemed to come upon him. He was ext
fond of the boy, then about nine years old, and it seemed *
that the latter had the key to his humour to comp
silent It was in 1813, when he brought his 1
our school, which my father had c.
Already at that time, it was necessary to be quite close to
in order to be understood by him. From this time we saw i
very often; and later, when my father removed the
the suburb, Sandstrass Glacis, he also took lodgings in our l
bourhood; and the next following winter he was almost ««ry
night in our family circle. However, we could aeldom profit by,
his presence, for very often he was vexed with the affairs of his
guardianship, or he was unwell. Then he would sit the who'
evening at our family-table, apparently lost in tho
occasionally smiling, and throwing a word in, at the same
spitting constantly in his pocket-handerchicf, and looking at
I could not help thinking, sometimes, that ho feared to '
traces of blood. ., , ;1»oti >>) uij,rcjQ
One night, when he brought us his soiig, "To the bsJorcd
far off," words by Jei teles, and father wanted me to accompany
my sister, I got rid of it with the fright; for Beethoven told me
to get up, and accompanied himself. I must say here, that, to
our great surprise, he often struck wrong notes , out then again,
when my sister asked whether she was right or not, fee said,
" It was good, but here," potting hi* fwgvc upon a note where,
tho sign of a tie was placed, " you must draw over." lie had
missed that. .■ . ... v
At another time, I remember, that he played with, us Eke a.
child; and that he took refuge from on* attacks, behiadth»
chairs, etc • >o>i'M j; ioi mdaIafeai:J°f
1 very often wonder that Beethoven cared so mvah for tow
opinions of people ; and once exclaimed, with regard to las
nephew: "What will people say] they will consider me sv
tyrant 1" But this nobody could have believed, who M«HB
him for once with his dear boy, who was frtvqmarOj
Digitized by G
Octobre 30, 1858.]
THE MUSICAL WORLD.
701
allowed to clamber over him, and pall him almost from bis
At one time, in spring, he brought na violets, saying : " I bring
yon. Soring." lie had been unveil for somo time j he suffered a
good deal from colic, and said : "That will be onee my end!" When
1 t >ld him that we conld put it off for a long time, he answered :
"He is a post fsJUow who does not know how to die; I Lave
known it sittee a boy of lifts aa years. It is trne, for my art I
have aa yet done but Kith." " Oh ! as for that, you can die with
case," I aaid; upau which he mar mured, "There are quite dif-
we me." At the same time, he brought
us a beautiful c
whom he always
) Hope," from Tiodgo's Urania,
j and not in fan, either. Boet-
n got easily vexed, and this is the reason why his friends
often thought he had something against them, even whan it was
not the case. But he was in his manners so different, and
seemed sometimes so unfriendly and cold, that one was obliged
to think so, and to keep away from him. It frequently happened
that he did »ot trust hia best friends, and really grieved them.
Sometimes he complained also about his pecuniary matters,
which was his hobby.
AMERICAN VIEW OF RONCONI..
Or Bonconi we have yet to speak ; for a first hearing — under
the circumstances of hia dtbvt at the Academy— did not permit
us to do him full justice. We have called him " the Keanof the
lyric atage." This he andoabtedty is, and it is by no means a
far-fetched compliment to call him so. In stature, manner, and
occasionally in voice, he greatly resembles him. The exclama-
tion of mingled joy and rage, which he introduces into the
' > of the composer on the entrance of Chalaia, in the last
a wonderfully powerful bit of Kean-liko passion. Its
i literally electrical upon the audience. When we first
heard it, it was so unexpected and startlingly real, that we
almost forgot it was a mere piece of acting, and shrank together
as though we had heard am actual ejaculation breathed from the
heart ,p?a man who suffers, and who the first time looks on his
revenge.
He differs from Edmund Kean most in the eye, which, from
being gray, cannot mako the wonderful expressiveness of his
features so visible to the audience. In addition to this, being
an operatic artist, he acts in a much larger theatre, where,
necessarily, a great deal of his splendidly minute and careful
bye-play is unavoidably lost to the generality of the audience.
As a study, we recommend him to the greater portion of our
tragedians — in fact, to every one of them whose style has no
been absolutely formed and shaped upon their own individuality
Even to these it might be useful to see him.
.His voice had last night less evidence of suffering from hia
recent illness. It displayed most singularly the purely his-
trionic manner in which ho accents the music. Thus, bis
"Che 7 Moris— dessa! e Kieardo"
rendered tlic expression with, at least, a five-fold vigour to that
which was intended by the composer. The same remarks will
apply to the line —
- B troppa la gioia— mi toglie— il respir."
TWwm given with a terrible sincerity that renders it im-
possible to recall the style of its vocalism. We remark thia the
more especially for the purpose of showing one of the reasons
why It » impossible to separate entirely the criticism of his
vocal and histrionic powers. This the more especially as we
hear, upon good authority, that there is very little difference
evidenced in his voles for tho last ten yean— it bring very cer-
tainly lift le more than eleven years since he first blazed upon
the operatic horizon of I/Midrm and Paris. Essentially, Ronooni
could' not be a great ewnostt-eiriger. la the concert-room the
voice counts for ninety-nine parts, vocalisation for one, and his-
trionic power fbr nothing.' On the atage thia ia almost entirely
reversed, and w% need bnt refer to a pronounced favourite of
Philadelphia for a proof of our opinion. Now, while we consider
Rrtnconi H voice by no means a great oue, we bow before him as
ft Toealtofv This, with his wonderoos powers aa an actor, induces
ns fro consider him aa the only artist upon tho lyric stage who
tan fairly be named in the same breath with Kean, Rachel, or
gtMtm, ' ".'ft • V :
THE PHILHARMONIC SOCIETY OF BROOKLYN.
(From the Wm Fork Mmtieal Jheitm.)
We have received the report of the board of directors of the
above-named Society, together with their programme of opera-
tions for the coming vear. Keenly alive to the great Attractions
offered to the music-loving public by our own city, the committee
have exerted themselves to the utmost to afford the residents of
Brooklyn an opportunity for hearing the choioest of music in
great profusion.
As we have before remarked, this society the past year (which
was the first of its existence) not only met its expenses, but had
quite a handsome surplus on hand. As an additional attraction
for the coming season, the directors announce Jive concerts and
/flten rehearsals, instead of four concerts and eight rehearsals, as
heretofore, and this without increasing the term of membership,
or enhancing the price of single tickets. An engagement has
been made with Mr. Eisfeld to conduct these concerts before his
departure for Europe, and it was on his return to fill this (aa
well as other engagements) that ho came so near losing his
life by the burning of the ill-fated Austria. It is hoped and
confidently expected that he will reach here in season, and have
sufficient strength to conduct the first concert, which takes
place on the 30th instant. Distinguished vocalists have already
been engaged for some of the concerts, and we doubt not that
under the efficient management of Mr. Wyman, the honoured
president, the present season will be a more than usually enter-
taining one.
Brooklyn has long needed a first-class music- hall, and from
the following, which we clip from one of <
the day is not far "
dated : —
" Hie movement for the construction of a flrit-clMs music-hall and
opera house in Brooklyn received last week its first practical impulse.
A meeting of property-holders, snd others interested in the project,
was held ou Wednesday erening at the Polytechnic, to consider the steps
necessary to give effect to the public wishes in this respect. The meeting
was confined to about thirty gentlemen, snd was strictly s preliminary one,
being intended merely to facilitate, and not to forestall aa expression
of public opinion on this subject. Rmsnaling, as It did, from the com-
mittee of too Philharmonic, whioh enjoys the o on fides ee of the estisen*,
(be call was responded to by the right sort of persons, men who have
a large stake in the prosperity of Brooklyn, and who are not only
trilling but able to carry out the enterprise. A pleasing feature of the
evening's proceedings waa the warm concurrence expressed by two
clergymen, the Rev. Brs. Storrs snd Farley, in the object of the meet-
ing. After a short discission, in which the project received tho
unanimous approval of all present, a committee ot fire was appointed
to mnke arrangements for convening a general meeting to gather the
views of the citizens st largo upon the subject. Two rites for the
proposed building Ilsto been suggested close to the City Hall. As alt
the railroads of the city converge to this point, no more central or
convenient location can he I
GicoLixi.— Mr. Lomlev's popular
a/W at Trieste. Previous to his arrival the t .
had been twice reduced to the brink of ruin. Signer Qiuglini
brought back its precipe in one night, and gave the direction a
new vitality. The public have been in raptures with the great
tenor's Edgardo in Lucia, Fernando In La Favorite, Manrico in
It Troraiort and Arturo in / Purilani. Some of the local journals
state that the terms he receives are altogether unprecedented.
So much the better for Mr. Lumley.
Tiik (ierman journals state that King Maximilian of Bavaria
intends to erect a monument to Wolfran von Eschenbach, tho
Minnesanger, and author of the epic poem of Parcival* Tim
sculptor, Herr C Knoll, has been intrusted with the modelling
of the lire-size statue; and wo hear that he has nearly finished
his task. Leaning with the left hand on his sword, the harp in
his right, and the helmet surrounded by a laurel-wreath, the
poet steps forth, aa it w ere. to meet as. In his noble face, gen-
tleness and dignity, it is said, are happily combined. The statue
is to form the central ornament of a fountain at the birth-pli
of the poet, the little town of Eschenbach, in Fraoccmta,
- ••(-.;•• r .*>..■• v ; -i : • ■ 1 • ■ .'•?".•} it,"""
Digitized by Google
102
THE MUSICAL WORLD.
[October 30, 1858.
HYMN OF UNIVERSAL HARMONY.
(Writttn ly Desmoid Hyas/ut M. Jrujis'i FartxtU Cvnr-Hi.)
Behold, a lirigulcr morning
Than e'er in llcav'n hj.l birlli,
Awakes and pires gild warning
Of We md joy on rartli I
Xow Fieedom o'er (lie world her banner waving,
In concord Lid* all nations to con. bine,
Oispels the darkling frnrs maoVind enslaving,
And links all hearts in Harmony divine !
Sin; 1 let's sing and wilt the blessing
Below — around — abore—
£r'rr heart expressing,
!'«•«*, Unity, and Love !
Chobds.
Sing ! lef» sing and waft the blessing
Below— around— above —
Ev'ry heart expressing,
Peace, Unity, and Lore !
To Pow'rs of ev'ry nation,
lleav'ns aacml lifrBt receive!
Ono grand Confederation
kji iirwufnioou acnicvc .
Then Art shall reien, war, strife, ambition ended,
And wing' : by knowledge man shall claim the skk't ;
Love, Peace, and Harmony eternal blended,
Mill make of earth • glorious paradise !
Sing! let's sing and waft the I '
Below — around — above —
With heart and voice expr
Pence, Unity, and Lore!
Citonrs.
Sing ! let's fing and waft the blessing
With heart and voice expressing,
Peace, Unity, and Lovol
nYMNE NAPOLIENIEN.
(■tVVr.1 tt Manque t,tir M. JvLian.)
l.n France est un Empire, ainsi Dieu l'a voulu,
Ft du peuplo ct de Dieu, I'Kuipereur est olu.
Oui, r>tcu louche des douleurs de la "
A l'Empcrcur dit, tu la saimrns.
Kt les deursta de notre Providence
Napoleon ; tu les acconipliraa ;
Kends au pays la l'aix et l'abondajico,
Bonds tu 1 union, l'ordre, et la gloire el V
Dieu protege h France,
Kt sauvc rEmpcrcnr,
Oui, Dieu dans sa puissance a bfni I'Smperear,
Kn veraaut sur son front la lumicrc tt I'bouneu
Ilrares Frnnrnit veillons pree de son trone,
Pour lui prions, et soyons tons unis,
Car ht »|>[endour de sa courouoe.
Sur notre France ct l'univers rayonne,
Et son nom mi' me est I'honneur du pays .
Plus d'esprit de parti, ('union o'est la puissai
• noiu Francois el cliautooi tous ta
GLENTIELD PATENT STARCH,
USED IN THE ROYAL LAUNDKr,
Axu raj..toc»in> nr HKK MAJESTVS LAUNDRESS, to be
TDK FI NEST BTARCII *HF. EVER TTSED.
SAVINGS AN L) CAPITAL. — THE SEVENTH YEAR.
—The GouNTTMire laui.l S.elctr, enrolled under I and 7 Will 4. (in. W.
u the Con«mUr« IduSt Bulkliutf Society The »>xlu ftuauciil yoar bavin*
b»«n completed en the iKth Seiiterjibsr. ISid'tho New I'roatiectm (explaining tU«
mod* of investment in shares m l in the de|«nt dep.vtraeut, and also the terms
no whieti loana and building ndraneca for abort or louf periods will bo irrauted) Is
Mow ready, nnd will be forward*), irw of chanra. '•» any part of Uio world. The
ucw ej attm is m null mluptod fur Ui« aniaUoti J* well as !
_ _ CllARI.K* I.KWI3 Ul
OBce, S*. Norfolk -street, Strand, London. W.a
BOOSEY'S SHILLING MUSIC BOOKS.- -Twenty-oiie
.-ouinlcto Oiktm f.ir rl, ■ Viollu, prliv i*. each Bo «>"> li>0 Ballads for
Violin, mitx Is. himacy'a toil D.ii.ixm Iot Tielin, 1" nooaej-'a 1*0 Operatic Air»
for Vl..lin (aeloetedl, I-. »»«;'< H»> ¥d«l.ea for looeertlna. Is. Ueoacr's 1«>
SKT.d Mol»llc* f.w Concertina. 1». 6d. U.<i*»y'» Op ratic Aira for Fluto. 1(. «d.
B<KpsKY and Miuiral l.ibmry, Hoilm afixet
THE MAY QUEEN"." Fiist.un].. crtni|K«eel bv Prof«x»r
STERNDAIT BKN'N'EtT. < 'br<ral .-o«i«tfe> nnd t3ie pulifk rcapac!
ndly informed tbut the ohnml an I ).i.itni'"«Dt^1 ps rV of this new wr^k an do"
TOudy. The cburojiea tnay ba h -l coinplaic or s>j»arit*ly. Pianoiurte toT», Ue
Laoder and Cock, as, Kcw Bond ulrcct, ci'incr • I llTook-»trc*t.
RECOLLECTIONS OF SIMS REEVES, for the
FUoororte. by Ruoolv Nonemisw, price 3s eneb.
I. Com.- Into Uic Oardrn, M.i»t.
». Who a' .nil bo fniro^t?
x. Pbobe, daaraat
i Gel N'hflit. Dolove.:.
Boosey and Sons' Musical Library, 2S, Holies itr— t.
RUDOLF NORDMANNS NEW PIANOFORTE
MUSIC!.
e- A.
ltecollcwtiona of Bitua Reaves. 4 See. eael. .1 0
M"ajn*irTl tntt' Amor » 0
VafcnMero 4 0
The Towor Bcene In II Trovntoro I »
Greek. Funtoa' Clu.nia (Otis »Uti -n) 10
Tl.o Nuna- Prayer. (Ct^i clitioii) S «
U Donna a Mobilo. (<tb odiUnu) I 0
Ah, che la atorw 3 •
Boosey and Sons' Musical Library, 28, Hollr. s-strcc
jy^ADAME OURY'S NEW PIANOFORTE MUSIC.
MTrtha, Fantaiale < •
iHitoii Polk* so
Robert tod true J'..itnc -10
When ulhcr lips • li 0
Nourenh d'Eeeaae 1 9
Chvnia. Lain Miller 10
l.a mia Ictiaia J 9
UoealKuol Valas a I
Boosey and Eons' Musical Library, 38, HoUea.iirc«t.
BOOSEY'B SHILLING EDITIONS.
— a a.
TWKNTTOKE COMPI.BTB OPERAS for ti.eVIOUN .. .. ca>-h 1 •
100 BALLADS fui VIOLIN .It
100 DANCES for VIOLIN 1 •
100 OPERATIC AIOS for VIOLIN It
100 MKU il)l K8 fur UONCKRTINA 10
100 SACKED MELODIES for CONCEKTINA 16
PK OPERATIC MBTjODIRS for FH'TE 1 «
BOOSEY and SONS' Editions must be orderoi, f no otiieri o^ uUiu the bbbsj
volu.-ible cop>itjrh» music. 11 aud Is, Hollea afreet.
MOORE'S IRISH MELODIES. — The PttbUnhoni of the
Muflicnl Dsjuqi.ttt Inviug iMucd t'i o Dtimbcm of that work ormtalnlng
ot Mooro'a Mclndiet, the Proprietor* of Uit OopyrVht in tho W«j*oJI-« tuftv* oda>
pUii»iKl of tlif iniriu/ moi.f. o*f tli«ir C'»|«yrigUt ocrasi<m«d therebjr, but tm*c
rcfrainol from ukitix iouO j-rweed n^ in c m«i^mtion of the FahlUlicr* of the
Muflo) l^i juet lusting wilii.Ir.»vrn throltj'.vti.^i^bl<i itumti. r* from ctrciilMlom,
baring L.rfw>itod with Mwxri. I>»si*Tnnu *nd Co tHn vt rt ■typ^ plata im4 rtock.
of ihe «aroc :— None* 1* horvby given, tl»t lc-tal pic«<ft«di]ig« wilt bo conuBamcrd
a^Miisat *ll pemom Helling any number* of thi MitHfeil Bottqiutt or aur oib*r » #ri
csmUining any of Monri M< Iodic*, the Owpyrigbt of sricb Melodic* beittg tb*
property of Mtrn-ir* l>JOKtuai. *m\ Co. ; iukI th« only clttton* of tli« Mciosllos lb*:
can ifgm U) Nld nre U.oio publU^Kd by Mctr*. I»tiSmftn .Mid Co., or by Ikm
G&ffliSr M*"m 1"" "im°- ^"^<»>*™™«~-
flURI^ OP INFLUENZA, COUGHS, COLDS, oV
\J by t-lt I4XX>CKS PUMiONIc WAPKRM. From Mr Jamos Dnarr
Medicine Warehouaa, ris, H»oi)^-liow, Llnrxln "tlenHeroen,— I amantli a sssslsf
a-rer.d bdiea and gentleaiun. rrlio>e nauiea I on givo If required, to SJkssI that
Dr. I/xfiek's Warer> bar'? piorol of live highest i fflewj- to tbcm for eouirba, o«*ls
ho,iracnaiUL whoeaing, inflneusa, aoiv ilinnt. iic, Jre. Phe demand fur Ui« Wafrrt
increases <buly, undln nluicsl every sole I hoat of UucIUk ebtaiond bj tsaair
The iwrsenl wontlitr bu given mff ulcm jtrwT tbeTr otfieacr, Ac ,
(Siirned) jAHiirt Dai.'nv."
DR. IXKXM K'.S PULMONIC WA1E11S v:i-o iuat-uit r»l«l and a raptJ ran of
a'tliuiu. eoh^unjplTou, et*iia*ha. aikd ali dltonleti* of thel^rcnta aad Ktaara
TO HlNOBItS AND PUBLIC SVKAK BUS tbay nre InrabMbta for dsartaf. ou t
•trengtbculiig tlia rutco. They have a pbtaaant toate Price 1*. IfOl, 9s. M-. Satd
11a. per l»x. Sold by all Drug^istx.
C*ftioi«.— E»«ry box of ttio otxoiss tiiodUluu hafl tho words "DR. LOCOCK S
W A VERB" In white letters on a red ground ta the OoTomment (Tramp. "T~"'1
Digitized by Googlt
Octobbii 30, 1858.]
THE MUSICAL WORLD.
703
XEW PUBLICATIONS.
RECOLLECTIONS OF SIMS REEVES,
PIAHOFOBTI,
11*- RUDOLF NOR DM AN N*.
No. 1 luMF. INTO THE GARDEN. MAUD.
1 WHO KlULL RE FAIRIXTr
* i h<j:di: dearest
1. good night, ukloykd
Prirr roci.
TO BE PUBLISHED NEXT WEEK.
2.
BOOSEY'S VIOLIN OPERAS,
MARTHA. LUISA Mil IK I: AND LA FILLE DU REGIMENT.
/Vii e If. «flrA,
BOOSEY'S CONCERT ROOM JOURNAL,
roR
OB0HE8TBA,
Br A. LAMOTTK.
1 II. THOVATORL 1
LA TRAVIATA '
J. RIUOLKITU )
rrivt 7*. tuehjur u.Y.KtHto, and U. for tf^tit.
i.
DAYBREAK,
ltr LONOFKLLOW and IIALKK.
M *tnaJim, i%4T»i uriatic. and uRius, and. l.kc la- ' Muud ' lx^llad,
be * *|*vUl fsvomlw with the tinny admirer* of B.nlfuV- •nog*.*- K.», « fA.
LORD LOVELL'S WALTZ,
Br IJEN1U LAIRKNT.
Comically IltsttraM. Prict :«,.
6.
M'APPARRI TUT T' AMOR
(MABTnA).
FOR THE PIANOFORTE,
Bt nordmann.
" lu tbo pruacirt
Mario a „-r.-it ml really Uantifil .'tjiiuri.t.J
The paexe gift* ail tlm eaptouive and plaintive fouling ol tH
most charmingly,
ortatual mciody, and la at tlio
It lua ever/ clmicut of popularity, imd will L>o one i
the aoonn. "-A'nr/ o/ l*« »f*WJ.
7. •
"WHEN OTHER LIPS,
AWUKGSP W
MADAME OCRY.
tftww, SHU** IWw 3*.
■■n..
OBERON POLKA,
Iiv MADAME OUBY.
Polka w ■ «* oftbo i.iual iJiarmhtK wo t»u
II Cud it I moat Tali
valuable addition tu their
Boosey and Boas' Musical Library, 28, Holle.-rtr«rt.
it
' *-t'i:n twb wartsKirraitm taihoxa^I or
m:n most graciof* majesty thk oj ken.
ii.u.n. tut. rniXL'E consort,
Thatr Royal u,~i umk) rill; PKINt KS AND I'KltiC'fcSsEc. «»l TBt
ROY A I. FAMILY.
Too M»l W.-ribipful Till: GRAND MASTLfl 01" IRELAND.
HU Grace Till; DUKE OF tJ-.INSiT.R,
And MvarJ otUcr dwti uuiaked Frocutaa'-iie .
llu Excellency THE LORD LIEUTENANT OF IRELAND.
THE E>RL OF EOI.INTOCN asi> WINTON.
TUB LORD lllUlim' OF MANCnKSTF-R,
SIR JOHN roiTER, Kt.. M P..
J. A81IXALL ILnNF.B, K«i, M l'.
MR IICMrilllF.V 1>K TRAFFQRD. IIaiit ,
fclR J AM KB WATTS. Kt..
Hi* Would,, tbe Mj>mt of milord, W. HARVr.Y. L«j .
Aud mail}' 01 tlia Nobility. l Urgy. and dnUuguUl.od FaraiUc of lb« Empire.
PROSPECTUS
DR. MARK'.S GREAT NATIONAL INSTITUTION,
Tvpntaat- /»< f.v.,n-.,/ A,t.i, kc - hi it* .Wio^i<*w„ (a/ '.r~«ntfom.
k,«,i. A.s Ar^ .i».' *£(»irrli'.v fynm.. and >u
A NOBMAL SCBOOL FOB C0N8EBVAT0IBES OF MUSIC
p rutin
NEW SYSTEM OF MUSICAL INSTRUCTION;
»!*> tl,« coixHsl ii|ipr.>T!\l l.y i l.o |.nt.lic pfun .)ly >.i tl..- |»-i,iciiilcB advaiiMU. and
tlia dKtD* l'r)|"W«l f. i ••«* liiw Mi" |T« it »lijrcl> hr h i' In »i.-w, .»h<rovcrbc kaa
hnd rut o|ifN.rttiiilry or rnnn.-ivi i • bin !<■ i ti* : and il(.^ vory j^ocnilly cxp
dealro for tb« o*tnl.li»liwnt or Onii.-^rval.moa ol Htui,- ..o t |,r ittiucmiIu^ a<"
|.y buii. Irarf iudu.-otl awl tUiUOJumxl Dr. Mark to oatabliah a
NATIONAL MUSICAL IHSTITUTIOH
fit Uiu f.iiU.n .k .. lc.|ji.. i.l of bia |Jai.«.
In order ti.nl tlio Iixtiiutuiu may I* ma-Io iu> wldclyi
moai ooiopnbi.oaiTi. arraivt m< n I % Inivc l«ii inndo to irlra
; AND 1'lllVATi: CL\S.>Mou an. u km. na will i
PUBUC
tki«l o<\Ka*il .tc to al I To tbu« end hfl b:ia ca u' ilda«d tlw
ROYAL COLLEGE OF MUSIC.
fur iiujnilliig to atikl' nt« a knowlodjjo of bl» ai atfm, ind brr qitalifyiur tbeti, for
tlio supcrintm<ltiu(r of Ootia' r»' it.dro« of Muaic in any |«irt of Uio Klns<iom E»cb
alU'lcut oai leaving to rcccln a certHWtti >>f o.ui|«teiirj-. a. Dr Mark <mlf tteog>
nuiei tlioao Nmlalnd « ub auob oortlnrrito aa bolnu oambh and i nllUod to Uadi
on lila iilan. Iuto Ibia denartmam alao will Ik, idmilia,
.rf PRIVATE DOARDI'.rW mid I'lf Pll>IL-«, who
tbo theory and prat-lion of nmslc. roinb nod wilk a mnat
ENQI.1SH KDIu'aTION,
Jmili«l a limited number
will roa
rooalvo InWrmUon in
l«adl..S and Important feature of the Inalitullon will be |tM tiubluJirocnt of lb«
MANCHESTER CONSERVATOIRE OF MUSIC,
In oonlnnetkirt wllb u>o ROYAL COLLEOE OP MUSIC, butexclnalrelv intmded
for the ndmiaaiou orpuima from Mancbetter, Haifonl and iwiarhbonrbxod. In tfaia
eataijliabment Dr. Mark luu m da amuitimtnta f<r TWO HUNDRKD MAN-
t "UFJiTP.lt CHILDRRN, to recelTe Uiatiuotion In eooal and Inatnimental mu«lc,
in erenlng claaatek either on rayment of u moderirte ntewrintlon, or on condition
of their eerviooa being odeeji if nunired by Dr. Mtirk, or in (rro claea-.a, ihroii^h
tlie aaai.taiuw ol voluntary contribution..
For tlie i»ir|«>« of currytn/ out the objeeucneitemtilvo.t lu the aboeeaunonme-
meut. Dr. Mark baa engaged the meat eftclont aaajtataata In the aeeeral dipart-
tnent* of the Inatitntkio. lie baa aim tbe anti.-«lactioa to announce that be hat
sneceedud In meeting wtb n.oat cll£sble prenu'e* tor tbc piirp<>*ea of thy oau-
bliah ment.
APPOUfTMENTS AMD CLASSES IB THE SEVERAL BBABCHES
OF EDUCATION.
Piioeipal of both the Royal College and Mancfacater Conaerrjlolre of Maak.
Wreetor. Compowr, and Conductor, lecturer to both Prlrate and Public. Tlieo-
r-tlcal and Ptaetloal. |,.Mni,n«r.*al ml V,»d Claaee. .. Dr. MARK
M.iatcrof theOeuoral EducaUou.,1 Dcporlmeiil, aaaUtaut teacher and wiperinleudcnl
of the rarioua omuneal claaeea Mr. POWELL,
Wb" for twenty live yenra baa conducted tbe endowed echooU of U « Oriee tbo
Duke of Bmbcrtan.l, rui-1 i^ewcear^ ike l<t«heBt leatlnionlala of lompeteucy.
An effidciil AMlntuut M:iatn lor tbo praclico on tbe Organ.
»»« •■ " •■ J*,"!,of,'II*' . . „
I A Inlin, Double Ra.,',
w " n „ n \ and Violoncello, Ac
j Uariouet and Oboe,
" •• •» •■ ■■ \ Plnbi and Prcenlix
llmaa lnatrument>.
f O.Micertlna, P.ngllab
{ and German.
Harp
' inatrunient.
Tbe whole of the Instruction and tu
["» hljWjjii'pni'Oa eyatcm of
bend, [»l,
e»ecto.i<whrrhl.no
Digitized by Google
704
THE MUSICAL WORLD.
[October 30, 1858.
will comprise all tho bout and moot instructive English anil foreign w
i-omposlUons : and tbo different kinds of instruments u««a»ury for a
orchestra arc kept for the law of students in the establishment
CLASSES IN THE BOYAL C0LLE3E OF MUSIC.
i conductor* of eonaorratoirca of
I. A Ctaa* for Students who Intend to b<
Tousle, and who will either be admitted as
Entrance fee lo out-door students, ten guinc
i fiT the fin'. quarter,
uincns. Terms : For boarders, tweoty-five
tbo entrance toe ; and fifteen milnces for
every succeeding qiiartcr.
As soon as competent, each candidate will reeeiTe an appointment M Ma>b r of
r, with a OrtlnciU from Dr. Mark.
a Conservatoire of Mi tale,
IL A Cl.iet for Little Boys, for lh« purpose or receiving a general and miuicnl
education combined, and who may ttecome either boarderaor day pupils. — Terms :
For Boarder*, ten guineas per quarter ; Day Pupils, two gulnosa. Hours from nine
to twelve ikin. ; from two to four |>.tn.
III. A Clan for Professors of Music and GoTcruesvs, who wish to acquire a
kiuiw'-Oii^c i -i Dr. Mark's svsteni of teaching ; each candidate to receive a certificate
of ertmpetency. — Terms : rive guineas the course of lessons.
IV. A Class for Young Ltwlif a and Gentlemen, wbo wish to be brought out ss
performers, snd whose services will be aeerpbst ss part remuneration for the
instruction tbey receive. — Terms : Uy special agreement
Those feur classes ore agaiu subdivided, to suit the different brancbes of musical
education, which comprise all vocal and Instrumental, theoretical and practical,
instruction.
To these classes is also added that of Dr. Mark's Little Men, and all indoor
apprentices.
Terms for private lucsons on the pianofirte. In singing, theory of musk, and
principles of composition, gives entirely by Dr. Mark himself, may be known on
application.
CLASSES IK THE MANCHESTER CONSERVATOIRE OF MUSIC.
I. A Class for Boys apprenticed to Dr. Mark, ir from flvo to eight years of age,
for fire years ; from nine to eleven years of airr-, for three years ; their services bciuif
taken M an equivalent for rreetrtag Instruction In vocal and instrumental music,
the parents having to pay an entrance lee, out of which the Instrument and books
are round for the pupil —Terms : ten guineas entrance foe. The classes meet twice
a woes, from seven to nine every Tuesday and Thursday evening.
I I. A Clue for Young Men, for roc il ana instrumental music ; each pupil to play
either a wind or stringed Instrument. — Terms : One guinea per quarter. To
facilitate, however, the attendance In thia class, Dr. Mark lias arranged to make a
i charge for ench branch. Per Quarter.
For singing ami theory of music 10s. 0>L
For theory o( music, and learning either on wind or
string Instruments
The three branches oc
For the pianoforte
I to meet twice a
One
lis. n.1.
ng, from
to moot twice a
oight to ten.
III. A Class for LiUle Hoys, for vocal and
either a wind or string instrument. Its. pel
week, on every Tuesday and Thursday, from
one unities per quarter.
IV. A Glass tor Utile (Mr Is. for vocal and 1
guitar, harp, or pianoforte, one guinea per quarter
V. A Class for Adults, for singing, with harp or guitar, cue guinea per qu.ii tcr ;
for the pianoforte, one guinea per quarter ; for singing only. Ids. Sd, per quarter
The tlai~rs U> mirt twice a week, on every Tuesday ami Friday, fruin six to eight.
VI. Dr. MAHK being desirous to bring music within the reach of all, ha* also
organised a Class for the lieuefit of the Working Community, cMpccially for
A|ipnintloea In Mills, a-e, at Five Shilling* per Quarter, to moot every Friday
evening, from eight to ten.
V There will also be a Class for Boys and Girls, to be entirely supported by
Voluntary Contributions, tbo subscriptions to which will be cxiwiiileJ In the
purchase of the necessary Unttrumcnt* and books, which remain the property of
the institution until acquired by the pupil through good conduct ; Dr. Mark giving
all instructions gratuitously.
Dr MARK Mm also anxious to identify himself with the interests of the
National and Public Schools in Manchester and Hal ford, from the superinUn louts
and teachers of which he bos received the moot cordial approval of bla enterprise,
will be very happy to admit Twelve Boys and Twelve Olrla every year, at Christ-
mas, selected from the various schools, who will recedes a gratuitous musical
education as a reward of merit ; each candidate to be either nominated by the
clergymen of the schools, or the scholarship thus founded by Dr, Mark in the
Royal "
>yal Collcare to be offered as a prise to the moat deserving pupil.
Every class will be subject to certain condition
subject to certain conditions, rules,
das. piper, which will be delivered
rules, and
. which
With his
GENERAL RULES AND CONDITIONS.
All sailsKTipUous to be paid In advance, and no student or pupil can subscribe for
less than three montha ; the time reckoning from the day of entry, and three dear
months fully to be completed and ended, an arraagsnxmt which renders it
convenient f»<r any pupal to commence at any ttma.
Bvexy Saturday, from the day of the openlug of the Institution, new pupils can
only be sdmiittd to the course of lessons.
tuajand'ii'a.iluou. attendance to tho classes is also one of the principal
Eviry pupil to find bU own
i applications for pr -s;>r t iscs wif. !• jt-ornply :i|Wi U4 to nil 1 ni .v be ma Ir
ar lii person, or by letter hic'oeliig a stamp.
Dr. Mark Uiluks It also necessary and due to subscribers to atsto. that he lias
nvouml to m.ike every provision, so tliattlui pivgjrws and development oa bis
National Enterprise shall ill uo wsy meet with any other impediment
except the want of |Mihlte patronage, wblcvi, however. Dr. Mark hopes will not
be denied, to msblc 1dm to extcnu the benefit arising from Use shove Institutions.
In having selected Mauelics'.er as the 1. -colon of liis establishment, Dr Mark is
tnfluooced by his | wait, on and by the numher. Iiitelligeuce. and llbeial spirit of Its
■ and their ie*lliK»s at all times to promote and help forward any
He has also a lively remembrance of, and deep
and generous foaling evinced,
his ^Lillle Men." on his several visits to Manchester .
by initiating his projects In that city, to make himself
Important community.
Dr Mark being well aware Uul tb« application of a new sy
Urs difficulties— of which he, porsonslly. and his aystero,
tliclr share-feels, nevertheless, * undent that the ab-no plan la the only one by which
musical talent may be promoted, a;.proelate<i in general. an<t become a vsiuals*
ac luisitiou to all classes of society Is this country ; he intends \» purseverw in thai
undertaking to the utmost, to raise this IusUtutlou to an equality with ana
ctuiuent ones on the Cuutiaeut, from whence many great artistes emanate who
..old the highest rank In the profess! .n ; and that, enensu-agod by the
ilnguUhed nitrouage this Institution and his exertion* have mot with, to
i.iillvc talent for music In this country by his much-approved srstero of mssvcal
education ; he has scared no expense hitherto, nor will he regard cxertsotss for the
future to establish within the above institution a Dltional record, oomptierl of true
Kng ish national talent In music, useful snd glorious for generations to ems , and
trusts that his exertions will dsswrve a continued patronage (all past favours "X
which he beg* moot thankfully to acknowirdzsX to enable him to carry out, awt
only hU present object— that of establishing Couscrvatolrea of Music for Stile ehii-
iln n lu every town and city tlmrughout the Umtei Kinjd'JUi— but also bis ulttuu^e
desigu— that of raising a Nstiinat Inatllutlon for the admiasioti of orphsti sad
from all parts of the country, wherein tbey shall roost re board,
i most useful and efficient general olucatku combined,
OF ALL. EXPENSE.
PROSPECTUSES
DR, MARK'S ROYAL COLLEGE OF MTTSIC,
AMD
MANCHESTER CONSERVATOIRE OF MUSIC,
XXTalUIHtD IT tmi AT
BRIOCE-STREETf MANCHESTER,
May now be bad at the InatituUoo. by
DR. MARK will
PL' PI La, from four to
I
w.
M. BLAGROVES nevrly-inventc<l
TIOLIK MUTE, constructed so ss to impart to
FOLDING
the Violin a s. it
rhestraa of the Boyal
iture tone, without Injury to the Instrnment, used In t
Italian Ojiera, Ate., ate. May bo had of all music-sellers, and
fl, Mortimer^stroet, Cuvenduli-wptare. W. Price la Oil. ; or, in moroee-icasc. Is
of W M Btagrove,
PIANOFORTES— DEWRANCES COMPENSATING
PIANO may now be seen at the depot, S3, Soho-aquxrs By the api.Hcataon
of this principal a heavier string can be uaad. the result of which is, thst the ni I
power of s grand is obtained from a cottage Instrument, at the same time the
wires and tho frame on which they ere strung expand and contract with change
that the i
of teni|iemlurr<
in the ordinary
tone, with extra
equalled, at the
[her. so that the nccossi-.y for frequent tuninc oi
entirely obviated. For fu ness and nradnsswj*
rle«"s nc^hhjner tS'th'at'ofalf ordinary piano
THE IMPROVED HARMONIUM. — Mr, W. E.
EVANS, Inventor of the Bngliah narmonium (cxbiUted In London in 1M41
cslla stteutlon to tho Improvements hn bos lately made in this Instrument. The
monlal from Mr. Alfred Mellon is on* of the many he has received
Dean Sin, — I have much pleasure
narmonium ; it Is the best Instrument '
To Mr. W. B. Bvans.
M, Norfolk-street. Sheffield.
Tut Valu Kmo'a Roap. Cnauxa,
March 19th, 185S.
ire in giving you my opinion upon yoeji
of the kind I have ever beard
Published by Jon* Boohcy, of Castlcbar-bill, in the pariah of Ealing, in the
County of Middlesex, at the office of Uousj T (t ffoirs. *S, Uolles-BtrwL Sold
also by Rtw>, IS, Johii-atreet, Great rortJaii<t-strcet ; Aur«, Vfar-wlck-
Uuc; VicKBts. Holy well-street; Kmtii. Paowsx. * Co.. 4*. ChoM«idr
Edinlatrgh and ULanguw |
sellers.
Newgatc atmt .
_ raiBsow A Hsuv-.
for Ireland, II.-Btaat.LU l>n;.;tn ; and ail Music
ti. ScuaciLUAMi. hi NcwgaW-atrwvl ; JmiM HiiKrHOiD, 1
Hannv Mar. II. Holtioni-bars. Agents for Sootland. ParcBaox A Bow
Printed by William Spemcm Johihok.
I»ss. in <^>^™u of JOh ■
Digitized by Googl
' T ni worth or Art Airaums most bmixskt in Music, simci it hbqutbes ko material, no scbjsct-mattib, wboss wwtoi must
U DEDUCTED. It U WH01XT TOBM AWD roWKK, JNU II RAISES ART) IrTNOBLM TrRATlTIE IT EXPBK88I9." — Gott/le.
8TJB8CMPTI0N:-8tajrnped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order,
to BOOSEY & SONS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 45.
SATURDAY, NOVEMBER 6, 1858.
/ PRICE 4d.
< STAMPED id.
MISS FANNY ROWLAND begs to inform her frieudB
and pupil* ilui abe baa REMOVED to is. Diarcboetcr-place, Blandford.
aquaxe, N.W.
AS GOVERNESS.— A lady of considerable experience
roquiroa *> daily en^nceoieob. Acqulrccocnli : En sY\nk, French, Music, and
Drawing. Young children preferred. AfMrca, M_ A. B.. Messrs. Hocmmj and
Son*, 'J4 rad 2$, U imU* -street, OivendUh-*|M.».r<i. W.
MUSIC STRINGS.
WHOLESALE WAEKHOUBK— THE CHEAPEST HOUSE IK LONDON*
14, EAST PLACE, K.ENNINCTON ROAD.
TXD MUSIC-SELLER&— WANTED, by a itapectable
JL young Dan of good address and huatocas-like habit*, a situation in the
muelc'trad*. Has bad ten years' experience Lu n leading firm at the W oat -cod,
and can furaiab unexceptionable references an to ability and character. Address.
A. II., i\ Suaaox-etrcct, Untveraity-atrcct, W.a
TO MUSICAL SOCIETIES.— Wanted, by ft respectable
young man, of good nddrtu aud busine-a-Uke habits. A situation a*
LIBRARIAN to a Musical Society : haa bad four yoara' experience with oue of tho
lending a, ciotlte of Loudon The advertiser Kaa a good tenor voice aud capable of
taking part In concerted mualc. Unexceptionable tofereuce a* to ability and cha-
racter. Address, J. a, 2, tVoburo-buildlrgs, TaTletock-equare, W L
WORCESTER CATHEDRAL CHOIB.
A VACANCY has occurred in the Tenor Dkpa
of the above Choir, which It la propoeerl to fill up oo Tuesday. November
*J3rd. Candidates are requested to forward their tc^tlmomala aa early aa pooaafaaa
to tha Her. T. L. Wbaeler. pfaaaajajr. Bmnrwiok Hovun. Worceatrr. and to appmr
iKraoneily at tha Morning Service at Ten o'clock on the above-named day.
Oct. »tb, IS&S.
A SHORT ADDRESS to the Wives, Mothers, and
Daughter* or IV stand . By too Father of a Family. London : S. Batonuin,
OA. Lendenball-etreel. EC, when it may be bait gnu*, and poet free, oo a per-
sonal or written application.
NEW SONGS.— " Let mo whisper in thine ear," by
Dalfe, composed for and auog by Mr Sim* Rooec*
"The beating of my own heart," by Mactarren, euug by Madame Clam No cello
at the Birmingham and Leeda Mimical Feativala.
"The highland blaaaom.'- by W. V Wallace, aung by Mlaa Dolby.
'■The Jov of roving thee," by Walter MavnArd, aung hy Hgnor Mario.
CRAMER, BRALE, Aire Co.
THE ROSE OF CASTILLE QUADRILLES, Waltaes,
and Polka, from BoJfe'a popolor opera, The Roee of Ceatlllc— alao the air*
arranged for the pianoforte, single out duele, by CaloocL
CRAMER, BEALE, a)
a*I> Co.
FAVARGER-S NEW PIANOFORTE PIECES,
s. d.
TitanU .. ..SO
Moment dc Triatcteo SO
Lu Bran' llllenoe BO
Lo Baloiao— Valac do Balon t S
La Fruit*— Galop brlllent .. .. ..SO
Marc he de 1* Pnoooee* de Pruses .. ..SO
CRAMER. REALE, avn Co., SOI. Regcat-etreet,
Who publish all the worka of thla cejoh rated compnacr
THE IMPROVED HARMONIUM. — Mr. W. E.
EVANS, inventor of the Eogliah Harmonium (exhibited in Loudrro In 1S44L
call* ntlenllou to tho Improvement* bo haa lately made In tbla Instrument. Tho
anbjoioed leaUmoulal from Mr. Alfred Mellon is one of the many be hna rocalTod
from eminent professors
Thi Vtu, Krso's Roan, Chiuia,
March 1 Blh, 18S6.
Djcak Bin.— I have much pleaanre iu giving you my opinion upon your
Harmonium ; it is the beat inatrument of tho kind I have ever beard.
Toura very truly,
To Mr. W. E. F.van*. ALFRED MELLON,
ftl, Norfolk-street, ShefticU,
45
MONSIEUR ALPHONSE VILLIN (do Paris) Importer
of Italian, French, and German Strings lor all luatrumenla. List of prices
and anmplte forxortle-1 ffrveioei a)n.lkaiUou.
The celebrated Ai:RIUEt.ES. now univoranlly adoptod by all VloluiUla, cannot
be- had GENUINE hut at the abovo addreea of Monaleur A. Vlllln. eoie and exeluairo
Wboh-aale Ajrrat for tho United Kingdom.
ROMAN AND NAFLKH HI RINGS (not to be aur poised) are aold by Monaleur
Villin fully 15 per cent, cheaper than any other houae hi the trade in England.
ONE OF THE FINEST ORGANS IN THE WORLD
TO BE SOLD,
an-. in.-: roe a
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL.
Apply to the Publisher* of the "Muaicai World."
tnrnsa nt fathovaob or
HER MOST GRACIOUS MAJMSTT THE QUEEN,
11 11 U JUL raiNCB 00X8OBT.
TOE nOTAL FAMILY.
Da. Majuk bear* moat reepcetSilly to nnnmncc that he la open to ennc^meute
with haa highly approved, intorcaUng. pleaalng, and liutrucave
MUSICAL ENTERTAINMENT,
aarrtTLar,
DR. MARK AND HIS LITTLE MEN,
From tho ROTAL COLLEGE OF MUSIC. BTidgc-atreet, Mancheeter, numbering
upirard* of tbu-ty luatrumeniaiiat*. and a moat eSccllTo Chorua, the whole
forming a most complete and unVquo
JUVENILE ORCHESTRA,
oowroaao or
Little Engllah, Irish, and Scotch boys, from Ave to sixteen years of age, who pUy
operatic eelectlona. aotoe, duet*, qruurtet*. quadrlllrs, morclioe, and polkas ; and
etng *'nga, choTuaca, Ac, In n most effective manner, and to whom he glees ft
graiultotw general and miuUc.il education In order to kllnstiato Ida highly iinotovcd
•yatem of musical education, and with whom he travel* abont the country to
excite ait interest for aud help to estabHah muaicai institutions called ''Con-
aerratoirea of Music " for little children in every town, city, and village of Ihla
great empire.
Application* to be made direct to the Royal College of Mualc, Bridge itreot,
Manchester.
PROOTKTOU0
DR. MARK'S
ROVAX.COH.nOB OF MUSIC,
Axn
MAJNCHKSXER CONSEUVATOIRK OP MUSIC,
nTamjartr.0 »t mat at ^
DRIDGaVSTRBET, MANCHESTER,
Mav now 1« had at tho Instltntloa, by applying either personally or^byjot
Inclcenng a atamped envelope. I J
I>R MARK will reotrlve, every Saturday, In person, APrtli
PCPIU\ from four to eight o'clock In the afternoon until further
LORD LOV ELL'S WALTZ, by HENK
Comically niojitreted. Price 3s. Docoey and Boca' M
18, notlca-atreet.
>y Google
[November 6, 1858.
MESSRS. DUNCAN DAVISON AND OO.'S
PUBLICATIONS.
P I A N Q FORTE.
' Thou art *o uni >ud yet to far." ?- ■ » ou
"THIS.
AGUILaK(Bka»c«.). "Sunset glow" .. .. ..
•BACIUASA." i^oct pieces (Prelude, and Tn*»m) from the -
work, of John Sebastian Bach, Lot included in the fortnight Prolixin
:i:id Fugue*
No,. 1. Fu>rA Scberxando. iu A mturir
2. 1 Y^luiie and Fugiio ou the tannic Dach.
S. Prelude coo fugbctta, In D major .. •• - ii _, '
Tho »h«iTu havs bvon played 'n imhlio by Mis* Arabella Uoddard.
Bill iSAC (Jctxs) "Uutla Klgll*~ (thequutet from Rtgolett")
to 1* Mr*'* aud "Ah! fa giusto" (now
At ! fa giusto (fiou
' Quoiwl'j
MWer)
BVROMUM.KRlK.) "rHal.i-ho " Polka Maaurka .. .. .. • •
1UJ1 \OALLl (A,) ••CLAHICB." the wily correct editton, M played by
Mi«s Arabella O ddard .
OOMlDNCr-. A.) "Eli**," Romance ..
HAIlOIWfC J.) Three UederolMie worto
HOLM 83 (W. H ) Woloctiuo for ths Drawing Rewul of !
eclabraUd Ciiuipoasr* :
No, 1 " In.idrotion," E. Wolff
X "Gaiety." Handel «
MONIOTfEcoofi). "A Hn
MuSC HJlL K8 (J.) TTianplwl 1
URBVILt-K (To- B» Mr*):
Gnui I March, with Introd id
H. n II. the Dnko of Cambiidifo . .
Macs r>ulUvcs(ln 3 book*! :
Book 1, dedicated to the Rl. IIou. Count*— Kinnoull .. ..4 0
Roi>k t, dedicated to Ifer Kxcrlirnay th« Bt. Hon Ooante** Oiwlcy 4 •
IV»U 3. dedicated to the Rt. Hon. Lady Caroline Murray
I.'Ainlcials. Sutturuo, dedicated to t ha Hon. In. Edmund
La Costania, NotUmio, dedicated to t ho Rt. Hon l^uly 'I* Ru
F«nttoi.i-Antoinua, V.hw, ,l«d«-atcd t.> MlM dciliu k:U«i
U Bi. u Vcuu. Valso Varice. d< .Heated U, Mr*, Prance* ¥
Tli... Cap.uno, ru'kai. dedicated ta Mm Ilemjic:o l>urLlj|C
Hampton Court, Nku, dedicated tv the Countess a!
, aud a Galop
Hot uf Quiidrblo., dedicated to lady William Hcrroy
MiKORKKLL (C.) 8ou»..dr do Oluck (Arniide)
., " La Joyeu**," B. aivcBtr de* Chara).* Elyaoc*
MEYERBEER <u.) Quatrifcme Harcbe aux Flambeaux
Composed In liotiour or ttc inanince of the PriocoM Rnral of
r.niltDd wltli Prtna rWerick WlllUra of PnutU.
O.SB011SK (O A.) ■'P^u.ujo," .Vocturiio So
BtCBARSe fTJnuiusT) 'Etbol' Bouuocc (w Mim ArnbclUtioddard) .. 1 »
4 0
* 0
4 •
4 •
* •
5 «
1 0
» 0
* •
s •
s •
* •
REPERTOIRE
DES BOUFFES
A COLLXCnoM or
QUADRILLES, WALTZES, POLKAS, &c. &c,
PARISIENS,
THE THEATRE DES B
MOST 2>©S>Ul,AjS
OU.FFES PARISIENS, PARIS.
1 "Tromb*l-CAiw," W»ltj
S "rU«d-uueuaTttl'*». ' WalU
3 '• b » deux peclicnix," WalU
4. - L*» deux uvmiglcx,* W»l1i
LIXTtR (Ri> AU-oi.
». d.
3 6
- 0
3 II
J •
». " Lo Violonrux," Polk\
6. " Udo uult blanoha," ljua.irti!«
" Vent dn • ir." <Ju*drlU* ..
K. "I>o Violonoux," tjuajdillle ..
PIANO 17' O R T E
••TI.I»i«.me of the
DUET.
ft d.
..to
.. ..so
..3 0
..SO
« rf.
s J
PECH (Da, J Anted- fntrcrtttdlU'& lad fu-jio
ORGAN.
• . ■
3 0
TWO FLUTES AND PIANOFORTE.
' Vodce," duo ou tlit " CiroinU of Venice,'' dedtared to Walter SUwart 1
«. d.
.. » »
TUG VOICE AND StKGIXr, by Aboui) I ,.„a.
" -Hero l» a really «er.nii!e tyi \ ,
bi, H*i M.in*rk» upon ebo «,roi«4i<ju and
n.mark» a'.wit the oor]y cultlraiHm of "
"The Cticko >"(" Uall,
"Suuahine" ("I luro
VOCAL.
what might b. can j Jued a worn-uut aublut Sl^ni'I l'eirarl, liowtror. Iju got xjin^lbjng to »»y, and aomoil
EMiou an I eulllratkxi of the voice dl.play sot only au intimate knowledge of the aubjert, but n pbUoaophi
at Km of tin natural tone ol tl.e upeaklnij iclou are both i.«wr and uiUftatuig."— Jfaa^ol IfeWcf.
nog vforth
eaivtewof IU
of thegroTo' i
:r5-nl,«o--M
M«»T
w
2 0
S 0
llowirrj
BALFE (M. W.) - I'm not iu lore, remember." auns viU
by Mdlla. Vlctoire Balfo and MlM LokIm VluolDg, aa
noil naby Mr. Cnarlca Bmham 2 0
" Ob, take m>. b. tliy hort again V" 2 0
"One ef lb* moat ob.u-muig muU>)lo> Mi. Balfe ha* erer «mi]»*od."—
/itn-,»ool Mait.
BRAIIAM(Cua«LCs) "• Poreevcrc. or the Carer of Uattlock" ..3 0
BRUCE (liniitaTji " When I vrai younj." «ung by Mdlle Jetty de TreBa ..2 0
i # "When firit you utiono brfi.ro ni<v" aui-g by Madame
B.<rcliardl SO
CP.U WELL (Gottuui). " Moumfnlly. »ing luounifnlly," v itli rlolln or flute
accompaniment . . .. .. ,.2 0
■i "Where i< the aca," wllh ri.ilonodlo or tenor aoretn-
i eminent.. ., ,. ., .. .. ..30
DAVISON (J. W ) TlieOcquotte" 10
DCSSAUERfJ.) "Quick ariae, maiden initio," mag by Md]l« >»ity doTrefb 2 0
ENDKIISSOIIN' (M. ) "3!r«t little Jenny " ..2 0
"My Mary" 2 0
tXISTER f Aurn. "M r.lly. merrily .mine* the morn," The nkylark'j song,
mag be Madam* Rudvr''lorfr 2 "
CRKVlLI.KCTbo Ho* Maa.) "Oh, I would md vritb tUcc, lor< '.
initio na
. J
«» duet for baiytono and aopmno ,, 1
'Wuaud ou me duouerait." duet f..r arprauo ^
Ditto *■ a aoleJwIWi Guitar 'i^eora'paaimivt I
" iliah War Song, "Wl-o feara to dlaf The
*.pr!» by Alfred Tcnny»on I
"How toAtnw" .. .j. ,. 8
n
0
I
<
0
a
> d.
GRO^VENOR(H) "I will Kof..rlh bi Uie etreugth of the Lord Uod," Tlankt-
glvlng Antlitm for voice* and organ
HALEVY (P ) " I/ird hear u* we ini|,lnrc tlwe," Prayer from U Jnlro . .
., "He will be b-.re"(Il va v. nir). rron. La Juiv*
HAR01TT (C. J.) "Tomorrow- ("OU bri.bt and Joyiti* were the day. of
rhlldhood ")
JOHN8<Mm C A.) "Tli - nierrj-, merry lark wnnipaiid aingins" I* Lnmcol)
M A'-'KAHKKN (O. A.) " I'aquiU " ( " I love wheu llic run baa act ") uws by
la Htgnor* Punuutalli
,, " Tlie thought* of youtli," (poetry by Longfellow) . .
" The twi> am ilea "
MEYERBEER. "Tula h<'U«otu love U h«i|y," rkeenado for 2 aeprnnoa, 2a)U».
2 tcu.-rs, in. i 2 haaiwi, without accompaniment in vocal i
Kepaiate vocal |uu*ta each ..
„ Thr Uu<l'« I'rayi r (Eliirllah ai
alto, tenor, aud hue*, organ ad, lib. ia i
Bciiarate vocal porta each . .
" ilerc, hero ou the mountain," Shop]
c'.ulonct elihhrato .. .. ....
Violoncello or violin to tlie above each
"Near to thoe.'' with violoncello obbngato ..
MONK(E II.) "Go «l! by the auaimcr M "
MOXART. "Tlie very nngels tvorji, dear'
PECH (Dr. J aura) " Woed* and fiowora"
REICHARDT(A.| "Tlion art ra uoar and yet so far"
ST. LEGEtt(Jt. J.) "Tl.e -Id willo v troo"
VIVlP.R(Kiicntr). "Tlio Goit l.o.ii"(I/'cbeTrlcr)
"Th«Kxu*-'|L'Bxll«-|
,. "Tlie rlahrrman-* Song " (Chan*n« dn P&hrur)
"WU.0 ..'or the meadow* green" (with Horn
panlmsutX atmg by May lame VUrdot .. .
\ inkiDnrtl.o par: tf>«lttt > .. #
TARN(.U)(U«rt.»l. "fl^Tr.nl^W*Mment" S
IiONlKJN:
DUNCAN DAVISON AND CO.,
D£POT '■' I'-NKKaL ds la maison BBANDUS, DE PARIS,
244, REGENT-STREET, CORNER OF LITTLE ARGYLL-STREET,
Digitized by Goool
November 6, 1858.]
THE MUSICAL WORLD.
707
CADENZAS.
bt alfred mellon, asd scko by m w. i k. sophie
Ckcvklli, at Cork, ik 1854.
m
IN RE " HELMSLEY," OR THE « ADVENT HYMN.'»
5"o tt« jE<fi'/or t/ fA» If n j /mi World.
Drak Sir, — I am indnoed, by the near approach of the season
of Advent, to forward you the result of recent investigations
touching the origin and history of the hymn tune known as
" Helmsley," or the " Advent Hymn," feeling assured that if
publicity be given to the particulars which I nave gleaned, the
entire unfitness of that tnno for divine worship will be more
generally acknowledged than at present, and " popular" taate
at last be disposed to yield to what 1 may assume to be the
earnest wish of every qualified and conscientious organist on the
subject.
My own conviction has always been that the tune in question
must have had a secular origin, and it was therefore with no
little satisfaction that I last year obtained a clue to its having
formerly actually figured as a hornpipe ! In 1773 appeared, at
Covent Garden Theatre, CHara's burlesque, entitled The Golden
Pippin, in which the notorious Miss Catley played the part of
Juno. In the following year was published a collection of dance
melodies, entitled "Thompson's New Dances," at |*go 1ft of
which appears the following :—
jttss catlkt's skw horxtipk in thb ooldkk riFPIJf.
and this, except at the last two bars, contains, in duo order and
rhythm, every not* of the popular Church-tune (/), known as
" Helmsley, or the " Advbmt Hymn"!
VTc shall now find, from tho same source, that not even the
last two bars of our " Helmsley," are left totally unprovided
for. In the edition of O'Hara's' said burlesque, in 1776, Juno
has a song in the third act headed and beginning thus:—
" Air 5. Giordaiti.
" On Nabob's throne despotiok,
O'er Omrah'i thou ahalt bU*e," Ave., Ac.^
and there is an appendix to this edition, informing us that
since the printing of the' foregoing impression, the following
variations nave beeu made in the representation —
"I'agc 40, Air 5. Instead of 1 On Nabob's throne despotick',
" Ouardian sngrN, now protect me.
Where's tho mortal can resist m»?
Qucena must ct'ry honour gain," Ac., Ac.
and in " Tlie Music in The Golden 1'ippin," published about the
same time, the foregoing words are found in conjunction with
the following tuue :
the
The whole of the first period of this tune has a most uumis-
takeable relationship with " Helmsley " and with the hornpipe
previously quoted, and the 7th and 8th bars of both periods
clearly shadow forth that concluding portion of " Helmsley "
which is wanting in tho hornpipe itself. Thus our " Helmsley "
is now complete.
In curious old collections of songs, the
(hut generally in A, the genuine key of
following words :
" Guardian Angels, now protect me,
Send, ah send the youth I lore ;
Deign, O Cupid," Ac, Ac.,
and it is in the recollection of some whom I have consulted,
that with these words it was a popular stroct-ballad in tho
latter part of last century. From all this we gather that
" Guardian Angela, now protect mo," was tho name by which
the tune was commonly known, which accounts for its being so
referred to in the edition of The Golden Pippin, in 1776.
.Ind now follows a very remarkable additional link connecting
" Helmsley" with the sources I have adduced. I am most cre-
dihift informed that thit tune, " Ilelmt/ey," it to be found in tome
collection of Psalmody, under the title of " Guardian Angels,"*
by vhiih name 1 am pram to understand that it is ttiU in tot
placet recognised. I sincerely hope this may bo corroborated.
In Sheridan's farce of The Camp, the words beginni:
'■ Wlici, war's
i enticed my Willie from mo"—
were sung to
■ - Helmsley."
• Probably thtae two words, in the absence of the context, may, in
many caaes, hare warded off suspicions as to the secular origin of the
.utated its introduction into the Church. *
Digitized by Google
708
THE MUSICAL WORLD.
[Novbmbbr 6, 1858.
5
pains, gleane<l \
a great variety of source*, including mud
from niy esteemed friends Mr. William Horsley, Mus. Bar.
Snce, I regret to add, deceased), Dr. Rimbault, and Mr. W.
11, of literary celebrity. I may also state that my friend
Mr. T. H. Severn had in his possession a copy of an old horn-
pipe, containing " Helrosley," nearly as satisfactorily as that in
Thompson's A'eic Dance*, and entitled "A Celebrated Hornpipe,
its danced at Sadler's Wells," with a frontispiece of Harlequin
in terpsichorcan attitude. This is unfortunately mislaid, and I
have not been able to find another copy.
I esteem this scarcely the opportunity, if even you could afford
the space,, to enter into any lengthened argument to show how
unfit are not only such manifestly secular tuues as " Helmsley,"
but atiaptations altogether, for the purpose of Corales, and how
false must be the taste which approves of such things. But lest
any might seek refuge in the well-known but certainly roost
unlucky saying of an eminent divine, that " it is a pity the devil
should hare all the pretty tunes to himself," I would merely remark
on the propriety of all music used in the Church not only being
free from extraneous and unworthy associations, but moreover
possessing an unruistakeablc stamp of speciality for its high
mrposo ; and whether the outpourings of assembled bouIs to
heir Creator bo in the form of supplication, praise, fear, love,
hope, or despondency, music, of which all that can be said is
that it is pretty, certainly cannot in any case be a fitting vehicle
of expression.
I thus freely offer the results of my inquiries, and should their
publication in any degree promote the banishment of such dis-
creditable tunes as M Helmsley" from arenas to which they are
in every way so unsuited, my aim will, in corresponding
tion, have been achieved.
I am, dear sir, truly yours,
Chas. E, :
Place, MaidaHUl, IF,
WESTMINSTER PALACE BELLS.
To the Editor of the Musical World.
Sir, — Allow me to say a word or two in reply to a Letter
which appeared in your last number, signed " A Clergyman,"
Your Correspondent states that my proposal to end each
chime on the tonic noto (thus affording repose to the musical
ear), is exactly what is not wanted — " no full close in music
should be permitted while the subject is still in a state of
development." Admitting this last statement, let me ask, who
in composing a solo, having ended the first section or strain
with the dominant note, ever inserted in the following space,
"an interval of fifteen minutes rest?" Your correspondent's
line of argument, therefore, does not meet tbe point in question.
As to what is said about the want of rhythm in my notation.
I remark that the form of construction, as written for bells, and
the observations on the notes, clearly show that the latter indi-
cate sounds of equal duration, so that thero can be no quantitire
rhythm, and in such a case, bars or no bars, qualttice rhythm
can never be expressed by bell-chimes. There is, however,
something like rhythm in the progressions. And this leads roe
to add, that in my system each quarter of the hour is distin-
guished from the others by a different series of melodious sounds
of a bold and decisive character.
Your correspondent says the original notation for the chimes
has a sprinkling of melody. True: but certain unmeaning pro-
gressions, occasioned partly by the frequent introduction of the
heaviest quarter-bell (giving out a souud nearly as grave as the
hour-bell of St. Paul's Cathedral), will undoubtedly mar the
effect. Tho arrangement may not be equally objectionable for
ordinary bells, such as those at Cambridge, from which it is
copied. But these unmeaning solos played every hour, night
and day, upon the deep-toned bells at Westminster, will, to say
the least, constitute a tiresome mode of telling tho flight of "
I am, sir, your most obedient servant,
T. "
CONGREGATIONAL SINGING.
to the Editor of the Musical World.
Sir, — Having noticed an article in your periodical apparently
cut from the Christian Examiner, I think it necessary for the
cause of good music to offer a few remarks, not only for the sake
of music itself, but for the justification of those who are un-
ceasingly employed over materials, the moulding of which is a
task presenting difficulties only to be realised by those who
experience them. In the first place, the Examiner correspondent
draws a comparison between German and English congregational
singing. Now we all know that Germany is essentially a musi-
cal country, and England is not, and we also know that music in
taught, and, in fact, in the German education is a sine qud non;
whereas, in (wo may say) tho middle classes of England, money
spent in music-lessons, and musical instruments, is considered
wasted. Wo wish it were otherwise, but in only too many
instances is it a fact. How, then, can it be possible, that the
niusio used in the church or chapel can be kept at that low ebb
which admits of the congregation embracing It 1 for it cannot be
disputed that the most ignorant and uncultivated voices are
always, and always will be, heard above the rest. A man can
have but little music in his soul who would attempt to coerce
or roll back the tide of music, which now, more than at any
period of England's history, is advancing with a rapid and yet
sure progress. If the Examiner Correspondent wishes the whole
congregation to join "as the sound of many waters," let him be
instrumental in the purification of that at present turbid stream,
and raise them to the level of the more scientific, who can hardly
in reason be expected to return to that primitive chaos, even to
attempt to rescue those to whom nature liad denied the same
faculties. None but those who havo had their nerves tortured
by discord and inability on the part of learners, whom Nature
has so utterly forgotten in her distribution of harmonic tym-
pana, can sec the almost insurmountable difficulty attending the
instruction of these unfortunate individuals. With very few
exceptions (in proportion to their achievements iu other sciences),
the English people are utterly devoid of innate' musical talent,
compared to the countries with which comparison is drawn.
People may, by constant application, be taught to execute certain
rhythmical phrases correctly ; but, unless an electric communi-
cation is kept up between voice and soul (which can be there
only by birth), no refinement of modulation can be obtained,
without which the forte and the piano might as well be spunged
from the vocabulary.
The tendency which our congregations have to drag, and get
flat, even in the simplest tunes, is at once a proof of the utter
disregard they pay to those who are appointed to lead them. If
in singing a hymn, the sentiments expressed convey the idea
that the music should be softened, the congregation do not take
the hint, but continue to the fullest extent of their nasal reso-
nance. That a great improvement is needed, there remains not
a doubt, and great improvement can be made; but to dream of
a retrograde movement, to suit the stationary ideas of a people,
to a certain portion of whom it is next to impossible to give
what nature lias denied, is more than the favoured portion of
our race would consent to. although our conductors of church
music generally have, with their little band, to fight against s
whole army of squalling charity children. Better let tl
wish to drag it down, be instrumental in raising tho low.
A* Oroa
KiWBBH- The Monday evening concerts of the 25th nit.'
attracted sn immenie audience at tbe Free Trade Hall. Tbe principal
performers were Milt Fanny Hud<lart, Mus Dyer, Messrs. Haigh,
Fully, Rosenthal, and Signer Ficco. Mr. D. W. Banks was tbe
conductor.
BiHXABD Castli.— The Sscred Harmonic Society lately perforated
ITaydu'a Creation. The principal vocalists were Miia ndena Walker,
of Leeds: Mr. FearulL of Lichfield Cathedral) and Mr. Brandon, of
Harnard Caatle. The chorus comprised nearly 100 performers of tho
town and neighbourhood. Mr. Ainaworth, of Keweaatle-upon-Tvoe,
led tbe bond. Mr. Baper, of Barnard Castle, presided at the otian.
The whole was conducted by Mr. Dcd.more, of Lichfield. There wo.
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November 6, 1858.]
THE MUSICAL WORLD.
709
ANOTHER OPINION ON "LOHENGRIN" IN
VIENNA.
(From Ibe fllifrHlMnfMi MkrihZeUnnv.)
(Coacladed from page GM.)
Foil these reasons nothing has yet been gained for the system
itself by this success of Lohengrin, st least not with us in
Vienna, when-, from the fore© of habit, we are, in musical
matters, usually accustomed to call things by their right names.
We do not exactly know how the new philologists on the banks
of the Pieiaso may choose tq express themselves, but, among nn,
a melody is still always called a melody, and an opera an opera,
while simple, impressive vocal music, which penetrates to the
heart, is still always considered as the greatest triumph a
heaven-inspired composer can achieve, so old-fashioned are our
views. Little is to be effected with us by phrases concerning
the difference between the "tone-melody, and the "word-
nielody," of the "harmonically-poetical complex," of the "archi-
tectonic treatment of the subject," of the " union of all the arts
in one whole work of art," 4c. If Wagner succeeds in Vienna,
it will be in spite of what ho has writteu about himself and
what others have written about him. lie will owe his success
solely to his unusual natural talent, which, although not free
from error, is powerful enough to captivate the mind of an
impartial auditor, to elevate his heart, to fix his attention, and,
in many instances, to satisfy his musical taste. But we must
receive the composer with unbiaued opinions, and the less the
public listens to the effusions of party-papers, and the less the
educated amateur troubles himself about them, the easier will
it be for both to pronounce a just decision.
In the choice of his dramatic subjects, Wagner manifests an
especial partiality for those of tho middle ages, the period of
myths and legends. In this again he is a warm friend of the
dusky Past; hie dramas are not rooted in the struggles and
efforts of the Present, or in the yearning for a better Future,
unless, under their obscure, mysterious surface, wo arc presented
with aUegoriu, or unless the u light temple, more precious than
aught known on earth, and in it a vessel of wondrous and
blessed power," has a deep concealed meaning, which we must
not dare to particularise more nearly since, of so sacred a
nature is the blessing of the Gral, that, concealed, it muat escape
a layman's eye." But, however this may be, Wagner's operatic
librettos are universallyand justly praised for richness of matter
and dramatic effect. A strain of true poetry pervades even
Lohengrin. It is Eurganthe, with greater inspiration, with
purer, and more vigorous expression, but, otherwise, in a tole-
rably similar shape. The cursory and almost incomplete manner
in which certain points are hinted at — In tho repeated endea-
vours of Telramund and Ortrud to separate the lovers, and
especially in the bewitching of Gottfried, &c — does not mate-
rially iujuro the attractive and moving effect of the whole.
Those persons, indeed, who apply to the libretto of an opera
the standard which belongs to the drama alone, can hardly be
satisfied with the mere outlines of character they will find in
the work. But we who stand upon the so-called " surmounted
point," must be contented with the operatic libretto, considered
as such, because, from a composition of this description we ex-
pect only outlines, intended not to receive real life until united
with music . .
This real life is in Lohengrin something very pithy, anil
inwardly rich, although not outwardly •varied enough. No one
111 II TV. ~- . »..'r. (J.UI T* in nan
employed, while tho wind-instruments are playing the melody.
Lastly, the finale of the first act, aa well as that of the second,
is, in certain passages, too noisy, and strikes us, horc and there,
as an effective but coarse exaggeration of the means at the com-
poser's command, in Verdi's style. Very nearly the same
qualities may be proved to exist in the vocal music of Lohengrin.
Of course we are still speaking of tho " opera" of J^hengrm, as
an opera, that is to say, we are judging it by the old standard,
according to which we look upon vocal m>uic, musically beau-
tiful, and at the same time dramatically effective, as the greatest
triumph of art Musical inventive power is, therefore, lor the
operatic composer, the first and most ludispensable quality, as it
. * .1 l. -» nH..n..( „twl nf tin* oivB.le.st mairu-
will call Wagner's music trivial. It is pervaded by snatches of
truth, grandeur, and real genuino depth of feeling, which, un-
fortunately, being disfigured by a great many peculiarities and
weaknesses, do not always produce the same powerful effect.
Wagner's scoring is distinguished for originality, the dazzling
charm of unexpected combinations, and many detached genial
touches; but, on the other hand, it is deficient, at times, in sim-
plicity, nature, and correct measure. The introduction, before
the curtain is raised for the first time, is very original, but much
too long, and is rendered repulsive to many persons by the long-
continued high fingering of the violins. Many, too, of the
is for the writer of the smallest song and of the greatest mi
mental work. To investigate how far Waguer U, in tins respect,
inferior to the old masters, wouid be here a superfluous task.
Whether he sometimes avoids melody on purpose, or does so
only when his imaginative power comes to a stand-stiU, is diffi-
cult to determine. The musical auditor will always be loth to
believo in such an intentional renunciation of this most
loftv aud heavenly gift, and, whenever he hears no melody,
his first and last idea will be: "The composer could not think
of anything here." These remarks apply partly to Ortrud and
Telramund, both of whom are, musically sneaking, neglected.
Weber's principal fault in Euryanthe, namely, the disagreeable
expression, which deprives his Lysiart and his Eglantine or all
musical effect, is here, if not surpassed, at least repeated in
Wagner's peculiar manner. Wo do not require that the out-
and-out villains"* should always indulge in the most dulcet of
strains, but we still do not perceivo why villany should be
marked by the composers condemning tho criminal to set at
naught the rules of rhythm and good music Can the feelings
which quiver through Ortrud and Telramund in the beginning
of the second act be portrayed only by dissonances which reduce
the singer to despair and offend the ear of the public I Are not
melodies of a gloomy character more appropriate for rendering
such situations than a gloomy absence of all melody whatever f
The concluding unisonial passages of this scene are a sufficient
proof of tho correctness of our views, since these few bars, from
the fact of their forming a definite melody, produce a far more
powerful effect upon the minds of the audience than all the
preceding detached recitative passages. It is for this reason
that the character of Elaa stands out so brilliantly from the
rest. We there find the greatest number of complete melodious
passages, while spread over the part is that enthusiasttcaUy-
,,uick and poetically refulgent expression, which Wagner suc-
ceeded in imparting to his EtinbetA, although in a different
degree corresponding to the nature of the latter work, an ex-
pression which, being, both in a musical as well as a dramatic
point of view, as beautiful as it is true, fills the soul of the
hearer with profound delight, and of itself is a testimony of
Warner's great ability. Lohengrin himself excites in certain
passages a similar sentiment of satisfaction, but sutlers, like
almost all the personages in the opera— not even excepting fclsa
—from the systematic employment of the recitative form, on
which Wagner's system, if we understand it correctly, is founded.
It strikes us, however, that only a tolerable dose of sound judg-
ment is requisite to perceivo that when recitative w adopted,
partly in its most simple, and partly in an obUigato form, as ft
permanent standard, and only extended, now and then, into
ariotoe, but never into a regular air, duet, etc, the, impression
produced most be pre-eminently wearisome. In the drama
when sung as well as in the drama when sooken, one of tho
most powerful moans of heightening the effect is to give a aceuo
an unexpected turn by the arrival of a fresh i>ersouago, or the
addition of new motives. If, however, this expedient is em-
ployed two,
orchestral introductory and after pieces, are spun out a great
deal too much, and the trtmvlo on the violins u too frequently
HI lOUl UUI»» IM ou-^w..., — , - —
course of the act the situation is not definitively brought to a
close after any one scene, and no interval of natural repose
supervenes, tho expedient then becomes a fault, because tho
performers are no longer able to express without exaggeration
the increased effect, because they are disappointed in the just
claims they have to the applause of the public, applause which
s «
Digitized by Google
710
THE MUSICAL WQBU).
[November 6, 1358.
!0D
is procured for tkeiu by the definite conclusion of a siluat
because such a conclusion of the separate portions of a work is
oposition in art : because the rapid
one of tbe first rules of com,
repetition of (bin dramatic lever, however effective it may be,
betravs a partiality for exaggeration aud an ignorance of the
stage"; and because, lastly, the spectator and auditor require,—
quite as much as the piece itself does — occasional )*riods of
repose, and can only experiences the consciousness of such a
period by the formal rounding-off of a situation naturally com-
plete in itself. This requirement, which is, at least, quite as
necessary fur a musical as for a spoken drama, is mostly unful-
filled in Lohengrin, and hence arises the more or less wearisome
impression produced by tbe work even on those who feel that,
while tliflr attention is captivated by the composition an a
whole, their mind i.i delighted by detached beauties.
These beauties, however, consist precisely in those (melodic)
portions which Wagner's system possesses in common with the
opera of the Past, and Uie interest felt is paid to the poetical
whole, tbe work of individual talent, while all which, in this
■ Opera of the Fast," belongs to the " System of tbe Futnre," is
to bo reckoned among the defects and weak points of both the
ojiera and the system.
That which turns the scale in matters of art is true, fresh,
aud original talent, and not tbe dry, hollow theories of arrogant
system-hunters. What the latter spoil, the former make good
again, and tbe sooner talent of this kind frees itself from sys-
tematic errors and a useless hankering after novelty, and
returns to truly libera), that is to say, sound and reasonable
views, the sooner will it clear for Itself a sure and honourable
path through tbe Present to the Future : a Future of merited
recognition and undying fame. W. M. S.
» wreathed" smiles."
(From Lloyd's W'rlly London Xeirtpaper.)
Amongst many other theatrical mummeries, which to us are
tsf&ef* " m "* 00 * *■ " *•
"A lady rutting in one of tbe stage boxes took off a very handsome
wn bead, aud handed it down to Miss Louisa I'ync."
I very generous, though the fact of offering to a lady
wd wreath might be stigmatised by sceptics as rather
npliment. Supposing a gentleman, carried away by
a similar impulse of admiration, had offered to Mr. Harrison his
hat, we wonder how the Utter gentleman would have taken it ?
However, what alarms us, in this idiotic system of tribute-
throwing, is this new fashion of undressing in public. To what
article of a lady's dress will the madness extend next ? There
nre other articles of female apparel a thousand times more
valuable than a wreath, and it mrgbt be a new sight to witness
a matronly Jewess, at a loss to know what to offer, pull off her
rich velvet gown, and deliberately hand it ovor the proeeenium-
box to the admired heroine. Another lady, as strongly moved,
might pull off her shoes, and throw them at the bead of the
happy /;';,(',,, who was sharing tbe musical honours of the silly
ovation ! It will be as well to check these absurdities, funny
as they aro, or else we shall have some inspired Gent, deter-
mined not to be brow-beaten by such a simple trifle as a wreath,
pulling out bis jKioket-handkcrchlof and offering it to the adored
prima donna of the evening I In tact, the greater the favourite
the greater will the desire bo amongst the audience to outstrip
one another in these tribute*, and then, we ask in trembling
where is the mania to stop f
1 faded ,
pntXD.~ Tbe Philosophical Hall was crowded to excess, to
jibera of the Choral Society perform a selection of music,
as a tribute of respect to the memory of their highly esteemed con-
ductor, the late Mr. James Baltye. lir. Jsckwn, of Bradford, officiated
as conductor. Mm* Whitliam (who was a pupil of Mr. Battje'a). Mus
HM, and Meaars. R. Garner, W. Hint, deo. Milnca, W. KtcliclU,
»' >e"lewood' »a<l if- Vsrley took the principal p«r(«. The whole of
tbe performers were drcwd in mourning, and a great portion of tbo
sudtenco alio testified their respect by being similarly attired.
MADAME BOSIO IN RUSSIA.
(From the QaxelU Rutte de VAndimie 8f.
October 5, lbS8.)
It is truly delightful to bear Madame Bosio sing. Our i
parable prima Joium appeared, last week, for the first time this
season, in Verdi's opera of MgoUtlo. The part of Gilda wa»
performed by her with that artist io perfection, both vooal anrl
dramatic, so highly appreciated by the exceedingly exacting
public of St. Petersburg. Wo will not speak of tbe manner in
wliich she was received. The enthusiastic shouts and applause
of the audience lasted a quarter of an hour. It was a perfect
ovation. She sang as only Madame, Bosio aud tbe nightingale
can sing.
The public seemed inclined to make her repeat ever}' piece,
but was contented with encoring the quartet of tbo bust act.
where tbo poor girl's bitter tears and her outraged milter's
despair are accompanied by the strident laugh of the cuurtestan.
an dth e joyous song of tbe seducer.
Madame Bosio made ber second appearance in La Trariata,
one of the favourite operas of the St. Petersburg public. Tbe
large theatre was tilled to the roof, and there was not the
smallest place left unoccupied. The performance resembled a
perfect artistic festival, at which all the lovers and amateur? of
music, in fact, the cream of the public, had agreed to meet.
Madame Bosio appeared, and tho ahonte and applauae, afUr
lasting twenty minutes, were succeeded by a religious ailenee.
The fair singer appeared as if she wished to surpass herself.
Her silvery voice resounded through the house with inde-
scribable sweetness. Her admirable notes entered the soul
and seized hold of the heart. First we had the gay creature,
iventata, spoilt and mocking, who says, laughingly: "La vita
l: nel tripedio." Then, when a new sentiment Las stolen into
her heart, she becomes pensive. " Eatraro in cor soolpito loquer
accenli; saria per mia s Ventura uu sero aiuorel" Yea! it is
that trno and pure love which ennobles and elevates
woman. In vain does ako endeavour to subdue this «<
vano." Her efforts aro useless; in vain does she try, in Uao
admirable eabaleUa, "Sempre libera degg"io" to recover ber
self-possession. She must accomplish her deatiny ;
everything to her lover, and expires In bis arms,
" Ah ! io ritorno a vivcre I"
Madame Bosio's acting and singing are beyond praise. She
has now no rival in all Europe ; this is a tact of which we
bad no opportunity of convincing ourselves last year, when
we visited the principal theatres on both aides of the Appe-
ninea. In Italy, there was nothing but mediocrity; one
lady is past her prime, and the other puffs away like an old
clarinet. Miolan-Carvalbo, Nantier-Didice, and even Pksculo-
niini, who is so celebrate J, aro but poor singers compared with
Madame Bosio, who is the queen of contemporary cantatricet.
Calzolari is quite worthy of singing with her. Tho perfor-
mance was a complete success, ana every person present leit
the theatre with that sort of sweet impression which man re-
member for a long period, especially if fate compels tiietn to
uit the capital and banishes them to the extremity of
SONG.
BY JOBX KLUBOK.
U, say it again ! when you tell me you love me,
The world has no clouds and no darkness for me ;
Its scorn and its hollowness never can move me,
If a thought that I cherish is welcome to thee !
O, say it again ! — as a zephyr that floateth —
Like voice of the angels, it falls on mine ear !
My heart to that rapturous whisper devoteth
Each vision that yields it a Paradise here !
O, sav it again ! for my spirit were lonely,
Unblest by the hopo thy fond accents can give ;
Like the breeze of tbe West, 'Us their gentle breath only
•*l balm o'er tho desert, and makes it to KM ! ■
(Then Kordt ore copyright).
Digitized by Google
November 6, 1858.] THE MUSICAL WORLD.
711
VANDENIIOFFS FAREWELL SPEECH AT
LIVERPOOL.
AVD UEKTumEjr,— The last scene in the drama of the
actor's life is played out ; and, divested of fictitious character,
he comes before you in the singleness of his own identity to take
his grateful and final lea re of you and of his profession, agree-
ably with a pledge, given some four years since, to a requisition
that I would defer my then announced retirement, and consti-
tute Liverpool the terminus of my theatrical career — the scene
of my last performances. When I withdraw myself from your
presence this evening, I shall have quitted " the stage" for ever.
And how shall I find words — what expressions can I employ, to
depict to you — my long tried, ever kind, and constant patrous.
the thoughts, the feelings, crowding on heart and brain, as I
stand here for the last time, oppressed with the pain of pleasure-
tilled recollections of incidents and events iu my professional
connection with the Liverpool public through a aeries of bygone
years embracing the existence of nearly half a century — all
which memory now brings vividly on the mind's eye, the
bright retrospect saddened by the overcoming cloud of the
parting hour, the pain-fraught hour of separation, to
meet, alas! no more. For time, who with silent-stealing
step ne'er halts or slackens his pace, has brought me to a
gentle declivity, where the prospect palpably narrows, while
the guotnen on the dial indicates the distance gone over, and
prudence warns to cease from labour before nature declare her-
self unequal to the task imposed— before the manly voice turn
again towards childish treble, and the hale, firm step totter in
the enfeebled footing of senility ! In the buoyancy of young
manhood I first courted your acquaintance, ana aspired to win
distinction in your even. You greeted my efforts with ready
approval, and accorded your liberal support to cheer my onward
course iu the arduous, precarious, yet fascinating profession I
had chosen. At twenty-four I first became a candidate for
honours here — at. sixty-eight (verging on the age allotted to
i) I am resigniug all further claim to your attention. Those
periods record my entrance and exit on these boards — the be-
ginning and the end. The poor player has fretted his hour upon
the stage, and shall now be heard no more. But, as the day closes
around me, I would lain satisfy myself that the years I have
passed in tho service of the public have not been vainly spent, have
i wasted, in ministeringonlytothe idle amusement of mere
io ! no ! I feel that the actor's art
may claim a higher purpose, and a nobler end ; and, from the first
to the last, I have endeavoured to keep that end in viow.
That the drama originated in man's appetite for amusement and
his delight in witnessing reflections or himself, I am fully pre-
pared to admit. Amusement is a necessity of our nature ; for
the recreation, development, and invigoration of the physical
and moral constitution, and for Its preservation in healthful con-
dition. The mental faculties, like the corporeal agents, demand
relaxation from severity of labour ; which to refuse or with-
hold Is to neglect a requirement of nature ; and nature's re-
quirements are laws which none may disobey or infringe with-
out paying the penalty she is suro to exact. The apparently
most fatiguing exercise in sports is healthful and agreeable
relaxation to the sons of toil, after even the hardest day s work
' It is the joyous outburst of nature rejoicing and revelling in
her strength with her own freedom of action, as opposed to
the constrained and enforced vorking exacted by the tyrant
Necessity.
" There be some sports are painful, but the labour
■D«H«*< to them sets off;"
And so—
" The labour we delight iu physics pain !"
The mind — the intellectual faculty — is subject to the same law.
The merchant, the lawyer, the banker, whose brain has been
taxed through the day with the mathtmatiet of business, finds
relaxation from the severity of exactness in the outpourings of
the poet's fancies; and they fly to a change of the subject of
thought, which, while it involves the operation of thinking, will,
if preseuted in the form of amusement, distract and dissipate the
busy working of the brain, even while appealing to its
And if the proper study of mankind is map, then is Shakspere
the greatest instructor of man, and a great benefactor to hi*
kind: ani the actor, his interpreter, at once a disciple and a
teacher in his school, may not be disregarded by tho philosopher
or the philanthropist, as useless iu his generation, or an ineffi-
cient agent to good. To blend instruction with amusement , the
useful with the agreeable, is to attain to the omne punctum of tho
poet, the ultimatum of effort in behalf of our fellow.'*. With thia
view of the utage, I seo no reason to be discontented with the
pursuit to which I hnve devoted what talents and energies I may
possess; but it would be a subject for serious regret could I
conceive at this hour that I had passed my days in unmeaning
profitless labour. Ladies and gentlemen, I am bestowing all my
tediousuess upon you. I pray you let the motive extenuate the
offence, and excuse me, if my spirit travelled away from th»
point I must come to at last, as seeking relief from the pressure
of the heart that awaits tho sad conclusion. My work is done ;
the curtain has fallen to rise no more for me. The actor's occu-
pation's gone —
"Hie demum trabeas, cestos, artomquc ropono."
Farewell, my art ! And now, dear patrons, friends,— oh ! how
weak, how vain, are wordy acknowledgments to convey to you
my deep sense of past kiudueasea, of present sympathy, mani-
fested in the overwhelming tribute of, may I say, affection
offered by this brilliant assembly gracing my final exit from the
stage, and making retreat a triumph ! Iu the fulness of my
heart, I can but cry to you— Thanks!— Thanks!— and Farewell I
Lyons. — M Paque, the eminent violoncellist, and one of M.
Jullien's celebrated band, lately gave a concert here in con-
junction with M . Ferdinand do Croze, the pianist-composer,
M. Aim6 Grot, the young violinist and laureate of the Conser-
vatoire of Paris, and of M. de Besnier, the tenor and professor of
siuging. M. Paque especially distinguished himself among his
con/riits, and iu a fantasia composed by himself on airs from the
Traviata elicited acclamation from the entire audience. The
music, no lesa than the executant, obtained unqualified eulo-
gium. The splendid rooms of M. Pontet were filled by a brilliant
and fashionable audience.
Lugano. —The correspondent of tho Cotmorama PUloric
writes iu enthusiastic terms of a new tenor who appeared a
short time since at the Lugano theatre in a petite opera, entitled
11 Pipdet, the music by the maestro De Ferrari. After speak-
ing of the prima donna, Signora Benvenuti, aud the buffo, Signor
Carlo Rocea, in terms by no means eulogistic, the writer con-
tinues : " But that which above all produced the greatest im-
pression and created the greatest astonishment was the young
tenor, Signor Giovanni Romano, pupil of Signor Pratl. Hand-
some in person and giftod with a powerful and extensive voice,
he sang with intense feeling and auiination, and absolutely rose
superior to the scene. Be sang the aria in the prison with so
much suavity in the adagio and so much energy in the cabalittr,
as to create a real furor*." The writer goes on to state, that
Signor Romano achieved a triumphant success at the fall of the
curtain ; that Roberto Dtvtrtux is to be produced for him ; and
that the public await with curiosity and great interest the first
night of the performance. — Query 1 is not 8ignor Giovanni
Romano identical with Mr. Cavallaui, a promising tenor,
soma time since pupil of the Royal Academy of Music]
Cannes liSUS. — A correspondent of toe British Ma pen mi thus
described a recent invention by Mr. John Bottom, St. Fhillip't-road,
Sheffield. It is s circular piste or duo of it**!, ss a sutwUtute for tho
ordinary church bell, which has hitherto been so combertoms snd
expenses an article. Through numerous difficulties, discoursgemsnts,
snd disappointments, tbo enterprising man hsi persevered, snd st lsst
perfectly suoeeeded. These iteel plates hsvs a much louder tons, snd
are heard much farther off thin lbs common church bells of the asms
weight or the same pries. Thus thst which I hsve, weighing about
SOlbi., is heard much farther off than in ordinary bell of mueh greater
weight i its cost ws* 24 10s., snd no bell which could be got for £10
would hare nearly so good a tone. These plate* could be rung with
bells also, thus affording an easy way of considerably increasing the
Digitized by Google
712
THE MUSICAL WORLD.
[November 6, 1858.
ROYAL PRINCESS'S THEATRE
Farewell Season of Mr. CHARLES KEAS as Manager
ON MONDAY, Wednesday, and Friday, MACBETH.
Tueedar. Thursday, and Sxtanlar. KINO JOHN. Preceded
t. Thursday, uid fciturdav. KINO
by tbe farce of AWAY « ITU MELANCHOLY.
every evcniji^
ROYAL OLYMPIC THEATRE— On Saturday evening
November (I, will r* Dr^tfd_tl,. comedy of LADIES BEWAHR ! 1o be
ith TO OBLIGE
fallowed by the
BENSON.
THE RED VIAU To
LYCEUM THEATRE.— M. JCLLIEN'S CONCERTS
KVKRY EVENING i
Vuiinlet, M WIENIAW8KI.
• T Universal Harmony." Tb*
Polk*.- And » New Selection from Weber'a Oraud Opera DEB
, imaged exprea.ly for the»« Concert* by M. Julben
at Klgbt o'0;ock.-Eo«e«eaici>t ol the celebrated
[.-- Th. Fern Leave." V*lae If. Julltcn> - Hymn
The New Quadrille, "The Campbell. Are Oonilu'."
GREAT NATIONAL STANDARD THEATRE
SHOBBDITCH — Proprietor. Mr. Johw Dooouw.
Madame Celeeto svtrr erening In three characters, supported by Mr Paul Bedford
Mies Ehta Arden, Mr Klexmore. an 1 MadUe. A unci Prodtaetiun of » Grand
Military Spectacle — A detachment of Guards from tbe Tower — ell Crimean H< v<v
—for tbe occasion —On Monday end during the week the perform «nc-o» wh ill coin-
rnenre- with Hi* Military Snoctaelo entitled THE FRENCH HPY Viotufre. Henri
St, Aim*, .uid Ilaroat, Mud. Celeste ; Dobouro, Mr. Paul Bedford. A Grsi.d
Ballet. In which tbo celebrated Flex rDor© tklid Mtviile. Auriol will Wot to To
concio.de with a Muslcil Drama, am ported by Mlaa Eilu Ardcn. Mr. Paul Bedford
and the whole atreagtb of the Company. No advance la the priori.
THEATRE ROYAL, DRTJRY LANE
Under the Management of Kits Loniaa Pyne and Mr. W. Harriion.
PRODUCTION OP "THE CROWN DIAMONDS."
Continued and iuerrastns; snrcraa < t " THE ROBK OP CA8TILLE" and
" MARITANA."
On Monday, Wednesday, and Saturday, will bo produced, for the first tint thia
Snaacii, Auber. tamurlU Opera, THE CROWN DIAMONDS. Character! by
*.« l^aa Pyu.j»ho wilf Introduce Rode, celebrated Air. with Variations*
Miss Snaan I'yne, Mr. Oomy. Honey. Mr. A. St Albyo, Mr. Henri ifcrrt (hi. first
Ui e aeoaani Mr Bertieman, Mr. TerrotC, and Mr. W. H,rrlaVu (w„o
wl I Introduce Hrlnley KlcharP. favourite ball*!. •• Oli whlain-r wlsat thou feelce!" 1.
On iTuskUv .mi Frulv (lljlb <u,d 1 lath, iiua), iuir„ e I'uhJy ewoWul ,«n
TIIEROH^OF C iSTILI.E. Ml,. I„l« Pync. Ml. Susan p/.i mZtl. VeStR
and .E^&LcVlta^^
original characUrX Mr. W. HarrUon ;
Mr. Alfrot Mellon.
Aettag-maossrora. Mr.
manager, Mr. Ed
cuUJgl tl
ra Zilla Mkhelet, MorUerhl, and I
I:-*
<i.t
w i'ilau Biougb and Mr
ward Stirling. Doora open at aev
entitled LA
Edward 'Murray. Stasc-
t
MARRIED
On tlio 2nd Not., at Trinity Church. Marylebone. by tbe Rev
worth. Rackham, M.A., Vicar of Witchfbrd, asaisted br tbe Her. E. 0.
Alston, M.A., Rector of Bennington, uncle* of the bride, Walter
Meacook Wilkinaon, Eaq., of Woatbourac-Urrace, to Louisa Rackham
eldcet daughter of William Cnappell, Eaq., F.S.A., of Harlev-place and
ut-etreet. ' 1
tlte 30th Oct^ Robert GJenn We»ley, Etq., to Mm Juliana
TO CORRESPONDENTS.
Home Kr&L^-Tk* following it M« letter vhieh appeartd at lAt
timt (1 847) in Me Morning Post :—
" To the Editor of the MornUg Pc*t.
",SrBTWil1 layl *Uow B". through your mediation, to offer aoroe
eipUn»tioD to the public on the tubject of my journey to France, and
of my tudden return to London, without baring made my drbut at
l'Acad<mie Royala. I hare no complaint to make of the director* of
that theatre, a* your reader* may hare been lad to beJiere. Ou the
contrary, they did their utmoet to aaaiit me to a auccrai, and to encou-
rage tne m tbe hope that I ahould obtain one. They placed me under
the care of the beat matter* for accent, 4c. I need but mention MM.
Duprex, Michelot, and Emanuel Garcia. I had a full rcheartal of the
part of Mathilda in Guillotine JW/, with orcheatra and choru*. after
which I teceired the moat flattering encouragemente, and my dtbut waa
fixod to lake place on tl.o 22nd of tin. month, of which I roocired
official notification. It waa ou the receipt of thia that, yielding to the
fear of whioh I am about to explain the cauae, I took the resolution of
coming tuddrnly to London, irwtead of atayiug to moke my dibml. An
imperfeotioa of my French pronunciation. I bad been aware, at the
general rahearaal of GuiiLaume Tell, of amilea and jemx dt mott a>
certain peuaage* ; at that, for inatance, which I thought I bad pro-
nounced accurately: 'Men occur n'a pa* tromp£ mea rem," there ni
open laughter, and I heard people repeating the phraae made) into a
parody by my defect ire pronunciation: 'Son cntar n'a paa trotnpe
Meaaieura.' You can imagine with what alarm I waa teixed on findiaj
how eaay it waa for a public, ao fond of a joke ai the public of Peru,
which make* game of everything, including itself, to find in my aeorat
a perpetual aubject of pleaaantry. I then felt tbe enortnoti* diiBceJty
of my taak, and I hare ahrunk beck from it, aa, indeed, Mdlio. Jmar
Lind (to whom, certainly, I hare not tbe preteruuon of compartag
myaelf) did, when ahe retuaed the engagement offered her in Lonaeia
by M. Dunonchcl, and, more recently, Mdlle. AlbonL Tbe loiter ladr
haa aung four times in Italian on the stage of l'Acadcjnie Royale with
extraordinary success, but, in spite of this advantage, no temptation
could induce her to ting there in French.
" Under these circumstances, I hare renounced the attempt to do
what Mdllo. Jenny Lind and Mdlle. Alboni believed to be beyond their
powers. I think in so doing I have acted with prudence, and I hop*
that MM. the director* of tho French Opera, giving me eredit for bit
motives, will hold me excused from the promise I had
Such, air, is tbe reaeon of my refusing to iHmttr at t
when the formal notification waa sent to me, rendering it i
my part to beg you to correct tbe statements which have appeared in
some of the English paper*, where it haa been said that tbe Parisian
director* had not treated me in a generous or courteous manner. I
venture to hope that, after this simple explanation, the public of London,
no lea* than that of Parts, will find what I have don* only reasouali>
and natural.— I am, air, your obedient bumble servant,
"London, Abe. 30." " C. A, Buch.
given
THE MUSICAL WORLD.
LOS DON, SATURDAY, Noyxxhb 6-rn, 1S53.
Wr have heard it rumoured that Miss Loum Pyne and
Mr. Harriaon have offered an engagement to Mr. Sima
Reeves to join their company at Covent Garden, to which
theatre, as wo have already stated, they intend removing
directly after Christmas. Our great English tenor would
indeed constitute a B|iecial acquisition to the operatic troupe.
That all our beat vocalists should unite and form themselves
into ono artistic community is, as every one will allow, iMeetv
sary for the foundation of a lyric theatre pretending to the
name of "national." We fear, however, that there are in-
surmountable obstacles to so desirable a result. Mr. Sims
Reeves expects, and ha* n right to expect, a verv large
salary. After receiving £300 j>or week at a remote theatre
in the City, he would naturally feel disinclined to lower his
terms at such an immense house as that of the Royal Italian
Opera. Mr. Sims Reeves, it may be urged, should consider
that at the National Standard he was merely engaged as a
" Star," for a limited period, and that the priucipal expeitse*
centred in his salary. Moreover, his performances in the
East end were mostly restricted to such ballad operas aa
Guy M annexing and Rob Hoy — inconsequential performances,
it may be assumed, taking into aoccmnt his celebrity, — and
but little calculated to advance his fame in the artistic world.
On the other hand, if engaged with the EngUsh Company
under Miss Pyne and Mr. Harrison's direction, he would
have an opportunity of appearing in all his most famous
parts; new open* would be written for him, whilst he would
enjoy the advantages of tolerable coadjutors in the secondary
characters, a good chorus, and an undeniable baud and con-
ductor. To a real artist like Mr. Sims Reeves, these advan-
tages could hardly fail to counterbalance a diminution of his
salary, more especially when he was furthering the object on
- he has set his heart for y eiu-s. '
which 1
Digitized by Googh
Novembbr 6, 1858.] THE MUSICAL WORLD.
713
tenon like Mr. Sims Beeves and Mr. W. Harrison no rivalry
could possibly exist. Both have distinct repertoiret, and
neither could interfere with the other. Mr. Harrison would
retain his old parts in the Balfe and Wallace operas, Ac, Ac;
■while Mr. Sims Beeves would rejoice iu Auber, Donizetti,
or even Verdi. On three nights in the week the public
would be regaled with the Hose of CatHlle, Maritana,
Martha, the Bohemian Girl, or some new production from
the fertile pen of Mr. Balfe; on the other three they might
be refreshed by Lucia, Linda, Don PatquaU, or, better still,
by Fra Diavolo, or MatanieUo. English composer*, further-
more, would be stirred into activity, and a now impetus
giveu to operatic music in the country. At present, the
slightest possible chance exists for the production of a new
musical work for the stages unless endorsed by the popular
name of M. W. Balfe. Miss Fyne and Mr. Harrison are
contented — and none can blame them — with a fair success, and
ran an opera up to its hundredth night and beyond. With
two separate companies, this monotonous system would be
infringed upon, and one work, at least, would not be forced
upon the public to the rejection of all others.
Tho engagement of Mr. Sims Beeves would of course in-
volve obtaining the services of one or more new prima
donnas, Miss Louisa Pyne, although now performing every
night — a most hazardous experiment, as we have already
argued — reserving herself, it may be supposed, for her special
operas. As Mdme. Clara Novello has but seldom appeared
on the stage in England, we know not whether she would
be inclined to accept an engagement with tho company
at Covent Garden. This lady, however, has performed at
some of the largest theatres in Italy, and eveu soared to
personate Semiramide in Boasini's opera. Madame Anna
Bishop — a most accomplished and experienced dramatic
artist, as our readers need scarcely to be told — has arrived in
London fresh from her transatlantic triumphs, and would no
doubt be willing to tender her valuable services. In short,
if the managers be desirous, and the singers willing, there is
no reason why English national opera should not be estab-
lished on the same footing with the lyric institutions of
other countries. Why should Paris with its fifteen hundred
thousand inhabitants boast of three important establishments
devoted to the production of musical works in the nativo
language, while London, with double tho number of people,
has only the semblance of one ? — for as yet, while subscribing
to tho excellent beginning made by Miss Louisa Pyne and
Mr. Harrison, we cannot admit that they have done more
than lay the foundation of National English Opera.
Loxo and imposing is the list of theatres that now appears
in the morning newspapers. He who is not familiar with
London may possibly lose his way in the labyrinth of adver-
tisements. We will, therefore, be the Ariadne to tho
stranger, and provide him with a clue, which, if he is not
very fastidious, may take him to something that he will find
agreeable. In consideration of which service, he will, if he
be more generous than Theseus, collect our numbers in a
smart binding, and refrain from perverting them to ignoble
uses.
At the Princess's Macbeth is now played alternately with
King John, and in both of them our two great tragedians sustain
the chief parts. Mr. Charles Kean, as Macbeth, is tho most
intense of fate-stricken criminals ; Mrs Charles Kean, as the
Lady, is the most irresistible incarnation of an evil spirit
So excellent a Thane and Lady merit an appropriate resi-
dence, and accordingly the stage becomes ancient Scotland
with her massive castles, her rude warriors, and her abundant
witches. The whole thing, from Macbeth himself down to
the properties in his hall is thoroughly tragic, primitive,
imposing. If yon wish to shudder with awe, while, at the
same time gasping with admiration, direct your steps, 0!
stranger ! to the Princess's, and mind you are there in good
time.
Neither must you be tardy, if your object is to see
Charles Mathews at the Haymarket ; for Charles Mathews,
is a great favourite with the people, and stimulated by the
good news that he is come back, they hasten to verify the
fact with their own eyes, — and also to form an opinion
respecting the new Mrs. Charles Mathews, whom he has
brought with him from America. To-night, by the way, he
will take his benefit, and bring out a new piece, called the
Tale of a Coat, whereof we knew nothing.
Long has Mr. Bobson drawn the public to the Olympic
Theatre by the magic of his genius, — but only within the
last few weeks has he earned the reputation of a bottle
conjuror. There still stands the Red Vial, whole and entire,
mended in the first instance by Mr. W. a Emden, and now
firmly held together by Mr. Bobson and Mr-. Stirling. —
Miraculous ! Here iR a bottle that will not be placed on a
shelf. And between you and us, gentle reader, there are
many worse pieces than the Bed Vial, though its contents
are a little too strong for Olympic nerves. Mrs.
Stirling's representation of the wicked housekeeper will
alone be an equivalent for your entrance fee.
And mind you, don't pass tho Strand, careless stranger,
because it happens to be small. The new burlesque there,
The Maid and the Magpie, is the most smartly written and
smartly acted thing yon can conceive, and the stage is as
bright and sparkling as the people upon it, which is saying
a great deal. No, on Becond thought*, stranger — wo would
say, do pass the Strand. There are syrens in that grotto-
Miss Swanborough, Miss M. Oliver, Miss M. Teman, MisH
Marie Wilton, — and, if you once enter it, and are not a
very strong-minded man, you will, perhaps, never be able to
tear yourself away again.
Astley's, too-yon won't forget Astley'a— the only eques-
trian theatre in London— accessible, moreover, at cheaper
prices than heretofore. There is this advantage about
Astley's at present ; that if you happen to dine late you
will lose nothing by missing the first piece, and coming at
once upon tho business of the arena, where feats graceful
and imposing are performed ; and jokesj verbal and practical
are cracked by the two clowns.
If your desires take a suburban direction, you may as
well see Henry V. or the Hypocrite at Sadler's Wells, the
former a grand " get-up," the latter distinguished by the
performance of Mr. Phelps in a new character. Then, at
the Surrey, under the name Ambition, you will find a very
pleasing fusion of the stories of Elfrida and Catherine
Howard, after a recipe given by that great cook of history,
M. Alexandre Dumas. Madame Celeste is starring at the
National Standard in certain pieces called Green Bushes and
Flowere of the Forest, which it is just possible you may have
seen at the Adelphi. No matter; the pieces are very good,
and will bear seeing once more. Indeed, the theatre alone
is a fine sight So Eastward ho ! — take our compliments to
John Douglass, and wish him as much success in White-
chapel as in Shoreditch. And if you happen to be in the
City Boad, drop into the Boyal Grecian Theatre, where yo\i
will find the fortunes of Fouqnet represented after a fashion
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THE MUSICAL WORLD.
[Novembbb (i, 1858.
of which the history of France wil) uot give you the
slightest notion, and where Mrs. Conquest's pupils wlil
charm you by their grace Lu the ballet. Mind, the Grecian
Tlioatrc is no longer u aaloon — it has uotluug whatever to
do with tho'Eagle Tavern, only tbe Eagle Tavern stands
next door; and if, when the play il over, you go to the bar
thereof, und order a glass of braudy-aud-water, Mi*. B. O.
Conquest, the manager, will not beotTeuded by your |>atroii-
age of Mi. It. 0. Conquest, the licenced victualler.
And now, ignorant, thiek-headod stranger, if you can't
youratdf, it's not
SiGxon Visum has goue to Naples, to superintend the produc-
tion of his Simon lioceanegra. In December he is engaged to
bring ont his new opera, Un Bullo in Ifcuchera, at Rome.
Gbwejuu. QucDKXorr has seceded from the post of director of
the Imperial theatres at Pete rsburgh, after a reign of twenty-five
years. lie is replaced by General Audit* Savourutf.
M. Ernst, the celebrated violinist, is in so delicate a state of
bealtb, that he has been ordered to Nice to pass the winter.
The Jfeuiah is to be jH-rformed in St. George's Hall, Wolver-
LauiploD, on tbe 17th of next month, the vooliats engaged
including Miss Dolby, Mrs. Sutherland, Mr. Weiss &c.
Wm are informed (says the Plymouth Journal) that Iwdy
Havclock has taken Osboiu House, Stoke, as her future
Sr. James's Thkatk*. — On Monday evsuing Miss Bessie
Willingham appeared at this favourite little theatre (being her
first appearance in London), in the character of Helen, in
Sheridan Knowles's drama of the Ilundiback. Tbe young lady
was well received Other performances followed, with some
excellent music by Mr. Phillips, and bis band of the Coldstream
Guards.
Mkykhbkeb. — The rehearsals of the new opera iu three acts,
by the author of Jlobert, the Jluffiuiwt*, and the J'tophHe, have
already commenced at the Opera-Comique. The principal
characters are entrusted to Madatuo Cabel, M. Faure and
M. Ste. Foix.
Organist Atpointment. — Mr. Thomas Bailey, late organist
of the Roman Catholic Chapel, in Huddersfield, has been
appointed organist of the Roman Catholic Cathedral, Cashel,
Rotax, Pavilion Theatre, — The superb centre chandelier of
this theatre, manufactured by Dcfries and Sons, is of elegant
and unique design, composed of chains, principally of richly-cut
glass, dropping so as to form draperies of crystal. It contains
300 lights, all bidden behind spangles, cut so as to increase the
'. threefold, which makes them appear as though there were
lights, and they are, in effect, equal to that number,
ere are, also, fourteen spangled lanterns, so arranged as to
illuminate above and below, thus forming two rows of lanterns,
each of which contains three burners, so concealed as to throw
a dazzling brilliancy around.
Mr. and Mrs. Henri Drayton's Drawino-room Operas at
Briobton.— These popular artists, who have been giving their
pleasing entertainments with great success in the provinces for
some months, made their first appearance at Brighton, *in the
Pavilion Music Room, on Tuesday evening. The great success
which has attended the production of these "drawing-room J
operas" has arisen from the melodies in the various entertain-
ments being judiciously selected from the most attractive music
of the day, in addition to some excellent original compositions
by E. J. Loder, Duggan, Beale, and others. The well-known
talent of Mr. and Mrs. Drayten cannot (ail to draw numerous
and fashionable audience* in
OaUlimV- The concert ghranlf tbe Lay Viesri of the Cathedra],
in the Aaaembly Booms, waa Yery well attended. Several overture*
were wtll played by the Amateur fnitrnmeiital Society. A gentleman
amateur and Uerr Hartmann played aoloi on the flute, and were
deaervedly applauded. Mr. H. Bonnet oondocted.
EasTBocavs.— Tl.o Choral Society'* Moatbly Meeting, on Friday
tlie 29th ultimo, waa very well attended. Several part-aongt and
by Vendslttobn, Mosart, Handel,
M. JULLIKWH FAREWELL CONCERTS.
Tbe crowds that assembled at the Lyceum Theatre, on
Monday evening, to greet M. .Tullien on the first night of his
"Farewell" — we trust not bis " Inst "—Concerts ; tbe honest
and hearty welcome that awaited him ; the receptic
all the favourites ; and the enthuuiaetn that prevailed t
out the evening, abundantly demonstrated that the
winter entertaiunienta over which M. .Tullien presides had lost
nolbiug of their attractions. A more brilliant inauguration
indeed we do not remember than that which heralded the
tweutietli season. The stalls, private boxes and drees circle
were filled by an elegant ami fashionable assembly ; and the
theatre, with its new and fanciful decorations, set off by the
crystal chandeliers and prismatic lanterns, looked splendid and
striking The orchestra is still more tastefully erected than at
Drury Lane, Covent Garden, or Her Majesty's Theatre, and,
in short, every thing possible has been effected at onco to dazzle
and gratify the senses.
To accommodate itself to tbe size of the house, the band ha*
been reduced to Beethoven's complement, sixty. But in
diminishing the quantity the quality has been preserved.
The orchestra is now composed of the following artists : —
Violin* : MM. Willy, (i. Collins, Lehon, Kettenus, Oppeuheimer,
Heunen, Clementi, Wells, Schmidt, Demunck, Ascfier, Diehl,
Vnn I lev Finck, Pay-ton, Kelly, Keller, Bort, Croza. Alto*:
MM. Schreurs, Goffrie, Vogel, Broedelet, H. Synders, Sloinaa.
ViolonctUi : MM.Paque, H.Chipp, Klein, Demunck, [a Synders.
CotUra Bttui : MM. Howell, Reynolds, Kliegh Hieatt, Griffiths^
PickaerU Flat** t MM. PrutUu, Reichert, Berry. Oboe* I MM.
Lavigne and Crozier. Clarionet* : MM. Pollard and Stacquet
Fagotti: MM. Hauser, Morlighem. Corni : MM. C. Harper,
Cavolli, F. Jnrrett, Stenbruggcn. Cornet*: MM. Lc Loan,
Ncuzer, Ling, Monkhouse. Trontbontt : MM. H. Russell,
Jenkins, Hi
7"
It*: Mr. Hughes, &c. J>runu: AIM.
Chlpp, Seymour, Pheasant, Thompson, Ate. 1'rinci/xd Comet .
M. Ouhem. Leader* : Messrs. Willy and Lehon.
This is a powerful force, fully equal to " realise the dream of
Beethoven," as M. Jullieu suggests in his prospectus, and, with
the assistance of a fow brass hands and an extra drum or so
fully equal to realise — at least in the Lyceum Theatre — the
dream of the veriest lover of aouud and fury, signifying— -n
thunder. In addition, there is provided a good
under the able superintendence of Mr. Edward
nightly duty up to the present time has been to sing the National
Anthem, "Rule Britannia," and M. Jullien's new "Hymn of
Universal Harmony," written especially for the present con-
certs. By and bye, we are told, graver services will be demanded
from the choristers in the performance of the choral music in
Beethoven's Ninth Symphony, in Mendelssohn's Lobgaang, and
Gregory the First's Canto t'ervio and Fvga Fvgantnu Verily,
Mr. Land's place promises to be no sinecure.
Tbe programme of Monday " revealed" one great novelty in
the person of M. Wieniawski, who, according to M. Jullletv, is
the "celebrated violonist, who in France, Germany, Russia, and
Italy, has established one of the greatest reputations since the
appearance of that marvellous genius, Paganini." Of M.
Wieniawski we bad previous heard and read great things, as
the saying is. He is, according to some, a Pole, and according
to others a Russian. He has been a pupil of the Paris Conser-
vatoire, and 1ms, during the last few years, been giving concerts
throughout the German States and in parts of Italy with im-
mense tcldt. The young virtuoto made his first essay on Monday
evening in Mendelssohn's violin concerto — a selection we feel
hardly bound to say, he would have made if left entirely to his
own judgment, considering the liberties he took with the com-
poser, and the substitution of a cadeuza of his own in the first
movement for the one written by Mendelssohn. M. Wieniawski.
perhaps, Is as eager to copy Paganini in taste as in skill and
appearance. Whatever Paganini's musical predilections might
have been, he seldom performed any classical piece in public,
and made all his reputation in the fantaiia school. We hope
that the new violinist will prefer to take a loftier flight
his talent appears to be of a very rare order. M '
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November 6, 1858.]
THE MUSICAL WORLD.
indeed is a great player in the strictest sense of the word. He
niay not possess that depth and volume of tone we have heard
in another fiddler, nor exhibit that breadth and grandeur of stylo
we remember in a third ; nevertheless, his powers are most ex-
traordinary, and in justness! of intonation — the grand desidera-
tum, the be-all of violin playing — we never heard him surpassed.
This charm, beyond all charms, either in vocal or instrumental
performances, stamps him as one of the mo6t remarkable artists
of the day. M. Wieniawski delights in the marvellous, and
seems to achieve wonders without an effort. His *f<i<-ca7o playing
is particularly fine, and his management of the harmonies hardly
to be surpassed. Hi. tone is especially sweet and delicate, as
shown in the andante of Memlel«olm'e concerto, and his tasto
and feeling— always excepting the unwarrantable liberties taken
with the author— unexceptionable. M. Wieniawski created an
tion in the concerto, which increased to a furore
de Venise " in the
jf the most cxtra-
The theatre has been crammed to suifocation every night
during the week, and M. Wieniawaki's success ha
with each successive perforn.ance.
t the violinist executed the " Carnaval
second part, which, take it all in all, was one
ordinary performances of the kind we ever hoard.
M. Juliicn Is very fortunate, or very shrewd, in making dis-
coveries. We congratulate him on his hist celebrity, who, no
doubt, will prove one of the most noted lions that ever visited
this country at Ids instigation. M. Wieniawski was over-
whelmed with applause after each of his performances, and
returned to the orchestra to make his acknowledgments aftur
the concerto. He refused to return, however, after the
" Carnaval, " although the applause was still more vehement
than before ; and a new Galop, by M. Jullien, called the " Frikell
Calop," was performed amid a hurricaue of yells and shrieks,
M. Jullien, who had previously addressed the audience briefly
on the occasion of a low, this time not paying the least regard
to the disturbance. Miss Vinning, who is a special favourito
with the public, coming up the steps leading Co the orchestra,
threw oil npou the troubled waters, and appeased the commo-
tion instantly. These rows are very disgraceful, but if they
could not bo put down in the large houses, we know not how
they could be preveated in the smaller theatre.
The performance commenced with the overture to Dtr
IWlilti. and at once convince*! the auditors of the splendid
quality of the band. The Andantt, Schtno, and Storm, from the
Pastoral Symphony of Beethoven, fully confirmed this opinion.
In the selection from the Trovatore, Messrs. PratteD, Lavigne,
Hughes, and Duhem — four of M. Jullien's "crack" soloists —
had a fino opportunity of distinguishing themselves, and did
not fail to avail themselves of it to the great delight of the
hearers. Nor must we forget the splendid flute playing of
M. Reiebe.it, as exemplified in his solo towards the end of the
concert, but maliciously cut short by the malcontents of the pit
Among the now dance pieces introduced we atnnot omit
naming the " Fern Leaves" waltz, one of the most rhythmical
and melodious we have heard even from M. Jullien's pen.
M. Jullien's new " Hymn of Universal Harmony" concluded
the first part. It had to undergo a severe trial coming after
"God save tho Queen" and "Rule. Britannia." Nevertheless
it achieved a decided success, and was applanded by the whole
house. The melody is grave and solemn, and the climax from
the piano at the commencement to the fortiuimo at the end is
managed with great skill. The harmonies are clear and broad,
and altogether the Hymn may be pronounced as one of M .
Jullien's most striking compositions. We have no doubt that
after a few nights, when the tune is familiarised, it will become
a Hpecial favourite with the audience.
Miss Louisa Vinning — M. Jullien's present prima donna —
sang the opening eavatina from the Trovatore; and, being
encored, gave " Wbero the Bee sucks." Dr. Ante and Signor
Verdi did not seem to coalesce. In the second part, Miss
Vinning sang the Scotch ballad, ■ Gin a body," and a new oan-
zonetta, entitled " I'm a laughing Zingarella." The latter was
biased and repeated.
The arrangements behind the orchestra have not been neg-
lected. The reading-room exhibits the same hberallty and
convenience as of old, and the refreshment-room is submitted
Ui the most competent hands— thus providing food for the body
And mind at the
DRURY LANE THEATRE
Ox Monday Mr. Wallace's popular opera, Jfaritana, was
revived with decided success. Miss Louisa Pyue sustaining the
character of the heroine, and Mr. Harrison appearing as I)on
Caesar de Bazan, one of his most striking and vigorous perform-
ances. The favourite pieces obtained all the success or old, the
following receiving enthusiastic encores: — the trio, "Turn on
old Time," by Miss Susan Pyne, Mr. Harrison, and Mr. G. J.
Patey; the ballad — not eavatina, Mr. Wallace — "Yes, let me
like a soldier fall," by Mr. Harrison ; the ballad— not eavatina,
Mr. Wallace—" There is a flower that bloouielb," suug by the
same gentleman ; and the aria, " Scenes that are brightest," by
Miss Louisa Pyne. Miss Louisa Pyne and Mr. Harrison were
recalled after each act, and all the principals had to appear at
the cud, to tho arbitrary summons of the audience.
SACRED HARMONIC SOCIETY.
Tiik public presentation of copies of the resolutions unani-
mously agreed to at the last annual general meeting of the
Society, recording the services of John Newman Harrison, Esq.,
as president, and Thomas Brewer, Esq., as honorary secretary
of the Society, took place in the minor hall, Exeter Hall, on
• which for
to the
The resolutions, which, by direction of the B
written on vellum and illuminated by Mr. C. Driver, i
bound by Mr. R. Riviere, a member of the Society, i
following effect:—
" That litis meeting present their hesrty thank* to tho p
John Newman Harmon, E»q., for tho reslou* senico he bas i
to tbo Society from it* establishment to tho prewnt time : congratu-
lating him, st one of its promoter* sad original officer*, upon his asso-
ciatioa therewith for more than twenty fire year* par and trusting
that he may bo spared to prcsido OTcr it fur many years to come —
the Society regarding hi* amorist ion therewith for more than tsrnty
Are year* with heartfelt gratification."
"That this meeting tender to tho honorary secretary, Thorns*
Broirer, K*q., their beat thank* for hit wrrice* during the past year ;
and desire to expre** their deep seme of the advantage* derived by the
Society from hi* baring continuously held tho same office during the
entire period of its existence, now extending to upwards of a quarter
of a century, and their trust that the day may be far distant which
shsll deprivo the Society of the benefit of hi* valued experience and
counsel/'
Bbiqhtok — (From a Corretpondcnt). — Herr Kobe's concert ,
on Thursday eveuiug the 28th tilt., inaugurated our musical
season with iclat. The largo rooms of the Town Hall were com-
pletely tilled. Hcrr Kuno provided an unusual amount of
attraction. The principal artists were Miss Dolby, Miss Louisa
Vinning, Madlle. Finoli, Mr. Sims Beeves, M. Jules Lefort
Signor Piatti, Madlle. Sophie Humler, and the Swedish National
Singers. Herr Kuhe played with Signor Piatti a duo for violon-
cello and piano, by Mendelssohn, a fantatia of his own compo-
sition on airs from Martha, and Wallace's " Home, sweet Home,"
iu all of which he was enthusiastically applauded and recalled.
Miss Louisa Vinning sang with great effect her " stock" eava-
tina "Taeea la nottc," and n charming new ballad by Balfe,
"I'm not in love, remember," in which her archness and viva-
city had ample scope, and the applause she received was well
merited. Sims Reeves Bang " Oh, 'tis a glorious sight" ( Obtron)
magnificently. In " Phcebe, dearest," being encored, ho substi-
tuted " Come into the garden, Maud." Miss Dolby and M.Jules
Lefort sang several songs with great effect, and Madlle. Sophie
Humlor's performances on the violin were much admired. The
Swedish Singers sang several times during the evening. 8ignor
Ld Calai and Mr. J. G. Callcott accompanied tho vocal music.
This concert was one of the best ever given in our town by
Herr Kuhe.
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THE MUSICAL WOULD.
[November 6, 1858.
never
on" his
t colossal
DRAMATIC intelligence .
Pjuscssa'n Thsatrr.— Mr. Charles Kean, like Justiet
*)«ep* ; the flag of Progress ia his banner — " Move
motto.' Five years ago ha produced JfaefieM— the mos
of Shakspcre's romantic drstaaa— at the little theatre in Oxford-
street. The mise-tn-*eine was magnificent — not to be surpassed
— ao the London critics avouched ; the force of art and re-
search could rr» further go — so the beat nnd most antiquarian
judges insisted. Was Mr. Charles Kean satisfied 1 No. He
smiled *A the antiquarians, and laughed at the critics, knowing
■Witt be had only done half what he might have done, under
other circumstances, for the play. The reviv^-of l&W lia- for
transcended the production of loi3. Maobeth not only shines
with greater splendour now than it did before, but archaeology
and chronology and many other a ologrcs*' have combined to
demonstrate that all previous performances of Macbeth have
sinned in costume, both in dross and scenery, and that, for the
first time Shaksperc's mighty drama is represented as the pott
himself would linve loved to see. Association U the only
■tumbling-Mock to a universal appreciation of Mr. Charles
Kean's magnificently faithful revival. Take the banquet-scene,
for instance. Who that t-etnembers the splendid saloon in which
Mrs. >Siddons was wont to dismiss her guests, graceful as a swan
who by a wave of her head bids her callow cygnets go and pro-
vide for themselves ; or Macready, who by the terrible reality
•of his countenance was wont to affright even Banquo himself in
Ihs ghostahip, can accommodate his early impressions to the low,
sightless room, the unatuccoed walls, the rude decorations,
the
grim-viaaged Thanes, more hirsute than ariatocratic t Yet such
u the triumph of truth over imagination. The pageant of fiction
fades before the eye, and fact stands revealed iti all its repulaivo
but necessary lineaments. The dream of poesy is fled to the
gods, and all that remains behind is of the earth, earthy.
LivwirooL.— Last night the Philharmonic Society gave mn
esSTinterestiDg concert. It was the ninth of ^.jH*
and deviled entirely to the AiAalie of M «*°^n «f •
Engedi of Beethoven. The verses ^AlhaU wen >»V£™ b£
Mr Greenbank; and the music of Beelnoveua CArwfu* *J"
lo the words by Dr. Hudson which embody - tfc
prsecution of David by the king; so
tho original words that it may be saidthc Mount of Wiw
be herS known as Engedi. The first went verj ' djsrmmg^
and considering the requirements of the latter it "M^m*
Such works, howsvsr, are not i»pular with the ™ *F>
scribers, and consequently the concert was on the who e lev
warmly received than it deserved to be. V>e hope to return w
it and the JleuiaJi on Saturday.— Liverpool Courier. ^
NorriNanAU SoBSCRiiTioir-CotfOEBTs or Chahtjkb Mxhc
(From a Correspondent).— Tho first of a series of ten concerts
took place at th4 Assembly Rooms on Friday evening, tbe ^ud
October. The programme included Mozart's second string
Quartet (in D minor), Beethoven's Kreutier , Sonata, Alexander
Fescn'a fifth Pianoforte Trio (in Bband Mend.haohn'. first p«b-
lished work, the Pianoforte Quartet in C minor The w»c
was performed with spirit, energy, and in perfect good taste
and was listened, to most attentively bjr* larf ««»> «
amal
teurs diUetanti and professional men. These concerts hav*
mie the rallying-point of all true lovers of music, and
beneficial influence upon the
t choicest works of ths great
"HARMONY AND COUNTERPOINT."
By a Juoglxd Stodkht.
(Pitted up by a rHntere 2>evil.)
It wss during the Middle Ages, when all sorts of cruelty nnd
barbarity wore practised, that a man wag deprived of his wife by
pirate*, who carried her off during his absence. His rage snd revenge
knew no bounds i ha wss determined to discover who were the in«ti-
gstors of the crime, and, in order to do this, he invented every kind of
horrible and cruel tortures to make them confess. With all this he
was still unsuccessful in obtaining the information be required, for his
dreadful tortures generally ended in the death of the innocent victims.
Then, in hit fury, he exclaimed, " There is yet one more suffering which
shall be endured to satisfy my revenge,— one which shall not kill, but
shall pursue my victims through all ages of civilisation— compared to
become the rally ing-pou
promise to exercise the
practice and appreciation of the
masters.
BsunFOBD.— A concert wss giTcn on Monday evening, the BU vet.,
in St. George's UslL by the Festival Choral Society. Nolwiths snd.*,;
the sdverse state of the weather, the rain pouring down all day, the
audience numbered upwsrds of 3,000 persona, snd. with the exception
of the stalU. all the parts of the house were well
were Miss >Yheater. Miss Freeman
arid Mr. Coatee. Mr. J. Burton .
Wallace's " Home, sweet Howie," as a eelo.
Tajuft for CRraoLiHR. — According to _
Charteroi the lessees of dancing saloons in Belgium comptaln
bitterly of the falling off in their receipts, OT<*f>°.n<^*
extra space now occupied by the crinolines. An
called the " Crinolimetre," has consequently been adopted by
tome of them, and persons whose crinolines surpass a fixed
— n fee. At a uaii
was measured and
another person, of an
sluill pursue my victims through all ages
which death itself would be a blessing. '
This l»t torture was then invented,
Miss Z. lUingworth, Mr. Northrop
presided at the piano, snd played
piano,
the Courrter dr
invented, and tiUl
A Nsw MrsiOit Issth' mm —Some timo ego ths director of the
Conservatoire appointed a commission to examine into the merits of a
new instrument, called the Bsryton. The members of the commission
MM. Aaber, Halery, Fanseron, and MeifVed, expressed high satisfac-
tion with the invention, which wss by M. Lacome du Harve. The
Bsryton ia an instrument of the violin tribe, midway in aiie and com
pass between the viola and the violoncello. Its four strings ore tuned
octaves to the corresponding strings of the violin ; and its compass is
i lower by a fourth than the viola, and higher by a fifth than the
t. It is held and played like the latter instrument, so Hist
the violoncello performers can easily play upon it. Iu tone has a
special timbre, which strikes the ear, and is perfectly distinct from that
of the viola or of the violoncello ; and thus (said tbe reporters) instru-
mental music has acquired a new organ, which, in the quintet and the
quartet, will vary the effects and add a new speaker to the dialogue of
instruments. It is evident, too, from whst was ssid, that to the
violonoethst it will be an addition to his own instrument ; for, from its
being strung exactly an octave below tbe violin, it will throw open to
the player all the beautiful music, written for the pianoforte and violin,
by Mozart, Beethoven, Weber, snd other great masters.
[What has become of thia new invention t— Ed.]
development art charged an extra admission
given on Sunday last at Montignv, one female w;
cWrgBd an extra seventy-five centimes ; anoth.
economic disposition, preferred reduc
out two hoops !
Quitz a Boss.— The Duke of Ventlgnsno li an author very cele-
brated upon the Stage of Italy. His JfeJew, snd many other of his
piece*, will livei He is respected, esteemed, praised ; he is rich, be is
single, he enjoys wonderful health. In fine, he has all that a man can
have in order to be happy. But be hss tbe misfortune to he a jtiUtorr
one afflicted with the evil eye, — so says the superstitious, and, of
eourse, every evil is laid on that malady. On the falling-io of the
tunnel under the heights of Pissofalone, the house which first fell was
one which the Duke bad occupied about a fortnight. Forced to look
for another, he could find none i not s person in Naples would let him
an apartment. At hut, M Storrace, a barrister, of strong miad, con-
sented to do so. A few dsys after he died of apoplexy. The stories of
a similar kind told of the Duke can be counted by hundreds. When his
iledea wss played at tbe theatre of tbeFiorcntini, tbe actors stipulated
that he should not be present. The Duke accordingly remained at
home. At the end of each act a messenger brought him news of the
progress of the piece. The applause went on increasing, said tbe
reports. The author bore his triumphs in tranquillity until tbe fourth
set was over) then, nnablc any longer to restrain his impatience, he
rushed to the theatre, arriving in timo to show himself upon the stage,
l'ublio opinion at once veered round, and the public would net listen
to the fifth act. Three days after tbe house was burnt down, and one
of the actors died. At the representation of another piece the actress
La Marchioni caught an inflammation of the lungs, which brought Iter
within an inch of the grave. Upon a different occasion, a different
actress was similarly unfortunate ; and one poor girl, who was to have
been married to a prinoe, lost her husband before she had gained him.
Every time the Duke's pieces are played it rains, or it ia oppressively
hot, or there is s hurricane, or there are too many mosquitos, or some
accident is sure to.heppcn.
Digitized by Google
November 6, 1858.]
THE MUSICAL WORLD.
717
NEW YORK PHILHARMONIC SOCIETY.
(From t ho " Sixteenth Annual Report.")
Notwithstanding the disastrous con sequences of the commercial
crisis, which occurred just at the beginning of the Mason, and in view
alio of the excellent concerta which were given by the manager of the
Aesrkmy, under the nine of " Philharmonic Concerta," during laat
winter, we hare, under the circumstances, met with great and unex-
pected success, for both the rehearsal* and the concerta of the Society
were fully attended— a fact which proves that the general interest
felt in oar institution, on the part of the subscribing, associate, and
professional members is more deeply rooted than has been supposed
by many, and cannot as easily be undermined as may have been hoped
by some. Our orchestra lias been steadily increased from season to
season, so that now we count front eighty to ninety performing mem-
bers ; while at the first concert of the society, on December 7, 18-12,
at the Apollo Saloon, only fifty performers constituted the orchestra.
In point of ability, wo are happy to state that nearly all the most pro-
minent resident instrumentalist* form now a part of the society,
thereby insuring tbo production of orchestral effects which no
other institution of the cily or in the whole United
The principal feature of our concert?, the performance of symphonic
and overtures by the orchestra, has been faithfully carried out, as wi]
affords,
bonies
rill
be seen by a reference to the programmes of the season. We hare
performed standard works of tho old masters, as well aa those of more
modern date, and among the names of the oomposci s will be foand
those of Beethoven, Weber, Spohr, Mendelssohn, Schumann, Hitler,
Riehard Wagner, Lindpaintner, Xicolai, Ac., Ac. In regard to the solo
performers, we hare endeavoured to obtain the beat talent available,
both vocal and instrumental ; but it must bo borne in mind that we
labour in this respect under great disadvantages, from tho well-known
fact that celebrated artists, who pass the winter in our city, invariably
come hare under a previous engagement with some operatic manager,
by which they are debarred from appearing at any other than the
manager's own public performances. For instance, during tbe laat
season the service* of Messrs. Vieuxtemps, Tbalberg, and Formes were
promised, but could never be obtained when an opportunity for making
good the promise presented itself. It is the intention of the board of
directors not to spare any efforts during tbe coming season, to fill oat
the programmes with as interesting vocal and instrumental soloa and
concerted pieces as it may be possible for them to procure.
The number of subscribing members during the past season were
1, 190, who are classified as follows : 125 1 associate members, 24 sub-
scribers, and 212 professional members — a higher number than at any
previous season, with the exception of tbe last but one. The dividend
declared this year is 80 dollars for each performing member, a remu-
neration not very considerable for attendanoe at four concerts, sixteen
public and eight private rehearsals, and eight business meetings.
For some time past a wish has been expressed by many members
that tbo society might giro more than four concerts j in accordance
with which the board of dirreton, ever desirous to please the patrons
of the society, have concluded, with the consent of the actual members,
to give, during the coming season, JSn instead of four concerts, with
the usual number of rehearsals, without increasing tbe price of sub-
scription. At the name time, it has been found neoeaaary to pass a
regulation to the effect, that henceforth all subscriptions must be paid
in advance.
A matter of the greatest importance — the selection of a suitable hall
for our performances during the coming season — is unhappily at the
present moment not yet settled, but due notice will be given as soon as
an arrangement shall have been completed. The lessee of the
having declared, that on no account will he allow tbe PL _
Society again to occupy the said building— for reasons which the
must deduce for himself, as they are not known to us — our choice re-
mains between Cooper's Institute, Burton's, or Niblo's Theatres, and
the City Assembly Rooms, one of which places will probnbly be selected
until a regular Music Hall, so ranch needed in our city, shall havo been
built.
At a meeting of the actual members, held April 7, 1858, it was de-
cided, in view of the constantly increasing labours of the Board of
Directors, and in consideration of the much wider sphere of action of
our association at the present time, to augment the board by adding
four members to the present number of seven. The different officers
will remain the same as heretofore, but instead of two Assistant Direc-
tors there will bo six.
Finally, we should not leave unnoticed a fact whioh must fill with
pride and satisfaction everyone that feels an interest in the success of
our society, as an institution to promote the cause of art, to create an
intelligent appreciation of, and diffuse a refined taste for, the higher
class of music among tbe people at large. We refer to the establish-
ment of a Philharmonio Society, daring the last year, in our neigh-
bouring city of Brooklyn, which undoubtedly owes its origin to the
mother institution of New York, and which has our very "
Similar societies have sprang into existence in many of
sprang into existence in many
cities, and have been established after the model, and with the
dee, of our own Philharmonic Society. All success to them !
we not be found wanting in setting tbcm the example, for
to come, of a high-toned, truly artistical institution, CTer
in the right direction.
THEODORE EISFELD.
1 It is scarcely within the scope of our journalistic duties lo
detail the sad particulars of the loss of the ill-fated steam shin
« Austria." An event of such calamitous import travels through
the length and breadth of the land with the evil speed of mis-
fortune, and far outstrips our tardy issue. What hearths have
been rendered desolate, what cheerful homes blighted, what
loving hearts stilled, it is not for us to tell. Man's struggle with
the waves has been marked with no such catastrophe as this.
A city plunged in sorrow and gloom weeps mournfully for the
lost. A few, and a few only, are privileged to rejoice — those
whose friends have been snatched from the jaws of death and
rendered back to their kindred, haggard with remembrances of
the fearful ordeal. Such a one is Mr, Theodore Eisfeld — the
conductor of our Philharmonic Concerts. It is well known that
this esteemed gentleman has struggled long with the destroyer.
Feeble health has compelled him to visit Europe each season, and
hope has trimmed her lamp anew in the gentle gales of the Father-
land. There was nothing remarkable in the case, but it seemed
cruel and heartrending that ono who thus struggled for life
should have it snatched from him at the moment when it seemed
within his grasp. It was known that he was a passenger on the
" Austria." and there was scarcely a hope for nls safety. An
excessively nervous temperament and a feeble habit of body
seemed to deny to Mr. Eisfeld the poor resource* of his situation.
When, therefore, the news came that ho was indeed among the
saved, it occasioned not only ^oy but surprise. He was taken off
the burning wreck by the brig " Maurice," and is now probably
at Fayal.
It is no time to triumph over the beneficent mercy vouchsafed
to Mr. Eisfeld, howsoever it may gladden oar heart. But it is
not, we trust, the wrong opportunity to congratulate our readers
on the rescue of a worthy gentleman with whom they have been
long and intimately acquainted.— Sim York Mtuieal World
It. Trovatorb ik SPSiKansLD, Mass.— A splendid house
greeted Mr. Cooper's opera troupe at Music Hall, last night,
mostly of our own citizens, though a few faces from tha towns
around were visible ; and tho performance must be regarded as
an eminent success. The orchestra wa* small, but it was good
and well managed. The choruses were " sparsaly populated,"
but that was got along with, and excusable under the circum-
stances. But the leading parts more than atoned for whatever
there may have been of deficiency in the other departments.
Miss Milner, as Leonora, was excellent. She was not, perhaps,
np to the mark in her acting, and yet she managed to give
charming expression to her language, and to satisfy all She
exhibited more vocal power than we had supposed she was
capable of, and,' in her more ornate passages, displayed that
charming facility and brilliancy of execution which only can bo
achieved by rare native faculty and the moat thorough training.
Mrs. Holman, as Axucena, acted well. Her voice is worn,
and only on the lower notes displayed good quality and satis-
factory power. Mr. Miranda's Manrico was an excellent per-
formance. His voice is fresh and of fine quality, his acting fine,
and his adaptation to the part unquestionable. His singing in
tha third act wss one of the best performances we remember to
have heard for a long time. The audience fully appreciated
this, and called him before the curtain to receive their compli-
ments. Mr. Guilmette's Count was good. Wo are not pre-
pared to say yet that he is capable of making an enthusiast of
us. His voice is firm, of good quality, and respectable power,
Digitized by Google
718
THE MUSICAL WORLD.
His acting is good, bat we did not find ourselves drawn irre-
sistibly into sympathy with him, which, with tho uninitiated,
must stand, in the stead of tho intelligent judgment of the con-
notMtur. Mr. Kudolphaon, as Ferraodo, did ail that was
necessary for him to do, we suppose. On the whole, the per-
formance was a success, anil the house, ditto— so much so that
wc are to haro another treat in the same line on Thursday
night. W. arc then to have the second and third acts of the
Jichemian Oirl and the second art of Lucia di Lammermoor.—
Springfield Republican, Oct. IS.
A Choral Sbbvicb in Masbab Cathedral.— On Tliursdsy even-
ing, the 9th September, an attempt was made at tho cathedral of
Madras to perform a choral sauce. It is worthy of note at being the
tirsl time such an attempt has been nude. It took place in celebration
of the opening of a new organ, built by Messrs. Hill and Co., and eet
up st an expense of 451,300, or thereabouts. Tlieorganud is a maeieisn
who has only lately arrived from England, and made the organ appear
to great advantage. The cboir was composed chiefly of amateurs,
It muttered sufficiently strong to be divided into
1 Cantoris. The singing was not unworthy of a choir having
The Psalms were chanted to Jacobs in A ; the
i in 1" ; the anthem, 44 Blessed be Thou," in B flat, Kent ;
and Spobr's " As pants tbe hart"' was sung before the sermon, the solo
part being taken by s lady. The ohoral service was incomplete, in that
the priest did not intone the prayers. A sermon appropriate to the
occasion wa« preached, after which a collection was made to defray
some of the expenses connected with the organ. — Uancketter Courier.
Tub Emtkror of Bells, — At tho foot of the tower (Kremlin,
Moscow) stands on a granite pedestal the Tzar Kolokol, or
Emperor of Bells, whose renown is world-wide. It was cast by
order of the Empress Anne, in 1730, but was broken seven
years afterwards, through the burning of the wooden tower in
which it hung. It is a little over twenty-one feet in height,
twenty-two feet iu diameter at the bottom, weighs 120 tons,
WtWIil, nVlghS A A.'—' UVUO,
and the estimated value of tbe gold, silver, and copper contained
in it, is 1,. 500,000 dollars. In one of the lower stories of the
tower bangs another bell, cast more than a century before the
Tzar Kolokol, and weighing sixty-four tous. Its Iron tongue is
swung from side to sklo by the united exertions of three men.
It is only rung thrice a year, and wbeu it speaks all other bells
are silent. To those who stand near the tower, the vibration of
the air is said to be like that which follows the simultaneous
discharge of a hundred cannon. In the other stories hang at
least forty or fifty bells, varying in weight from thirty-six tons
to a thousand pounds ; seme of them are one-third silver.
When the/ all sound at once, as on Easter morn, the very tower
must rock on its foundation. In those parts of Russia where
tho Eastern Church is predominant, no other sect is allowed to
PB— bells. Iu Austria the same prohibition is extended to
the Protestant churches. The sound of the bell is a part of the
act of worship, and therefore no heterodox tongue, though of
iron, must be permitted to preach false doctrine to half the city,
— Bayard Taylor.
ADV]
ITS.
GLENFIELD PATENT STARCH,
USED IN THE ROYAL LAUNDRY,
»v OKR MAJESTY'S I.AUNDRRWS, to be
^rEsTJSTAUCH
BY
PURE OF COUGHS, COLDS, ASTHMA,
\J DR LOOOCK'S PULMONIC WAFERS
From Mr. William J. Dale, Chomtot, S3. Qucen-strcct, Portsra :-"OcntlcuieD.-
From tho Immense snle 1 have bad of Dr. Locock's Pulmonic Wafers |l irouchont
tht. populooa locality, I must do joo the Justice to eay that 1 consider them
luvaluablo Tor coughs, cold*, asthma. *c„ aiid IImj overflowing testimony I havo
received voluntarily from »1( i Iwi who have benefited by their virtue", fully
ware, ats me Iu slating the aborc (Signet) W J. Dalv "
DR. LOOOCK'S PULMONIC WAFERS rive instant relief and a rapid cure of
asthma, cnuanniptloo, cough", and all disorder* of the breath and lunge.
TO SINORKS AMI PUBLIC SPEAKERS they arc invaluable tir clearing and
strengthening the vows. They have a moat pleasant taste. Price la 1 id., 8a. 9d.,
sod 11a. |«r box. Sold by all Chemist*.
Cautios.— Every box of the OEStrms medicine has the words '• DR. LOCOCR'^
WAPBRcT' in white lettera on n red ground in the Government St.'imp, and with'
cat which word* an. abb wttxTiarsm a>d as ibixsutwf.
the day.
They are eapoelnllT useful to Vocalists, Members of P~,mlAriient, ClfTgym en
Barristers, Public oiiiaknrsi He., an 1 as a Kdiieral Cough Loseuge unequalled.
Prepared only and sold in b< >*es at la. and ia. Ad. ; also in tin*, at 4 •.
id *H each, oy Tliooiai Wilkinson, late Bridge and Co., Choalis'..,
celebrated Batsnpanlla. also tllnjcr and Camorollo DcpAt, ITi>, II
lid-, 10*. CM .
at BndtfjS
11?.^™ t -«trc*t,
:e.
COMPENSATI N( r
are By the application
PIANOFORTES.— DEWRANt
PIANO mav now be seen at thfl denot, s'
of this ]trlndpal a" heavier string can be used, the result of which is, that the full
power at a maud Is obtained Irom a cottage- lii'tninuat, at the Mrc'tlnsc tin
wire* and the (Vamc on which they are strung expand aud contract with iL%ug»
of temperature equally and toffc'.hcr, tUliatthc ntcojity for frequent tuning, as
in the ordinary instrument, is entirely obvi.ted. Per faluea* and rooadnoa «t
tone, with aatraordiiviry powers of mululaiiou, these instrument*
equalled, at the same time the pile* is m> higher than that of an
0
W
EC BLAGROVES newly-invented FOLDING
VIOLIN MUTT., constructed so as to Import to the Violin a soft,
pure tone, without Injury to the Instinraout, used in the orchestras of ihe R y»l
Italian Opera. Ac, Ac. May bo had of all muale*ellcr», and of W. M- llbagrrrs,
\ Cavcndfsh-wpiare, W. Price Is «d. ; or. m moroeen case, is.
THE MUSICAL DIRECTORY, REGISTER, AND
ALMANACK for IMS, being in tho course of iTeparaUou. Messrs. HUD A LI,
ROSE. CARTE, nnd Co., request the favour of infonnatiun frotn Members oTtlie
Musical Profeuunn u>d Trade, and from tlie Secretaries of Mur.eal .-viciselca, cm
tho varioua heads cinbraecd hy tho work. The heads remain as faltowa: — L
Almanack, with Musical data and blank spaeea. 3- list of Musical Societies
throughout the Kingdom. J. Musical Tr.insactlons of ths part roar 4. The
Saroes of Prores«or*. Music sellers nud Mu.icsl Inatnimnit Manufactnrtrx
throuubout the kingdom, with their addresses, ate, 5. Liat of Music (copyright
only) publlaliod between the 3iHh Novembei. li'j", and the 30th Nevomlssr, IfcS.
Price 1 a «d- ; by |*it. , 1 s 3d. ; leather eovors, iit. extra. SO, ChJirihtr Cross.
RECOLLECTIONS OF SIMS REEVES. — Four Popular
Pieces for tho Pianoforte, by Nosdxaxk. Prloe Ss. each. So. \. CXma
Into the ganien, Maud. No. I, Who shall be fairest? No. 3. Fta*c, dear**.
No. 4. Crood ay^Jg™*-^, UbntT Uollcfr>trcet,
tYaMILTON'S MODERN INSTRUCTIONS for SING-
Ll. ING. with Holfeggl by Rnasinl, and sola. Thirteenth Edition, Sa '"Thla
la the most complete vooal tutor extant ; it facilitates the labour of the teacher,
and by aaroeable stei>s i
trostlsos, ibo frutU of i
tho meet I
:c vocai lut.-T exun: ; u Lfccnuaies uic i.voour ei xue itacun,
itei-s socurrs the progress of the pupil." "Mr Hamilton's
of^an inWIIsent mii»t.jMed bjUfi« experience.^ ani \<j Ur
Ocka and fee, New Bnrlinirt™ a'rcct.
An Even-
(toar
"VI ORDM ANN'S PIANOFORTE MUSIC,
Tower rtceno. Ss.
Booiey and fknis' Mnsical Library, M, Tlollea. street.
AN EVENING WITH CHRISTY'S MIN8TREL8.—
MRI.ANOE for the VI AM HOHTK. by Needmann. Introdoeing all tat
favourite Airs sjuj«^by thst^xipolar companv Price is. solo ;^ :^liet-
exec* the nnrriauoiaasu raTaoaava or
MOST GRACIOUS MAJESTY THE QUEEN.
n.w,n. the prince consort,
iKlmcesta THE PRINCES AND rRlNCESSBS OF THE
ROYAL FAMILY.
Tee Most Worshiped THE GRAND MASTKR OF IRKI.AND,
His Grace THE DCKE OF LEIN8TER,
And Mverul other d.stii gu.nhcd FreemaMJiisi
UlsExocllencyTlIB LORD LIEUTENANT OF IRELAND,
THE EARL OP BOLINTOUN axn WINTON,
THB U1I1D BISHOI' OF MANCHESTER,
SIR JOHN POITKR, Kt.. M P..
J. ASPINAI.L TURNER, Eaa., M P.
SIR HUMPHREY DE TRAFPOHl), Uabt,
SIR JAMES WATTS. Kt.,
His Worship tho Mayor of Selford, W. HARVEY, Ea<J.,
And many of the NoMlity, Clergy, and distinguished Famllice of tbe Etnplr*.
November 6, 1858.]
THE MUSICAL WORLD.
719
PROSPECTUS
er
DR. MASK'S GREAT NATIONAL INSTITUTION,
A NORMAL SCHOOL FOB CONSERVATOIRES OF MUSIC
TlIIIUUCMorr T»« I'XITKD KIXODOM.
THE Tory nattering reception riven to Db. MARK
wherever he has appeared with hi* LITTLE MEN ; the (prst en.-mimfrcmmt
■there m tbo prosecution of hi. tint NATIONAL HNTKK-
ho lion received everywhere m I bo .
PRISE of Mwioaiixiriiis to improve the social condition, by Urn cultivation of a
taste lor miissc among the JUVENILE roPUl .ATION OF THH KINODOMs tbo
favourable oilman prooounced by many of the highest roemlsrr* of the musical
profession, and other ooaipetent Judges, on the merit* of his
MEW SYSTEM OF MUSICAL INSTRUCTION;
;ilto the eordud approval by the public generally of the principle* vlvwiced. and
the moans pmtxanil for e fleet insr the great objecta ha liui In new, « hcravnr lie Una
I an upuortuolijr of enunciating bis designs ; run] tbo very generally expressed
br the catablixhm.ait of Om crvatolre* of Music on tho prtuoiiJoa advocated
, have Induced and emboldened Dr. Mark to establish n
NATIONAL MUSICAL INSTITUTION
for tbo further development of hi* plans.
Tucr that the Institution may be made a* widely available as possible, the
casnprehenslre arrtiagtruieiite have been made to give Instruction hoth in
•1C AND PRIVATE CLASHES on aitch terms as will rtinlcr thai inatruo-
f.»r
PUBLIC
tion accessible to all To thin and Is baa
ROYAL. COLLEGE OF MUSIC,
for importing to student* a knowledge ofhls system, iu.d for qua'ifitng thssu
the superiuteni lance of Couaervateirca of Music iu any rart of lint Kui^vjom. Ei
student on leaving; to receive a certificats of competency, as Dr. Mai lt only recog.
nises those furnished » Itb inch corUItoto aa being callable and entitled to teach
ou bit plan. Into this dorurtiueiit alao will be admitted a llmitad number
«r PRIVATE BOARDERS nnd D IY PUPILK, who will receive inatrnctloti in
the theory and practice of music, combined with a mott cnrcfid and aound
ENGLISH EDUCATION, founded upou tba highest Christian priusiplee. Another
levin g and important icture of the Inatltution will be the ostablialimcul of the
MANCHESTER CONSERVATOIRE OF MU5IC,
In conjunction wilb tbc ROYAL COLLEGE OP MUSIC, bur exclmdvelv inteniied
lor tbo admission of pupi « from Mancl ester, Sa>f«rd and iieiglibourbrod. In this
establishment Dr, Mark baa mdu amuureaiiinU fbr TWO II UNDUE!) MAN-
CHESTER CHILDREN, to receive instruction in vocal and instrumental music.
In evening rlassee,, either on payment of a moderate subscription, or on condition
of tlieir serrlcsw being ^'Iron If required by Dr. Murk, or iu tree classes, through,
tba assistance ot uduiitory contributions.
For the purpose of carrying out the objects contemplated In tba above announce-
; efficient assistants iu the several depart-
that he has
of the osta.
riinclpal of both tile Royal College mid Manchester Conservatoire of Music,
Director, Composer, and Conductor. lioetnrer to both Private and Public, Theo-
retics! and Practical, Instrumental and Vocal Classes .. Dr. MARE.
Mudorof the Usucral Educational Department, assistant taacber and superintendent
of the various musical classes Mr. POWELL,
Wha Tor twenty-five yean baa conducted tha endowed aeliouli of Hia Oraea the
Duke of Sutherland, and poasoas. a tlio highest teatlmoBlais of comp.
An eraeleul Asslalaul Muter for the practice on the Org*,,,
i. n .. .. Pianoforte.
,, „ „ „ „ Brass Instrumemts.
I Concertina, Kngl-ah
" " •• " '■ l ami German,
i* h i| h •• Harp and Guitar.
The whole of the instruction and practice nf instruments being baaed
Dr Mark's highly apprcvod sv stem of " Musical Education."
Thsrv dso will lie nn urgnti ended twhicb I* nov
, Yor
1JWO
bean orgnn encted twbicb l»now untU r construction by Mr. Wlilte-
head, ^1. C tvey-atrvet, York.) on the premiaca, and a musioat library funned, which
wili comprise nit Um neat and most Instructive English aud loiolgD works and
and the different kinds of iuttrutnctr * uoceatary lor a cumpleto
k iire kept for tbs use of students in the establishment.
CLASSES IN THE KOYAL OOLLBOE OF MUSIC.
I. A CI see for Students who Intend to become conductors of crmservatoiraa of
murle, and who will either be admitted aa l-oarders, it as ont-door studantav—
Kntmnce fee to out-door students, tan {rnlnnna. Terms : For boarders, twenty-five
guineas for the brat quarter, Including the entrance fee ; and fifteen guineas far
every succeeding quarter.
A- *"on 10, comtsetent, each candidate will receive an apnoiutment lis Master of
a Censcrrstoirc of Muaie, with a Certificate from Dr. Mark.
II. A Class for little Roys, for the purpoae of receiving a general and musical
education combiued, and wlw> may lieconie eiliwr bcurdets or day pupils.— Tenrte :
For Roiiidera, ten guineas per quarter ; Day Pupils, two guineas. Houm from nine
to twelve a.m. ; from two to four p.m.
HI A Claaa for Prof +*ors of Music aud Umerucssxa. who >i»li to acquire a
knowiedgs of Dr. Mark 'a system of teaching ; each candidate to receive aoerti&cate
of oomi^etcnuy. — Terms : Five gumcia tbc course of lasaoua.
IV. A CUs. fur Yoiib( I^ulloa and Oeutiomen, who wish to be brought out aa
performers, and whose scrvlcoa will be accepted aa jmrt remuneration for tha
lusumcllon they receive.— Terms: By special
s for private
of compel
of music, and
y be known on
prln<-l|ilcs
appllc-illon.
CLASSES IN THE MANCHESTER CONSERVATOIRE OF MUSIC.
I. A Claaa for Boys apprentice 1 to Dr. Mark. If from fire to elglit years or arc,
for five years ; fnnu mini U eleven yearaof aga, for three years ; tbeir services belnst
taken as an equivalent for receiving instruction In vocal and Instrumental raiiak'.
the parents having to pay an entrance lee. ant of which the instrument and books
are found for the pupil —Terms : ten guineas entrance fee. The clnases meet twice
a week, bom sevaii to nine every Tuaaday and Tlinradav evotilng.
I I. A Class for Young Men. for rood and Instrumental music ; each pupil to p
either a wind or stringed Instrument ■ Terms : Ona gnlnca per quarter,
facilitate, however, the attendance In tbla claaa, Dr. Mark ha* aming.,1 to make a
neTarate charge for each br.uicu. Per tfu irter.
For singing and theory of music 10s. ff.L
For theory of music, and learning either on wind or
play
string iiietnuns-jits
The t'irco branches couVolnod. . .. .. ..
For the pianoforte . . . .
Tile c leases to meet twice u week, on every Monday and Wodi
cigl t to ten.
Ill A Class for Little Boys, forrocil ami instrumental inns
either a wind or stnng instrumcait, 15a. per qu'irter. Tbo cl
Thursday, from seven to I
l"e lil.
each ptrpU to play
its to moot twice a
For
ofortc
f.ii vocal
guinea |iei
id Instrumental muaic, via., for tbo
natter.
itli luirp or guitar, cue gnlnca par quarter ;
(UsrUr ; for staging onjv, 10*. fid. |iev quarter,
every Tuesday and Friday, from six to sight,
rftb'
week, on every Tuesday
one guinea pa; quarter,
IV. A Claaa for Little Girl
guitar, harp, or pi tnoforte, on
foV. A Claaa for Adults, for stn/n
r the pianoforte, one guinea jier
Tiis eiisata to meet twicn a week,
VI. Dr. MARK being deeirona to bring "music wftbiu Ute reach of all, lias alao
»*MM»|anil a Claaa for tlie benefit of tno Working Comntuuity, espi:claUy for
Apprentices In Mills, kc, at Flro SbilUngs per Quarter, to meet every Friday
evctiiug, from eight to ton.
•,* TTiare lTillaUo be a Claaa for Boys and Olrls, to bo entirely supiwrted by
Vjluntary Contributlona, tba subacripUoas to which will be exiwuded in the
puici.aaoof tbe lioe. saary Instruments and books, which remain the property "
the institution until acquired by the pu|4l thrcmitbgoe.1 conduct ; Dr. Murk givi
all instructions gratuitously.
Dr. MARK beliMr also anxious to identify himself with the intercsti of the
National and Public Schools in Manchester and Salford. from the superinb
and teachers of which he lias received the tour cordial approval of Ids onterprUe.
will be very happy to admit Twelve Boy* aud Twelve Girls every year, at Chriat-
selected frvtn tiwj rarlous sch<*nli, who will receive a gntultoaa tnualcnl
educntfoit at » reward ot merit ; well cutdl- Ute to bo ulttutr ii^niuisti.tl by the
clerjr.rmcn oT the achonK «r tho »cholsr&lilp Uium founded br Dr. M 'tk iu tbo
BoyiU OmIIoko to b« fifft rod u a pHt« to tbo moat deoorring pwj'U.
EVstry clam villi bo stubject to osrtain coiidtUosio* ru en, ittjd ropilatlojua, which
aro apodrto*! In «acb tLaa* 'Kkj-rr. which will bo dr it.-tv l to every purot wttli hi*
l»c.k, mi ,io4uing tho elate.
GENERAL BULES AND CONDITIONS.
to be pa d iu advance, and no student or pupil c
.^jUMlti.reeclear
oonvcrdent for any pupil to c
Every Saturday, from the day c
only be admlit<d to tha coarse of le
Every year two months' holidays are given, at Midsummer and Christmas,
which, lMrwever, are not reckoned In the quarters of tho class pupils.
Punctual and ss.iduoua attendants to the claacea is also one of the princ-fpm!
rule-
E
srl i
' pupn to find bit own
All applications for prospectuses will be promply attended to, and may be made
either In peraoci, or by letter Inclosing a stamp.
Dr. Mark thinks It alao necsssaary and due to subscribers to s'ata, that be has
endeavoured to make every provision, so that the progress and development of hia
Great National Enterprise aliall In no way meet with any other itn|icdinient
exorpt tho want of public patronage, which, however. Dr. Mark bopea will not
l« denied, to enable 1dm to extend tho benefit arising from (be above Inatit itiotia.
In bav.ng selected Manchester as the location of ins ea'abllshmcnt, Dr Mark is
influenced by hia position and by tho nnm' er, tub ttlgenec. and Ubeial spirit of Ha
Inhabitants, and their readiness at all times to paomote and I. dp forward any
effort wbieb may tend to improve the mora] and social emdltlon of its indnatTioua
cluxens. Ho has alio a lively remembrance of, and dean sens* of gratitude for
tho great enrourigcnitiit on I c uuroas reellns evinced, both towards himself and
hU •• Little Meti." on hia several visits to Manchester ; and hia fervent desire is,
by initiating hia projects In that city, to make himself use! il to Its large and
liniKirtant commnniiy.
Or Mark being well awaro Uiat the anrdioation of a new system always encoun-
ters dlflciilUes— of which las, personally, and bis system, bars had more than
their share-foclx. nevertheless, & nfident that tbo above pbui ia the only ooo by which
musical talent may be promoted, appreciated III general, and become a valuablo
acquisition to all cheer* of society In this country ; he intends to persevere m this
undertaking to tbe utmost, to ndse this Institution to nn equality with seu
eminent ones on the Continent, from whence many groat artistes emanate who
bold the highest rank In the profession ; anil that, encouraged by tbc most die*
Unguathod patronage this Institution and hi* eivrtiona have met with, to rouse
native tidcut tor music iu this country by his much approvad system uf niusloal
cliicnt-on ; he lias s, arcd no expeuso hitherto, nor will he rtxraru exertions for tbe
future to establish uitliln the above institution a national record, com plod of trrw
Eng lah uauvnul bd> nt In music, userul and glorious for generat buia to cooio; and
trusts that his exertions t* 111 deserve a coutinued pstrisnage (all post favours of
wlilch be begs most tbonkf ully to acknowledge), to enable him to carry out, not
only his present object — that of establishing Conservatoires of Musle for llttla chil-
dren lu every lowu and city tl csrugbout the Unitel Klugdom — but also bis ultimate
design — that of raising a National Instltutiou far tbe admission of orphan and
poor children from ajl parts of tho country, wherein they shall receive beard,
clothing, aud a moot useful aud efficient general oducntkiu cotnbin '
FREE OF ALL. EXPENSE.
Digitized by Google
720
THE MUSICAL WORLD. [Novbmbbb 6, 1858.
NEW MUSIC.
E
ECOLLECTIONS OF SIMS
by Rudolf Nordxinu, price S«.
for the
1. Come into the Garden,
S. Who shall be fairest!
S. Fbcebc, dearest.
4. Good Night,
RUDOLF NORDMANNS NEW PIANOFORTE
MUSIC.
a a.
Ad Evening with Christy's Minstrels 4 0
Recollections of Sims Reeves. 4 No*. esch I 0
Manparri tut I" Amur 30
Ve Pen were 40
The Tower Scene in II TrovatoTO SO
Greek Piratea' Chorus. (6th edition) SO
The Nuns' Prayer. («th iditiou) 8 0
La IJouna a MoW (4th edition) SO
Ah, cho la Mar to •• 2 I
BoDsoy and Seme' Musical Library, 28, Hollei-itreet.
M
ADAME OURyS NEW PIANOFORTE MUSIC.
a, d.
Mirths, Kantaiaie * J
oljereu P.vk i 3 ■
IlolKrt.loi quo J aime * 0
When other I ipa » 0
Souvenir d'Ecoaao 4 0
Chorua. Lilian Miller SO
Lamlalctiaia 30
" Vnlan SO
Library, 28,
^DOLPH GOLLMICK'S PIANOFORTE MUSIC.
The Broken Rlr* (Volkslied) \ «
f W ell a. aa .. •« ■ J
a. e. »« ee it •
3 0
2 0
La ci dartro . ♦ .. • " ? ?
• * . . • • <* ■ • aa j! 2 5
T wel vo Qcrnuu Vollullod«rr •* oocli * 1
produced a net or pianoforte place* which will bo found
'-lllurtrattd St xi.
Boomy and Sou' Mmical Library, 28, Eollai-«trMt
JJENRI LAURENT'S NEW DANCE MUSIC.
Lord Lovells WalU (Comically 1
Summer Bloom Walts
Martha WalU and Quadrille (each) . .
toulaa Miller WalU and Quadrille (each)
Maud WulUIGth edition)
I edition)..
f Walt. (2nd <
Boowy ud Sons' MuaicaJ Library, 28, BollM-stTMt.
NORDMANNS PIANOFORTE DUETS. New iind
Cheap Edition In cloth, arranged by RtJnotr NonnyAirx.
II Trovatorc
IitTraviatn..
Ira Hugucnola
Lucas..
(aWeoU)V.
Boe.ey ud Sons' Xiutenl Library, SI, Hollowtmt.
PRY8TAL PALACE— SATURDAY CONCERTS.-
\J The FIHST of a aerlee ol Vocal and Instrumental Concerts for the present
Autumn and Winter Season, will take place oo Saturday >>™ V-"_.rll.7rS
Miaa Stabbach. Mr. Montem Smith, Ac., Ac., will appear
Include "Coata'a l>re-im, "being IU flm tteMoT
o|*n at 10.
Children.
ret time of perform
a; or. by Season
ie lin^niime
in Lood .n. 11
■
Doom
•Ttatt*
atrated. 2a. 6d- 1 a "Psalm of life, ?a ; "A
he Lovora letter Box." Sa. «d ; "Toss neal
MR. W. T. WRIOHTONS LATEST BALLADS.-
" The Pearl of Days," " Tbey ere Come," "Toe Pale PrtmraeVL
wUh for Thee," " Dave gone by," "Oil I for the breesy snore." 2a. each ;
Moonlight Sleeping.'' beautifully illuati
Mothe?s Laat ParewelL"' ta. «d. : " The 1
not coone Courting o' Mo,"»s.«d. ; " Jiy Wo*u«. «»■"•» i. ".I". "~
Bright Smile Haunts Me Still." J*- Od.j -On the Banks of a BejuUfnl Bivrr
•'a id. SB " The Peatman's Knock,'' U. fcL Thia dlatingulehed comptsser and
teacher of singing p-,iMi«be« hia new ballade and songs ouly through the medium
of b*r Majesty. Music Publishers, Meear*. Robert Cock* and Co , New BurBaf-
loo atreet, W.
EVERY STUDENT of Music should provide himself
with a little PAMPHLET on the THEORY of MUSIC, containing remark*
on vnriouv work a. t-iblae of aubjecta. Ac , recently printed for gratuitous drcuia-
Uon by ber *1e)esty's Publialiers, Menu. Robert Oocks sad C\ In ita pages trio
be found much valuable information.
POPULAR MTJ8IC— A GREEN CATALOGUE
new and enlarged edition, compiled txt.rea-.ly for the use of all teweber* *
music, containing upwards of MOO w.„ks by the -boat eom^.r. . ftxr^.oi
DAYBREAK, New Soug, by Longfellow, composed by
Bxtrx Price 2a.
From the " Literary Otxett*.'
•• • Daybreak ' la likely to become aa populai aa the setting of Tennysno's Coo.
Into the (jarden. Maud,' by the eatne coinnoaer. It has all the eaaenttala of Im-
mediate if n"t of lasting popnlarity The tune at ones becomes familiar to tiw
ear and the aeatiment of the poetry— perhaps the moat attrartire to Proaes-*
LnngfeUow'a recent rolume, etrUiuly the least affected— U embodied by the
la a fnuik and aynipatheUe manner."
lonJonrnsi." . _ . .
.unate enough In tbeir atlectwo of a
select nngrammatical deggre), or tc
From the "London
aro gnncrally unruttuna
lOlt "u.tiuctlrely to Sola
"English
libretto, and _
fl>ted balderla»h. Manr on cxuulidto melody baa been rosntd by iu^oonnectjcc
with abaurd or trtrUl language.
Such a complaint, howeter. cannot
reflects OTery change In the aentlment of tbe worda, .
akiU. It Is In Oalfc'e Liter and (to
most consummate
will
la .otkedop with the
taate) better st)le and
t-! clas ed'by the ^ moaician witi , tbl)ew populnr eetUngi of I
yeon, with wtich be has recently charmed the whole musical >
r,8«,Hcdl.**tre«t
of Longfellow :
wor ad."
OORE'S IRISH MELODIES. — Tbe Publwhers of the
Mimical Bouquet having leaned two numbers of that work ceotstalng some
of Moom a Melodies, the Proi>riotore of the Copyright in the Mc:i»4jfj ba«* coc
plained or the Infringement of their Copyngtit cocaaioned thereby but hare
refrained from taking le«:il nr.-oeedmgi in t tnalderallon of the Pulntetiera of us
Musical Bouquet bating withdrawn the objectionable numbers from cirrtuaUue,
— Nonce ia hereby gfren, that luiral proceeding* will be commenced agaia*
all persona Belling any numbers of the Musicaf Bouquet or any other work
containing any of Men,'. Melodic, the Copyright of such Melody betog tl a
property or Me*ar« Lingman and Co. . nnd the only odltious of the Meioosea ttat
can L gillly be *AA arc tbow published by Me.sra. fxmgrn^, and Oo.. or by tbwr
Jointlr with Mean-. Addii'n and Hime Unujmaa and Co , S!», Patemowterw
October 1?, 1858.
TUST PUBLISHED, iu crown 8va, 2s. 6d., a Hwidy
ej Book of Musical Art by the Hon. and Ret. T.C. Skeffiogton.M-A.
James Blsekwood, Paternoster-row
Onxios's or nil PArsa
has very successfully and i
hlmaelr, and unites, in the
of a sound and accomplished I
eeholer. A eearchlug aplrlt ia brought to bear in a critical couaid
offlccj.. uses, and effect of tbe dirino art. pur readers will, we are I
pleased with this masterly little work.''— Brith4 Hsvs. i
" There Is eomctbiug good in OTery ehsptcr, and a tone of purity ahcti
tbe whole which must enlist the sympathy of every right-tuinded person. -
res,-" In the pages before us, we think Mr. Skeanngtr;
idablyaucceedidinpetformlng tbe task be set dsrsniij-
tbe nianner In whkb he treaU hia subject, the knowuric
pllahed rouaiclsn with lbs elegance and reading of *
tunc, b« n-
s»a
Publlsh«l by Jons lloostT, of CaaUebar-blll, In tbo parish or
County i>r Middlesex, at the office of ITgoarT ft Soxs, SS, HoU
also by Run, IS, John-street, Great Portland -atreet ; Ali.cx,
Uue ; Vicsim, Ilolywell-etreet ; Kmu, Pbowbk, k Co., 4S,
G. ScHKPmiAxi), it, Newgate-street ; Joiim SitcpnzxD. K<
Hausv M»v. 11. Holboni-bam. AjcnU for SoDtlaod. Purnaoa At
Edinburgh M.i GUagow ; for Ireland, H. Br nil t, Dublin ; and ail
sellers.
Printed by Wtu.t»>« SrxxcTB Jowsaox, " Nassau Steam Freea," SO. St.
lane, in the Parish of St. MarUn-in-the-rields, in tbe County of
Saturday, November «, IW8.
Mui:--
ttyt fli u sir a I WMfc
" Tm wobth or Abt at pea its most imtsent nr Mraic, since it usqcibfr so matsmal, so scdjict-matth, whose Erncr must
BE DEDUCTED. It IS wholly FORM ASS TOWER, AND IT BAIBES AND KNS011L1SS WHATEVER IT EXPRESSES." — Q6etht,
SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Caah or Poit Office Order,
to B00SEY & 80H8, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 46. SATURDAY, NOVEMBER 13, 1858.
f PBICB W.
I STAMPED 5d.
pRY8TAL PALACE— SATURDAY CONCERTS
\J A Vocal and Instrumental Concert will take place on Satnrday next. Not.
40th. »i| Half-last Two. I-arllrulaia will be *dv,rtl.ed. Doors o
AdmiMiuu. Half-ii-Crown ; or, by So*«ou Ticket, Half-a-Uulnea; CI.!
Shilling.
TO
J
PROFESSORS OF MUSIC — A Pianoforte and
Music Seller. • Kb a good or>nnect»oa aa Teach* r. at a Feahlnuable Water ng
hia business. A capital lotting trade. Mid an Organist'.
at 10. I Place, wiabs* to dispose of
eliuathn). Principal* ooly
Chsppell. Bond-street,
Olio
ST. JAMES'S HALL (Minor).— MR W. R EVANS
(of Sheffield, formerly of CMttoMin) la* the pleasure of announcing that ho
will give a Performance ol Vocal and liwtrumentaj Mimic this evening, mtnntny,
November IS. to bring bef it the public hi* improved Uarmomum ; on which
ooc.whn be will be a.sisted by MIm Hughe* (sni iat.o*. Mr Alfred Q.llieit (grand
pianoforte), Mr. R. Clementl (violin* Mr. W. H. Adam* end Mr. W. E Rvane
SirmouiumjL To comroenoeat eight o*
invitation tickets, to be obtained at
>lll«r, and Luc**, music publish i»
8*ven o'clock piwaacly.
STANLEY LUCAS, Moo Sec-
»ry At Robert W. OUtvler'* Nunc Warehouse.
THE AMATEUR MUSICAL SOCIETY, Conductor,
Mr. HENRY LESLIE. — The FIRST REHEARSAL of the PRESENT
SEASON will take place at the Hanover nqunrc Rnonia, on FRIDAY EVENING
NEXT, Not. 19, lsst, to commence at Hali.|«vt s«noV!.«i
The ticket* arc now ready for dtlr
If, Old Bond-atreec, Piccadilly, W.
EXETER HALL. — MADAME ANNA BISHOP
heg« to announce that alio will make her FIRST APPEARANCE alnce her
ito Europe iu a GRAND CONCERT to be given by her at EXETElt IJ ALL,
DAT, December l«o. Foil particular, au/i programme* will he .hortly
MADAME R. SIDNEY PRATTEN begs to acquaint
hor patron*, pupil*, and friend*, that aha haa commenced her teaching for
tbeoeason. Address. 2t, Hnllea -street. Cavendish square. W , where may be had
tar and concertina, consisting of thirty cue piece*
P»g*uini's "Camera! de Veniae," tranacribed fur
cuitnout.
ins si— on. Aaareec m, ii"Ji« «re«
all her publication* for the guitar ax
for the guitar, »<xty aonga, and P»g*
the guitar, with pianoforte eoeompau
REQUIRED AT HOLLO WAY. —
Stipend offered, <U prueht, only ^io A yonng man competent to take the
and manage tho Choir, will "
AN : '
Organ
.per*1
find the niM-nitig h g»i<l oiie to advance hia
TealimuuhJ*. to Rev. II. Ham]
opton, IS, Perk-
S GOVERNESS. — A lady of considerable experience
requires a daily enjageojenL Acquirement* : English, French, Music, and
H. A B .
>ud
rT\0 MUSICAL SOCIETIES. — Wanted, by a respectable
X young men, of goal address and bu*ine»s-Uke habit*, a *ltuntfou a*
LIBRARIAN t. a Mimical Society . haa had four year*' experience with one of tho
lewliav: audctKs of Loudon. The advertiser has a good tenor voice and Cwpabss of
taking part in concerted music. Unexcoptlotiab * lefereiice a* to ability and cha-
racter. Address, J. Woburn-buudroga, Tavi»tock-*quare, W.C.
w. N.
TO MUSIC-SELLERS. — WANTED, by a respectable
young sun of cod addree* and buafnecs-like habit*, a eatanlW hi the
at the W oat -end.
young man of g'«d addreae and buateres-llke
Bflusde tride. Has bad ten year*' experience in a
and can furnish tin?xc^i>tiouable reference* as to
A. B.. 16, Sumx-etreet, Uulvcr*lty^trvet, W.C.
w
ANTED, FOR THE BRAZILIAN GOVERNMENT
THEATRE at Rto Janeiro, two 1st Borne. Hair. l*t Trumpet, Principal
Vkitcuetllo, let Flute, four 1st Vi -lina, and ajwo nr*t-cUv«s ChorUUr* Full par-
Ucular.at Mapleaoo and Co'* Briti*h and Foreign Mi* .il AgCuey. 15. Ilaymarket.
* -, a Band mMter fiT India.
g Cliambera, Haynarket.
rpHE ROSE OF CASTILLE QUADRILLES, Waltzes,
46
R. BEALE,
Calcol '
;»D Co.
TO MUSICAL CONDUCTORS. &<•.
COMPLETE SET OF BOOSEY'S ORCHESTRAL
JOURNAL, containing *evenly.'wo eel* uf <
may he had, bound la cloth volume*, price Four G
bo**,«, and i». 1
A
NEW SONGS.— "Let me
lulfe, compoecd for >u>d mag by Mr
"The beatinK *'f my own lieart," by Macfarren, sung by Mciame
at tho B rmlu^ham and I^>e.l» Miwlnu Fi*urala
whisper in
Slnw I leaver
by
"The highland bloeecim,
"Tlie joy of loving "
Wallnce, sung by Miia Dolby,
thee," l y Walter Mavu.ird. »uiu! by Sigcta Mano.
CRAMER, BEALE, a«T<*o
pAVARGEli'S NEW PIANOFORTE PIECES.
Titania ■ 0
Moment de TtuUmo SO
La Branvillleai.c 3 6
L* hUkaec— Vala* de Salon S S
La Fruite— Galop briUant S 4
March* d» U Prinwn de Braaac .. ..SO
CRAMER. BEALB. akd Co. SOI. MsAWt-streei,
Who publish all tho work* of tliii celebrated iH,mpoMrr
ONE OF THE FINE8T ORGANS IN THE WORLD
TO BE SOLD,
SVITASLK rolt A
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL.
Apply to the Publishers of tho '
: fA>
li It. H. THE I
THE ROTAL FAMILY.
D*. Mask begs most rc*|wctfiiUy to announce that he i* c
with his highly approved, interesting, phasing, an
MUSICAL ENTERTAINM1 \
samrLn
DR. MARK AND HIS LITTLE MEN,
From the ROYAL COLLEGE OF MUSIC, Bridge-street, Msachester, numbering
of thirty Iu*truuenlaliala. and a moat effective Cncrtw. the whole
JUVENILE ORCHESTRA,
otnreossxt or
Little Entfli-h Irish, and S.- tch l.iy«. fr.«n five tn rfxtceu year* of age, »v.e. pli»
operatic wlec-ion.. sofo*, duct*. q'y«rVt.. quarfil'lra, marclie*. aud poSkaa' ,.u1
•mg ifiiff*. cboruae*. Ac . in a met irTcctlv.- manner ani to whom ha give* n
gr*>u/.oi* (T^i'Ot.U and u.twlcai education In crdvr to Uluaaraae hi* l-ighlj arwwvvyt
.y*ic:n of nm*>ct.l ciucailci.. and with whom be travel* abo-it tlKr e^uit^- th
cxcito an raterat for and help to establoh mttfccnl lrwUtnl CM cidjeoj "tin
•crvatoirc, . f Music" fcr lltfo children In every tovn. dty J.,d vftt^eio/ thlj .
^reat empire , _ jk» jtST...V s
Apflieatioas to bs mvie .Urcc-t to the Royal College of Must BhJ>e «'<s^f
J^OHD LOVELL'S
IS, Hc^*tT»et.lllUrtr*,*<!
WALTZ^by HEXRl
Digitized by Google
722
THE MUSICAL WORLD.
[November 13, 1858.
NEW PUBLICATIONS.
i.
AN EVENING WITH CHRISTY'S
}| FLANGE FOB TUB PIANOFORTE,
Hi RUDOLF NORDMANJJ.
ain< miZ l>)' tint
Price it. tolo ; 6f . duet.
RECOLLECTIONS OF SIMS REEVES,
FOUR FOPULAR MORCEAUX,
me tiii
PIANOFORTE,
Bx RUDOLF NORDMANN.
No. 1. COME INTO T11IS GARDEN, MAUD.
J. WHO SHALL DE FAIREST!
X PQOIBB DEAREST.
4 GOOD NIGHT, BELOVED.
Price 3j. each.
3.
VA PENSIERO,
FOR THE PIANOFORTE,
Bv RUDOLF NOUDMANN.
Price U.
4.
M'APPARRI TUTT AMOR
(mabtha),
FOR THE PIANOFORTE,
Br NORDMANN.
'Id the preecnt arrangement, etaiio'n grvnt i
moat charm mgly. The rlece *»ro. all the expr
I melody, and i> at (be aame Umr « brilliaut i
•tor popolirity, awl will bo one <* I
beautiful aong la arranged
i plaintive feeling or the
■diking a fantajla, that
or
LORD LOVELL'S WALTZ,
Br IJENRI LAURENT.
Comically Illuetratcd. Price 3*.
W lie lion oThia bappieat.
aotpoeerf of dance rauatc, and Lord Lovelt'e
and moM LroJy routnbutl una to the boili room."—
6.
DAYBREAK,
NEW SONG,
Br LONUFliLLOW and BALFE.
Price it.
"To* iiw l< elrikinx- e! -aracturlaiie, and teiliiur, and. like bia 'Maitd 1 ballad,
wl'l tie a apecial lavoiulte with the many admirura of Belle's aumra.** — Pfrtrt of tae
World.
*' ' Daybreak' ia likely to become aa popular aa too setting or Tennyson 'a ' Come
in'o the) g«rdco Maud, by the aims co-iipotteT. Ir haa all tbc eaeetitiala or iro-
m- illai popularity. Toe tune at onro beevnea fatulltar t" Die ear, and the eeiili-
meot of the poetry— tlie moat attractive in Prufc**r.r Longfellow a ruceut volume,
ia emb-ollud by the imielciaii In a fi»tilc and »y niiatlieUs manner."— Zitrrary
(iautte.
••T..» meSeaebnly tone of LoogfoUow'* pr. tty lyric haa been admirably caught
by th« king »f EugiMi cwm|»ia ra. and be Una j>r\>d ice L n alinp.e yet cxrraaloe
air, winch refliKUe'ery e u>.n in the -eatimont ol the wordi. aul la aoik»1
up with the met MMOaaatO «»IU. It ia In Rair.'. Inter and (to our Uate)
better atvle aiod will bv cSai ed by ll
Lo.>gfell vw and Tetinya.ii. w.tb which be uia reeeotly
WOiod."— London /enT.nJ.
with time- |
7.
DON PASQUALE VA.LSE,
»T
CHARLES MARRIOTT.
Prict 3*. piano ; St. M. orchestra , 2#. 6rf. wpUil.
8.
PRISCILLA VALSE,
tr
A. LAMOTTE.
Price 3*. piano ; 3#. W. orchestra • it. W. tepteH.
0.
OBERON POLKA,
Br MADAME OURY.
'The O boron Folk a ia one ol the moat charming we ha»e erer beard, at
in lean accomplished perfonnari wUl flud It a timet vtUwbts addition U Uatt
10.
WHEN OTHER LIPS,"
aUAIiOD) BY
MADAME OUBY.
Price 3*.
h*. only to be played to b: .[predated *-
•F |
Ktvteft
11.
MARTHA,
PIANOFORTE FANTASIA.
Br MADAME OURY.
■ A dell«btrnl collection of the fatoutite idrs ol that opera ia a
norldatylt."— JMfkton IltreXd
IriCG 6»Te
12.
THE BROKEN RING,
Br ADOLPH OOLLMICK.
Price it. 6J.
"The moat popular number or the twelve celebrated VoUcaliadj.r,
tlie pianoforte by Adotpb Gollmlck.
" A highly attractive net of nttoea.-— HtmetmUd I-miio* fteut.
13.
A TIME AND OFT.'
NEW SONG,
ooMrosro mi
MI88 DO LBV,
Br J. F. DUOGAX.
JYiV* 2s.
14.
BOOSEY'S [CONCERT ROOM JOURNAL,
ORCHESTRA,
Br A. LAMOTTK.
1. IL TROVAToHK
9. LA TRAVIATA
a. RIGOLE1TU
GnoJ Seocctima.
Price It. each for orchestra, and U. for tepid t.
BOOSEY and SONS' Musical Library, 24 and 28, Holies-street, Oxford-street.
Digitized by Go<
November 27, 1858.] THE MUSICAL WORLD.
755
REVIEWS.
'W.E BracTi's Vocal Misciluxy"— u election of choruses, g!ee«,
quartet*, trio., madrigal., part-fOi.R», 4c.-compo.ed by W. H.
llireb. (D'Aluuiuie and Co.— and W. H. Birch, Ainerslwm,
Buckt.)
The majority of these pieces, the composer informs us,
were written " for the us»- of the gentlemen ut tho Amcr-
sham school." They are worthy for the most part of a
much wider circulation, being characterised alike l>y genuine
melody and well chosen harmony, uiiexeeptionably arranged
for the voices, and, if judged merely as compositions, in-
teresting in themselves, and in every instance well adapted
to the character of the words. Of the two settings of
Tennyson we prefer " Excelsior," a four-part song, and one
of tho best musical versions of that too-often abused poem
we have yet seen. The other — " The Hymn of tho Mora-
vian Nuns* — ha*, nevertheless, many points worth attention.
The two Hunting Songs (four-part choruses, interspersed
with solos), at the commencement of tho book, are both
spirited — the second, in B flat (" The Huntsman's horn is
sounding"), occupying the first place, on account of its greater
freshness and spontaneity. Not t<» examine the selection by
detail, and premising that every one of the twelve compo-
sitions is more or less attractive, we may conclude by pointing
to the madrigal " Sweet Echo" (Milton's words) as the most
scholarly, and the four-part soug, "Truth" (words from Ben
Jonson), as the most graceful contained in the volume, which
we can recommend without qualification, as a bond fide
musical volume, without a vestige of triviality or clap- trap,
and at the same time presenting few, if any, difficulties to
singers.
("Bizzio" — " Miriam's Song" — and other pieces that liave
come to baud, will be noticed in our next.)
THE KREUZER SONATA AND MASTER BitlDGE-
TOWER.
To the Editor of Oie Musical World.
Sir, — In Ries's Notigen, it is stated that tho Krcuzer Sonata,
Op. 47, of Beethoven, was originally written for Bridgatowcr,
an English performer, and that he played it at his concert in tho
Augarten Hail, at Vienna.
The name " Bridgetower " is found in none of our musical
lexica, nor have we any means in our ordinary sources of in-
formation of arriving at his biography. From Ries'a statement,
it is clear that Bridgetower was in Vienna between tho summer
of 1800 and November 180"<. Could the date of this visit not
be fixed somewhat nearer 1
In Gerber's Musical Lexicon (the second), in tho articlo on
Franz Clement, the violinist, wo find that ho (Clement) was in
London at the age of 8 or 9 years, and that Cramer, Salomon,
Jarnowick, and Haydn, were so pleased with him, that "these
great men often amused themselves with playing quartets with
this child, or by accompanying him. In one of these concerts, a
quartet was given, for the fun of the thing (a\u *pa*i),by per-
formers, whose ages in the aggregate did not amount to 40
years! A young African (1) ten years old, named Bridge-
tower, comj>etcd, as second violinist, with Clement for the
mastery."
The Spires MnsiktdUche Correspondent, vol. ii., 1701-2, con-
tains an extract from a letter of Abbe Vogler, who was then in
London, in which he praises highly the violin playing of Franz
Clement, eigh^and-a-half, and " Bridgetower, from Africa, ten
years old."
May I hope, Sir. for some further information in relation to
this youth, through the columns of your valuable journal f
Respectfully, T.
THE VOCAL ASSOCIATION.
(Communicated.)
A (Seseiul meeting of the Vocal Association was held at St.
James's Hal), on the 2nd inst, Sir John E. Harikotok, Bart.,
in the chair. The followiug is a brief report of the proceedings : —
Another year being added to tho history of tho Vucal Associa-
tion, it is the pleasing duty of the committee to furnish a report
of the society's proceedings, and an abstract of its accounts. The
establishment of a society is usually the trial of an ex|>eriment
of which time alone can test the value, and the most anxious
period in the history of a society is to bu found in tho first years
of its existence. It is, therefore, with feelings of great pleasure
that the committee congratulate their fellow-members upon tho
termination of the second year of this society's existence, and to
express their conviction that there can now be no doubt that
the Vocal Association has within itself the elements of dura-
bility, aud will become an institution in which the public at
large will feel an interest and desire to promote its success. In
taking a general review of the society's career, the committee
feel it their duty to refer to the different opportunities that have
been presented for the appearance of the Vocal Association in
public, apart from tho series of six subscription concerts given at
St James's Hall, between the months of April and June of tho
present year. They would notice, in particular, the event of the
marriage of the Princess Royal, on which occasion tho society
was honoured by the distinguished privilege of being allowed to
sing in the state performanoca, at Her Majesty's Theatre, which
will form part of the nation's history, and leave a record of the
society's existence of the most advantageous character in public
estimation. Also, your committee would refer to the inaugu-
ration performances of St. James's Hall, when the society was
honoured by the attendance of His Royal Highness tho Prince
Consort and a distinguished circle of the nobility.
While recording these events, your committee do not conceal
from themselves the necessity of making important chauges as
relates to the admission of members, and past experience has
shown that the only practicable method of introducing new
singers will be through the medium of an examination as to
their capability in voice aud musical knowledge. At the same
time it has been conceded to our respected conductor that he is
at liberty, when occasion shall require, to apply the same test to
any individual member now belonging to tfio society. It is also
thought desirable to reduce the number of the present choir, .and
steps have been taken to effect this purpose. In this movement
the committee have felt the task extremely difficult, but resolved
on not shrinking from a duty which could not fail eventually to
be of immense advantage to the society.
The acconnta were then read to the meeting, showing a
balance in favour of the society in the hands of the bankers.
Mr. J. Bctterworth (member) moved, That the report now
presented to the meeting be adopted.
Mr. W. Fuller (member) seconded tho resolution, which was
carried unanimously.
Mr. OL IiONu (member) roso to move, That the best thanks of
this meeting be given to Mr. Benedict for h is zealous and talented
exertions as conductor of the Vocal Association, and for his
uniform kindness in all that pertains to the interests of the
society, and followed up his motion with the following speech :—
" Ladies and gentlemen, at the request of our committeo I vou-
ture to undertake a tank which I much wish some other member
had undertaken, because I must endeavour to pay a tributo of
respect to a gentleman whose talents and geuius arc far above
my poor powers of praise, and because, in speaking of certain
attacks that have been made upon him, I must use plain terms,
however unpleasant they may be to my own feelings, or how-
ever presumptuous it may appear to me to get myself up as a
fault-finder. I feel wo ought, in justice to ourselves, to convey
to Mr. Benedict that the V ocal Association not only take no part
in these attacks, but indignantly deny that there is the shadow
of a foundation for them. The Brat I shall allude to of theso ap-
pears in the Miuieal Gazette in a letter signed C. Crcaswcll, and
runs in part as follows : —
"Mr. Benedict's voice, manner, and accent, render the understand-
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THE MUSICAL WORLD.
[November 27, 1858.
ing his withe* and intentions difficult, if not impossible Again, it tbc
rehearsals, instead of beating ho generally plays tho piano ; but I sup-
pose this defect is owing to Mr. Henediol'f well-known yHrhant for
the piano. The performances hato been so bad that the public press
baa declined to criticise."
Now, in all earnestness of heart, let me ask if there is one
here who can coincide ia the remarks bo far aa they apply to
Mr. Benedict I This Mr. C. Cresswell may have a voice whose
ravishing tones enchant all listeners ; and his maimers may
have been formed in the best of schools, and polished by inter-
course with the tlite of society ; but he gives a miserable spe-
cimen of them when he descends to vulgar personalities, such as
no one with the slightest claim to the character of a gentleman
could or would indulge in. I can well understand that Mr. C
Cresswell finds it difficult, if not impossible, to understand the
-wishes and intentions of a man of highly refined mind, nod of
great intellect. The wishes and intentions of Mr. Benedict must
be far beyond the scope of Mr. C. Creswell's understanding.
" Penchant for the piano I " — preserve us from evil, what next 1
I know not if Mr. Benedict has a "penchant for the piano ;" but
I do know that thousands have a penchant for hearing him play
upon the piano, that thousands are ready to hail him whenever
bo may appear as a pianist, and that amongst tho most anxious
of the listeners will be found some of the most accomplished
musicans the world can boast. Is it possible that Mr. C. Cress-
well is so lost aa to imagine that it can be a luxury for Mr.
Benedict to sit at the piano and |>lay over the parts separately
to properly instruct a body of amateurs. Some one has com-
pared this Mr. C. Cresswell to " Quintus Curtius," but I fancy
the simile will hardly hold good, for "Quintus" did not
make the hole himself. To my mind, Mr. C. Cresswell more
resembles the learned monkey, who, wishing to know how
the ball camo out of the cannon's mouth, lighted a slow match,
and stood before the weapon till the explosion took place. The
report tells us, I think truly, that we have been fortunate in
our opportunities, but who has led us to those opportunities ?
— Hhotiid we have had them without Mr Benedict I Permit me
to toll you that tho committee shrank from the pecuniary
responsibility, which the concerts devolved on the Society,
and Mr. Benedict took them in his own hands, at his own personal
risk ; and although he might have claimed the whole profit as
his just due, he hands it over to tho Association, and lays open
the accounts for inspection. T am told there is only one gen-
tleman of the name of "Cresswell" in the Association, and that
be denies all knowledge of this letter. So lunch the better for
bim, so much the worse for us -, because this letter was evidently
written by one who mixes with us, and therefore we know we
have amongst us one who is not only capable of writing this dis-
graceful letter, but who is base, wicked enough to commit forgery
to shield himself from the consequences of his conduct. Can
any thing be more stupidly suicidal than these attacks I Are
there not critics enough to detect onr faults, but we must our-
selves publish them 1 Add to this the ridiculous exhibition of
an advertisement on one page of a periodical, inviting tho public
to come and hear us, and a letter from one of ourselves on
another page, telling that wo are not worth hearing. I am
ashamed of having trespassed so long upon your attention. And
now let me ask you to convey to Mr. Benedict that you appre-
ciate his exertions on our behalf, and are grateful fortbein ; that
the voices of his detractors are raised in opposition to the voices
and feelings of the membors of tho Vocal Association ; that we
honour the musician who is honoured by the civilised world ;
and that we esteem the man who has laboured so ardently for
us. If yon feel you ought to do this, let me ask you all to rise,
and convey in one loud long cheer, that tho Vocal Association
is neither dead nor dying, but that its heart is whole and its
lungs sound ; that we commence the season with a determina-
tion to do our best to assist our much-respected conductor ; that
we esteem and honour him; and that "our thanks are writ
where every day we turn the page to read them." (Long and
tremendous cheering.)
Mr. Wm. Locktek (the secretary), in seconding the vote of
thanks, said that, after the excellent speech of Mr. Long, it
would ill-become him to occupy tho time of the meeting by any
remarks he would wish to make, further than to add his ap-
proval of all that had been said by his worthy friend, the mover
of the resolution, referring to the disgraceful Utters which had
appeared in tho Mvncal Uaietle. Strong evidence was in favour
of the letters being written by some one not at all connected
with the society, for from " Vox " down to " CreswelL" the letters
were of such a treacherous and shameful character, that he could
not believe so ill an act could emanate from any of the members.
On the part of the GaieUe, he was sorry that the editor allowed
the letter of " Cresswell" to appear, as the same only bore the
address " Canonbury," without " number," "place," or "street;"
but these were evils which must be remedied in the proper
quarter, and which he had no doubt would be in future.
Mr. Bkxkoict returned thanks in an excellent and humourous
speech, which was received by the meeting with grt-At enthu-
siasm, and continued interruptions with cheering and applause.
A vote of thanks to Sir John E. Harington, Bart., w
put and carried with immense acclamations, and the
was brought to a termination.
HENRIWIENIASKL
(From the Mutinied Londo* Ntw$.)
The renowned violinist, Henri Wieniaswaki, whose wonderful
powers of execution are nightly exciting enthusiastic admiration
at M. Jullien's concerts, and whose portrait we publish this
week, was born at Lublin, in Poland. At the age of eight,
having given the most marked evidence of a musical organns-
tion, he was sent, by command and at the expense of the Emperor
Nicholas, to commence a course of musical study at the Conser-
vatoire of Paris. The violin was the instrument to which he
devoted himself with all the intensity of his energetic nature,
and with such astonishing eagerness did he devour and profit
by the lessons of his instructor, the celebrated M assart, that at
the age of eleven he was awarded the first prize of the Conser-
vatoire— the highest distinction which, in the eyes of Europe,
can be conferred on the successful musical student. This brilliant
honour, however, was attended with as deep a shadow which, in
the eyes of the earnest amd enthusiastic tittle virtuoso, robbed
the triumph of almost all its satisfaction. By the rules o( tbe
Conservatoire, when a pupil has attained this final token of the
highest proficiency in the studies for which it affords such unn-
vailed op]H>rtuoities, he hi dismissed to employ the advantages
thus gained in the struggle of life, and to commence his career
with bis " blushing honours thick upon him." Doubtless the re-
gulation is framed in the spirit of the fairest justice to the existing
and future pupils of the institution, and operates beneficially in
tho majority of cases; nor could it be expected that the authors
of the law should foresee that one day the triumphant owner
which they had placed at t lie goal of tho academic curriculum
would be grasped by such tender hands, and that the eJna
muter of European musical students would ruthlessly close her
doors on almost an infant. Such was the inexorable rule, how-
ever; and Henri Wieniawski, in spite of his passionate tears
and poignant regret to be so soon deprived of all the mesa*
and appliances of tho study he loved so deeply, bad to
abide by it, and turn away from the Conservatoire. Bis
obligations to the munificence of the Emperor of Bus*;*
rendered it incumbent that he should now wend his way north-
ward, and present himself at the Imperial Court of St. Peters-
burg, and give his august protector an opportunity of jndgiu
how well bestowed bad been bis paternal care and solicitude os
his little Polish subject.
At the age of sixteen Wieniawski visited Berlin, where he
found the great violinist Vieuxtemps reigning supreme, who, oa
hearing his youthful rival, pronounced the highest en
his marvellous mastery of all the difficulties of his i
and foretold that he would one day obtain the
success in the artistic world. Never was prophecy so rapidly
accomplished; for ire the little "Northern Star" had left the
horizon of Berlin he had during that single season given eixtrea
concerts, all of which were brilliantly attended ; while the great
Vieuxteiups only commanded jiatronage for four. On the occa-
sion of his visit to this capital he was presented by the King of
Prussia with the graud medal, " Des Beaux Arts "-a distinction
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November 27, 1858.] THE MUSICAL WORLD.
757
only accorded to the most eminent merit. During a subsequent
tonr through Saxony, where he continued to win the most signal
proofi of admiration, he receded the decoration of the Ernestine
Hans Order. Pursuing his triumphant carver with undiminished
brilliancy through the country of the De Beriots, the Vicux-
temps, the 8ivoria, he proceeded to Holland, where he gave in
succession one hundred and forty concerts, and once more re-
ceived from Roval hands a badge of honourable distinction iu
the Order of the Conronne da Chdne, shortly afterwards ex-
changed for the commandcrship of that order. Although so
early the object of snch enthusiastic admiration, and ovur-
whelmed ere he had reached maturity with the most dazzling
honours, Wieniawski is remarkable in private for hi* modeat and
retiring demeanour.
THE WORCESTER INFIRMARY.
(From Berrotc't WorcttUr Journal.)
The charitable effort which has been made this week to ex-
tend the usefulness of that most valuable institution, the
Worcester Infirmary, has beeu very successful.
The Cathedral yesterday morning (Thursday, Nov. 1ft), was
crowded by a large congregation, the members being considerably
swelled by the attendance of the Mayor and Corporation, with
the numerous gnests of his worship, who had that morning
attended the inaugural breakfast at the Guildhall ; and the con-
cert in the evening at the College Hall was also attended by a
largo audience. The service of the morning was fixed for half-
past eleven o'clock. On the entrance of the civic procession,
the National Anthem was played on the organ. The musical
servico waa Croft's in A, the prece* were intoned by Revs. R.
Fowler and R. Cattley, and the lessons read by the Rev. Canons
Wood and Forteacue. The anthem waa Boyce's " Blessed is he
that considereth the poor and needy." At tho conclusion of
morning prayer, the Very Rev. the Dean ascended the pulpit,
and delivered an eloquent, impressive, and touching discourse
from the text St. Matthew, c. 26, part of v. 3« : "I was sick and
ye visited me."
At the concert, in the evening, the old College Hall was
exceedingly well filled, almost to the back seate, and as the
majority of the members of tho orchestra rendered theirservices
gratuitously, the results must be pecuniarily remunerative.
The hall was well lighted up with gas, which aided most ma-
terially iu warming the spacious apartment on a night of unusual
severity for an English November. The programme was as
follows :—
PiHT I. Overture, "Zampa"— Ilerold. Part Son?, "The Shep-
herd's Farewell," the dihedral Choir— Smart. Aria, " O quanta
vsga" (A tor and Zemira), Mr*. Wei»« — Spohr. Piano-forte — Im-
promptu He concert, "Kobin Adair," Miss Arabella Goddard — Wallace.
Qutirtett, "bo! the early beam of morning" — HaJfe. New Soi g, "The
Slave's Dream," Mr. Wei** — W. H. Wei»». Violin Solo, variation! on
" La ci darem," Mr. H. Blagrove— H. Illagrovc. Dueti, "The Siren
and Friar," Mr. and Mr*. Penny — L. Kmsauel. Grand Quartett in G
minor— Pianoforte, Mm Arabella Ooddurd ; Violin, Mr. H. BUgrore;
Violis, Mr. K. BUgrore, Violoncello, Mr. Waitc-Moisrt.
Pabt II. Overture, (Lo No«« de Figaro)— Mozait. Duett, " Non
fugg'1-/' Mr.and Mrs. Wei**— Doniielti. Piano-forte Pantuia, "Home,
sweet home," Mi** Arabella Goddard— Thalbsrg. Cavatina, " Di
piaeer," Mia* Gilbert — Roaiini. Solo Concertina, Fantaaiaon air* from
" William Tell," Mr. R. Blagrore — K. Blagrove. Old F.uglwh Ballad,
Mr*. Welts— C. Smith. Docriptive Song, "The Bear Hunt," Mr.
Penny — H. Phillip*. Part Song, " The dawn of day." the Cathedral
Choir— S. Rear. Song, " I'm a roatner," Mr. Weiat— Mendelwohn.
half century. We allude to Mr. J. H. D'Egville, whose name
was not mentioned in the programmes or advertisements. The
Harmonic Society offered its services in the same good cauue,
aad they were accepted, though only availed of to sing iu a glee
at the fag end of the concert. The two overtures were correctly
played, but the band was too limited for the room, and the effect,
therefore, weak. The first part of the scheme wout off tamely,
the audience appeared sleepy and phlegmatic, and it was not
until they had got well into part two that they were roused from
their lethargy,
Tho first encore was awarded to Miss Anita Ha Goddard's
second piano-forte solo. This young lady certainly is a most
accomplished pianist, both as a solo performer and accompany ist,
and it is not alwais that the two accomplishments are com-
bined. The instrumental jwrtioiis of the programme, indeed,
were tho plums in the musical pudding — ex. >/r.. Mr. H. 15 la-
grove's masterly handling of his own violin solo, the quartet by
Mozart, and the concertina solo of Mr. R. Blagrove. The Mozart
quartet was the gem of the evening. Miss (ioddarii's play ing
waa exquisite — full of delicacy and expression. The Messrs.
Blagrove are too well known to need commendation, but Mr>
Watte is new to Worcester audiencea. Ho is from Bristol, where
he ranks highly as a musician, which his playing with the above-
named first-rate artutu fully justified.
Mrs. Wcias sang, "O quanta vaga," charmingly, and waa
encored in " O softly sleep, my baby boy." Miss Gilbert sang
" Di piacer," in a highly-finished manner ; and the songs of Mr.
Pcnuy and Mr. Wetsa were given with characteristic humour.
Mr. Weiss' " Slave's Dream* is an improvement ou the good
things he has given to the musical world before. The part songs
by the Cathedral choir exhibited the accomplishments of the
executants, and tho excellence of their training.
The iiecuninry results, so far as they can at present be ascer-
tained, will certainly exceed £300, which sum will afford timely
aid to an institution which calls for the sympathy of all classes
and conditions. The coUections at the doors of the Cathedral
amounted to fi.'J Ida. 2d., in which were included the hand-
some gifts of £50 each by Kir E. H. Lechmere and Lady I<ech-
mere, and Mr. Laslett, £20. The donations forwarded to the
secretaries by parties who did not attend the Cathedral amounted
to £06, and the concert is expected to realise about £80.
Thia pecuniary success has induced a suggestion tliat a similar
plan shall be perpetuated, that the mayor's entertainment be
S'ven on some day in the week, other than Sunday, that a sermon
.• preached annually in aid of the Infirmary funds on the day
on which the new chief magistrate and the corporation attend
the Cathedra), and that an annual concert be given on the
evening of the same day ; but there are many objections to be
urged against snch a proposition, ahouid it ever be actually
brought before the public.
0.1 the wine
1 -Sir II.
Solo Qnartett and Chora*, "O
The National An thorn.
Mr. Done was conductor. The only paid professionals were
these engaged from London, who, however, modified their terms
for the benefit of the charity; the other ladies and gentlemen
Sve their services gratuitously, as also the gentlemen of the
ithedrnl choir, and certain others who arc not mentioned in
the official programme or advertisements. Wo may mention
one gentleman whose bow is ever ready to be wiehied in the
cause of charity, and who, with his father before him, has been
' with the Worcester musical gatherings for the last
OxrOED.— Dr. Mirk and hi* young pupils gave two Mfaeerll i" the
Town Hall, on Wednesday week (morning and evening). Hotii were
nuuierounly attended. On the following day Dr. Mark gave a concert,
at which the children from the charity tchoo's and the children of be
poor people generally, not hut than 2000 children, were prevent on the
creation. At the conclusion of the performance Mr. Price, head matter
of the Orey Coat School, moved a vote of thank* to Dr. Mark nnd bis
pupil*, which we* carried with acclamation. The seme evening Dr.
Murk gwro hi* farewell concert, when the room waa completely filled;
after the fir*t part of the concert, Hint of the gentlemen of Wadham
' Dr. Mark with a bandiomc gold pencil <
IMPROMPTU.
(On bearing that the Pyne snd Hsrritnn management had
engagement to Mr. Sim* Reeve*.)
Oh, Pyue ' should'at thou, on duo comparison,
Opine more certain pelf might bn achieved
By joining Reeve instead of Harrison,
Sure he* would pine to see thee, Pyue, ta-Reeve'd.
• Harri«nu.
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THE MUSICAL WORLD. [November 27, 1858.
MUSIC AT BIRMINGHAM.
(Abridged from The Mrmimgkam Journal.)
Tnn concert at the Town Hall on Wednesday evening was a
" Triton among minnows," a Great Eastern of steam ships, or a
Bright amongst Reformers, in comparison with other musical
manifestations which wo have lately had to record. Not that
either monster orchestra or colossal chorus lent the imposing
weight of numbers to the demonstration, for the motto of Wed-
nesday's performance was " great effects with nnmerically small
means ;" but the occasion derived importance from a more legi-
timate cnuse, viz., the congress of the most eminent musical
talent of the day, in a hall which, beyond all others, affords the
finest scope for its display and appreciation. Arrangements of
a very comprehensive character had been made for the reception
and accommodation of the public — oven the orchestra being
converted for the nonce into gallery seats. The audience were
not of that critical cast we are accustomed to meet at quartet
meetings, piano-forte soirees, &c, but of a more mixed stamp —
intent, doubtless, on hearing good music, and capable in a broad
way of distinguishing between the good and the indifferent, " et
voiiti tout." Only on this supposition can we account for the
qualified applause bestowed on one or two of the fiuest perform-
ances of tho evening, an compared with the enthusiasm which
in other parts appeared to mark the popular preference for
Balfe over Beethoven, and Verdi over the unapproachable
Mozart. The programme fortunately included of music suffi-
ciently varied character to meet all reasonable shades of taste.
PAST I.
Qtisrtet, " Where art thou, beam of Light?" — Bishop; aria, "Ah
si ben mio," Mr. George Ferren — Verdi ;^solo (riolin), Horr Molique —
sir, " Robert, toi que j'sime," Mad. Rudersdorff — Moyerbocr j " The
Wreck cf the Hesperus," Miss Palmer — Hattou j duct, " La ci darcm,"
Mad. Rudcrsdorf and Mr. Thomas — Mozart ; piano, grand sonata, Op.
101, in A major, Mia* Arabella Ooddard — Beethoven ; romauza, " II
baton." Mr. Thomas — Verdi; laughing trio, "I'm nut the Queen,"
Mad. Rudertdorfl*, Miss Palmer, and Mr. George Perron — Balfe.
past n.
Quartet, "Over the dark blue waters,"— Weber ; "The Minstrel
Boy," Miss Palmer— Moore ; aolo (pianoforte), impromptu on Robin
itdwr," Mis. Arabella Ooddard-Wallace ; song, " Round the corner
waiting," Mad. Rudersdorff— Randegger ; solo (riolin), Herr Molique —
Molique; Spanish song, " La ealesera," Mad. Rudersdorff— Yradier ;
"The Thorn." Mr. George PerreD— Shield j finale, " The fisherman's
good night"— Bithop.
In Bishop's quartet, sung unaccompanied, Mad. Ruderadorffs
soprano rang out with too marked effect for the unity of the
performance ; and Miss Palmer's contralto appealed less pro-
minently, but scarcely less eloquently, to the attentive ear of
the audience. Mr. Perren and Mr. Thomas eschewed all efforts
at effect, and contented themselves with a careful rendering of
their parts. Herr Molique's entrie was greeted with that
applause to which bis high artistic standing fairly entitles him
at the hands of all lovers of good music. His performance was
accompanied with judgment and taste by Signor Randegger,
who presided at the pianoforte throughout the evening. Of
Horr Molique's playing we can only say, in the noire langnage
of his erudite compatriot, Mr. F. Miiller, that " to hear him is
the most perfect treat." Ease, absence of affectation, disregard
of meretricious display, combined with executive power of
no common order, are his characteristics. The composition
to which he devoted himself appeals too exclusively to the intelli-
gent few to admit of its popularity. A wild Mephistophelian
strain pervades its melody, and it abounds with passages of
wonderful harmonic combinations, which to the untutored ear
smack strangely of " barbarous dissonance." It may be inferred
from these remarks that the applause bestowed on Herr
Molique's performance was scarcely proportioned cither to tho
merits of the work or to the ability displayed in its execution;
but the gifted maestro retired amidst the discriminating plaudits
of what in Parliamentary phraseology would be termed a
"formidable minority." Maine. Rudersdorff in Meyerbeer's
magnificent air created a furore, and not until Signor Randogger,
whose execution of the piano accompaniment contributed in no
small degree to the success of the piece, had struck the opening
chord of a fresh piece, did the excitement subside. Mdme.
Rudersdorff chose for her encore a Spanish ditty, of the Veazano
Waltz class. The simple, though beautiful ballad music of
Hatton following Meyerbeer, suggested comparisons bewilder-
ingly impracticable from tho wunt of some common basis.
Miss Palmer's artistic rendering of the piece suggested com-
monl on the mellow voice, instinctive grace, and dramatic feeling
to which so much enjoyment was due. Tho duet from Don Gio-
vanni by Madame Rudersdorff and Mr. Thomas was heard with
unfeigned pleasure.
Miss Arabella Goddard, in a toilette of the extremest Parisian
taste, next made her appearance on the low temporary platform
which had been erected for the purpose in front, and slightly
under the usual orchestral gsdlery. As compared with oth«r
stars of magnitude in the musical firmament^ Mis Goddard'*
person is less familiar to the Birmingham pubbc than it onght
to be, or than the recent pictorial efforts of an illustrated London
contemporary have sought to render it. front the plate we art
alluding to, a tolerably correct notion of all that apper-
tains to figure and height mav certainly be obtained, bat, as
a portrait, the illustration is a" failure. Hence the first feeling
produced in the minds of the audience on Wednesday wis
one of astonishment, no less at the personal charms than the
extreme youth of a lady who had already attained so un-
precedently high a position iu her profession, and fully
one half of the admiration bestowed on her performance roust
be set down to other considerations than those of pure art ; who,
a* wo have before hinted, had many lukewarm votaries in the
multitude assembled at her shrine. Miss Goddard had the mis-
fortune to be nttended by a not very dexterous or intelligent
cavalier vrvante, and tho versatility with which she contrived
in the midst of her absorbing occupation to transfix the blun-
dering leaf-turner with a Medean glance from one side of her
pretty countenance, whilst presenting an ever-smiling frontis-
piece to the public on tho other, was something marvellous to
contemplate. Her playing was characterised by singular grace,
freedom from affectation, and that incomprehensible mastery of
mechanical difficulties which it seems tho prerogative of genius
to poHscss, whilst inero physical excellence retreats crest-fallen
from its pursuit. Unlike many other pianists, Miss Goddard
observed no perceptible intervalbetween the performance of the
several movements, but passed rapidly from the opening alle-
gretto to the bold rivace alia Marciam thence to the sublime and
deeply poetic adagio, concluding without valid rest or apparent
fatigue, with tho sparkling and elaborately fugned allegro, m
which alone her execution,
" Untwisting all the chains that tio
The hidden soul of harmony,"
would havo stamped the namo of any hitherto unheard of artist-
This performance was one of those rather beyond the ken of a
considerable proportion of the mixed multitude assembled in the
hall, and accordingly the encore was somewhat qualified, and
Miss Goddard, with much good sense, curtseying formally to
the audience, resisted all subsequent endeavours to lure her
forth from her retirement.
Mr. Thomas imparted m much freshness to the now hackneyed
"II Balcn" as was in tho power of an intelligent and careful
artist, and was rewarded with no stinted measure of applaosw
The laughing trio from Balfu's new opera, which from its en-
during pretensions to public favour, has been happily designated
in a jeu <T esprit, racy of the soil, as the " rose of cast steel,''
brought the first part of the programme to a conclusion. It
was remarkable only as being one of the few encored perform-
ances of the evening — a circumstance in a great measure at-
tributable to the hutnorons extravagance of Mr. Perren, some
of whoso gesticulations, however, were open to question on the
score of good taste.
In tho second part Weber's quartett elicited symptoms ot
well-deserved approval. Miss Palmer created a sensation in
Moore's " Minstrel Boy," and on the encore, treated her audience
to tho Irish ballad "The Letter." Miss Goddard, in Wallace's
" Impromptu," met her audience on congenial soil. The applause
was warm, hearty, and unequivocal ; qualities that Mias God-
dard's long professional experience enabled her to recognise and
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acknowledge. Sbe readily and Gracefully acceded to the demand
for an encore, and tipped the climax of her triumph by a mas-
terly and impassioned execution of one of the most pleading
fantasias on "Howe, Sweet Home."
Mad. Rudersdorff nnde the most of Sig. Randegger's snng,
but the performance tailed to excite any vivid demonstration.
Herr Moliquo's second solo was better appreciated than his
previous performance, aud the inexhaustible fertility of re-
source" displayed in the composition, no leas than the matchless
jvower and feeling manifested in its execution, warranted the
warm tribute of admiration which greeted it. The ballad bv
the Spanish composer, Yradier, was exquisitely sung by Mad.
Rudersdorff, and Mr. Pcrren did foil justice to the song-solo
of Shield. Bishop, as he had opeued, concluded the entertain-
ment with sterling English music.
Leicester. — The mat of an efficient and well conducted
musical society has been long felt in the town, and the att< ntion
of a few of our leading musicians has been lately occupied iu
determining of the h »l method to be adopted for attaining this
desirable object. Having obtained the co-operations of Mr.
Henry Nicholson, w! .> consented to undertake the duties of
conductor, a post for which his musical attainments and prac-
tical experience peculiarly tit him, they decided on forming a
new society, and limiting the membership to those persons who
possessed ability aud ddigenee sufficient to make their assistance
useful. A few rules wire accordingly drawn up and printed,
with a circular inviting the co-operatiou of all who were com-
petent. The names 01 Miss Deacon, and Messrs. Henry Gill,
Thomas Graham, William Rowlett, John Stanyon, Samuel
Cleaver, George Royee, John Sansomc, aud William Bmnston,
were appended to the Council, thereby affording the best
possible guarantee for the good management of the society.
The result has exceeded the expectations of the promoters, and
a society lias been formed already numbering upwards of 70
members, all qunliffi-d to take an efficient part in the perfor-
mance ol choral music The rehearsals have been commenced at
the New Music Hall, and wo understand they have proved
highly satisfactory. In Order to render the performances as
complete and effective as passible, Mr. Nicholson has procured
the use of an organ, which ia now iu course of erection at the
New Music Half. We congratulate the members ou this valua-
ble acquisition, and we are glad to learu that the owning is
arranged to take pla - • at one of our fortnightly concerts, on
December 20, aud that the society will assist ou the occasion,
nnd perform a selection from Mendelssohn's St. Paul, as also
some part songs. — Lcicetter Journal.
The third of Mr. Nicholson's popular entertainment*, the
Concerts for the People, in the present season, took place on
Monday evening in the Corn Exchange, which was crowded to
excess, nearly 2,000 persons being present. The principal
vocalists were Miss Deacon, Mr. W. T. Prigs (of the Worcester
Cathedral choir), Mr. Snnsome, and Mr. Oldershaw. The soto
instrumentalists were Picco with his Pastoral Tibia, and Mr.
Henry Nicholson (flute).
Nottingham. — (From a CorretponJtnt .) — The Midland
Counties Philharmonic Society gave their first concert in the
Mechanics' Hall, on Wednesday, the ITlh. There was a gay
and brilliant assemblage, among whom we noticed the .Mayor,
the ex-Mayor, the Sheriff, and Sir A. Knight. The concert
opened with the overture to Mamnidlo, which was played with
vigour and precision. The }mt-poitrri , on airs from Martha, was
effective, and the la*t solo on the flute played with great sweet-
ness. The selection from // Travutorc, arranged by the society's
conductor, showed the power aud efficiency of the orchestra.
The march from the rrupkite concluded the fu st part . The
second part opeued with the overture to // P.arbicrc. The selec-
tion from L'i Travtata was played- admirably by the baud. We
noticed among the instruments something novel in the shape of
a sonorophone, on which the baritone solo was played in La
Travtata, being lent for the occasion to the conductor by the
inventor, Mr. Waddell, band-master of the 1st Life Guards.
The first song on the programme was Mozart's " Dove Son,"
sung by the talented and rising young vocalist, Miss Theresa
.Tcflerys, who made her second appearance iu Nottingham. She
also sang the Irish melody " The Minstrel Boy," and Bishop's
aria, "Tell me, my Heart," in which she was encored, for which
she gave " Summer Breezes." The great tenor, Mr. Sims Reeves,
commenced with Weber's grand scena, "Oh, 'tis a glorious
sight," from Oberou, in magnificent trumpet tone, combining
vocal eloquence of the highest order. It was quite evident,
however, that he was suffering from a severe cold, and his act-
ing (!) lacked his accustomary dramatic force. He next sang the
ballad, " Come into the garden, Maud," which was vociferously
encored ! Mr. Reeves would not comply with the very urgent
and uproarious call. It is right to state that Mr. Reeves came
to siug contrary to the positive orders of his physician, and that
he sacrificed two engagements — one on Monday, at Newcastle,
and the other at Preston, on Tuesday, that he might fulfil that
at Nottingham. The audience were most unreasonable, since
Mr. Reeves sang what was set down in the programme ; but
the mob, as Shakespere truly says, are ever u fickle ami
ignorant," Ho concluded his part of the performance bv sing-
ing the ballad, " Phasby, Dearest," which, in spite of cold and
hoarseness, was almost perfection. The concert terminated
with Beethoven's overture to The Men of Promttkttu. The band
altogether was one of tho finest, if not the finest ever rol'ected
together in the Mechanics' Hall, and their success has nitre
than justified the expectations of the most sanguine. TiSB
speculation promises and deserves to be successful.
Leeds. — (From a Correspondent)— -The concerts for the people
have commenced in the Town Hall. At the first, which took
place on the 13th List., nearly 1,700 persons were present. Tho
performers were — Miss Witham, Miss Nowbound, Mr.Inkersall,
Sir. Delavanti, a Kind of about 40, aud Mr. Burton as conductor.
The baud was tho principal attraction, and played oue or two
overtures in capital style. Last Saturday, the same vocalists
were engaged, aud four members of the band only. The room
was not more than half-tilled. — A very good concert was given
in tho Music Hal), last week, by Mr. Richard Ramsden, who,
since he left the Leeds parish church as a chorister-boy, has
been cultivating a very promising baritouo voice. His assistants
were — MissDobson, Miss Pilling, Mr. Archibald Mann (of whom
tho local papers speak in the highest terms), Mr. Winn, and Mr.
Broughton, pianist. — Last Friday, the Festival Committee,
headed by Sir Peter Fairbairn (Mayor), attended the board-
room of tho Infirmary, and there formally presented to the
trustees the sum of £2000, as the balance left from the recent
Leeds Festival. It seems to be well understood, that the second
festival will take place here within three years. 1 would re-
commend to the committee the great advantage of giving the
next festival at the end of two years, for then it would not clash
with either Birmingham or Bradford. The Letdi Hrpreu, of
Saturday last, has the following : — " The organ committee of the
Town Couucil have recommended to the Town Hall Committee
the desirability of immediately ventilatiug tho cove in the
orchestra of the Town Hall, and the bellows-room in the vaults.
It is already well known that, from the waut of ventilation in
the cove, the organ pi|>ea get very much out of tune during the
nights when the Hall is occupied ; whilst the bellows-room re-
quires ventilation to prevent that dampness which has already
injured some portions of tho bellows work. We understand
that it is iu contemplation to add the pneumatic action to the
pedal and composition movements in the organ, and that this,
and tho instrument itself, will bo entirely completed in about
six weeks* time. Until then, we believe the organ will not be
publicly used."
EPIGRAM.
" An ii altrretn partem."
" For Ober's soup meagre
I'm not over eager.
I'd leafer by half
Old Roast Beef with Ball"." Q jsawu
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760
[November 27, 1858.
THEATRK ROYAL, DRURY LANE.
. of Mm "
Oa Monday, far the BENKFIT of Mr W HAKItlSON, Vcrdla opera IX TRO-
V ATOMS. MJtnr1oo(ftrM time in T<ncdon) Mr. W. Harrison ; leonora (firs', tine
in I, .uiloa) Mm l>.<ulaa Pyne. Cuuiluator. Mr. Alfred Mellon, la comnqucaoc
of their giwu Ilia BOSK OF CAHTILLE and THE BOHEMIAN OIRL
will I*.- r peste-l iu Mm o urw uf the week. To cnuclude (each evening) with a
I!. .Met DiTcrtlMctueot. Cumtnence at l alf-iinat Se»eu.
tost the Tragedy of MACBETH can only be
lUiubor • "
of DijfhU.
ROYAL PRINCESS;^ THE.VTRK
f\N MONDAY, Wednesday, and Friday, MACBETH.
M,l ULLIEN'S CONG ERTS. — LY ( ' K UM THEATRE
• LAST WK>:K BUT ONE.— BVERY NIOHT at El*ht oCloclt-
M WIENIAWSK1. tlie celebrated Violinist, will p-rform trcry e»rairur.—
To-morrow, Monday, NoTonher », A GRAND BEETHOVEN NIGHT. On
which occaaiuii Mad. K.vcHu» GARCIA will make her Bret appearance these three
years. The first port of the Programme will consist of the works of Beethoren,
iuehidlnir tli* Ovi-rturo " I/Ocnwm." Symphony In C minor. Conoarto. Violin, per-
formed by M. * IENIAWSU-aml the oelibrsted Septet, performed by Soloists of
i I art, mlsoeiLitrou. -Quadrille, "The Oarr.pWl .
: Culrersal Harmony. " J allien— "Peru Learn *
"Cai-naval do Venise" (PsffaniaiX perf.irmtd L>y
M W1KNIAWHKI — "Frikell Oalop. " JullMo.
M. JULLIEN'S ANNUAL UAL MASQUE, on Monday, December 18th.
GREAT NATIONAL STANDARD THEATRE,
SnOREDITCH — Proprietor. Mr. Jon* Dovci-asa.
The cc'r hrate.1 Madame Celeste will appear ercry ovculng this wtek with Mr.
Paul Bedford and Mil- EiUa Anion. Ou Monday, SATAN. Ma-lame Celeste ;
Choouiria.Mr. Paul lledlbrd. On Tuesday. TUB FLOWERS OP THE FOREST.
Cynthia. Ma<lam^ Ulost*. On Wednesday, Thursday. Friday and Haturdar, to
nmeuce with the A.lelphl Drams of CHRISTMAS EVE. Madeleine, Madame
est*, supported by Mr. Paul Bedford sad the whole of the Company. To be
••Hymn of Culrersal Harmony.'
Valer, Jullien.— Solo, Violin, ~
f ll jwod by au original drama called THE L1TTLH BUTTLXR Natalia M«lamv
Celotc To conclude on Man lay and Tuesday with THE WHITE SLAVE. On
WediMWiar. Thursday, Friday and Saturday, a Farorlte Burlrtta. On Wednesday,
for |ba Benefit M Madame Celeste. Every department Is busily engaged for the
production < >f the Great National raiitomimo.
TO CORRESPONDENTS.
A Candidate. — Apply to Mr. Oimton, Secretary, Ao. 4, Tenter-
den-st, Hanowr-fjuart.
THE MUSICAL WORLD.
LONDON, SATURDAY, Noyxmxhi 27™, 1858.
The Vocal Association hits issued it* prospectus for the
ensuing Season, whicli eonim January and terminates
iu Jane, Mr. Benedict, who originated the Society, in 1856,
is its director and conductor. A more zealous orchestral
chief or a more energetic administrator it would be difficult
to find. What notoriety the Association already enjoys is
owing entirely to his exertions. Mr. Benedict's original
idea was to institute a choral body which might vie in ex-
cellence with the Cologne Manner-Oesang-Verein and the
Berlin Choirs. He knew that no couutry in the world
possessed filler voices than England, and, determined to pro-
cure the most efficient singers, and to spare no pains in
improving them, it was natural he should indulge iu the
fairest prospects of success. It was no easy matter, however,
to bring together three hundred singers with good voices,
competent musical knowledge, and refinement of style, so as
to execute with propriety and effect the mastcr.picces of
ancient and modern writers — madrigals, glees, part-songs,
Arc., and to say nothing of the grander choral works, which
no doubt Air. Benedict contemplated. The celebrated choirs
of Berlin and Cologue liad been singing and practising
together for years before they arrived at the perfection ulti-
mately attained, and Mr. Benedict, of course, did not expect
his own society to reach the degree of ex.^ellence aimed at in
ono or two seasons.
The Vocal Association commenced not badly. At a con-
cert in the Crystal Palace they wore first brought into
prominent notice, and opinions were very generally favour-
able to their performances. Of course allowance was made
for amateurs who bad sung so mrcly in public, but they were
found entitled to no Htnall share of" praise. So promising a
beginning augured well for the future, and several warm
admirers of Mr. Benedict, mid well-wishers to the Association,
prophesied that before two years had passed they would equal
the Cologne Union.
Unfortunately progress did not keep pace with expecta-
tion. In 18.57, the members of the Vocal Association
showed signs of improvement, although on one or two occa-
sions—when entrusted with more complicated works tlum
madrigals and part-songs — a falling off was manifested.
Frequent hearings, too, let I to the conviction that all the
voices were not good ; that many were harsh, — not a few
habitually out of tune ; and that some of the members did
not sing at all. This was placed beyond a doubt lost season
on the opening night at St. James's Hall, when the Asso-
ciation had to take part in the finale to Mendelssohn's
Lorehj — a performance by no means calculated to raise it in
the estimation of connoisseur*. Mr. Benedict was far from
satisfied, and saw that reformation was needed ; but all
arrangements had been made, and nothing could be done
until the end of the year.
The prosi»ectii8 just offered to subscribers states that nearly
one-fourth of the memliers liave been dismissed , and that
none have been admitted as substitutes without undergoing,
in advance, a strict examination before Mr. Benedict.
This very necessary measure having been carried out, we
may now look forward to better things from the Vocal
Association, and entertain a hope that after some years,
with assiduity and zeal, they may be entitled to rank among
the most efficient choral societies. That nothing will be left
unattempted by Mr. Benedict in order to obtain this result,
we feel assured. AU that promptitude and energy united
to talent and experience can hope to achieve will be
achieved.
A highly interesting feature of the prospectus is the
announcement of four works by Mendelssohn, witb which
the public are unacquainted, and which will be introduced
in the course of the season. These are, three Marches, and
an " Ave Maria," belonging to the unfinished I.orcly. The
"Ave Maria" has been printed by Mr. Buxton to Mr.
Benedict, for the exclusive advantage of the Vocal
tion. It consists of a solo for soprano and fonr-purt
anil is as completely scored aud finished as the lonj
with which we are already familiar, and a I
Lortly cannot fail to excite curiosity.
The performances arc to consist of twelve Concerts — aix
dress and .six undress. To the latter — held for the purpose
of introducing young and untried singers, who would not
otherwise liave an opportunity of appearing in public . — swb-
scribers only will be admitted. This alone is likely to
attract a certain amount of patronage. In brief, from
the promises held out, we have a right to anticipate that the
forthcoming season will place the Vocal Association in a tax
better position than it can hitherto be said to have
occupied.
long finaU
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November 27, 1858.]
THE MUSICAL WORLD.
761
Let us now, as we are wont from time to time, look over
the list of metropolitan non-lyrical theatres and see what
they are all about.
With the Princess's, as th» temple, par excellence, of the
poetical drama, wc begin. In consequence of a judicious
series of revivals, Mr. Charles Kean is enabled to ring three
changes every week, wliile both ho and Mrs. C. Kean appear
every night, so varying their labours as to obtain compara-
tive repose. An they prove themselves in Macbeth the un-
doultted chiefs of the tragic profession, so in their last revival,
Much Ado About Nothing, do they proclaim themselves joint
monarchs of high comedy. Thu young men of the present
age, who have only seen this charming play acted in middling
style, do not know what it ought to look like till (hoy have
seen the Benedick and Beatrice of Mr. and Mrs. C. Kean.
Let them, tho young men of tho present day, find themselves
at the door of the Princess's Theatre, at seven o'clock, in
order to secure a good place j not in onler to see a farce,
called Thirty-three next Birthday.
To night Mrs. Charles Ma: hews will take her benefit at
the Haymarket, thus bringing to a close a singularly pros-
perous engagement.
Tbe revival of the IiooU at tin Huxm, fresh in the mind of
every ouo whtwe memory can command six months, and of the
Thumping Legacy, which is lean familiar to the present play-
goer, has done wonders for the Olympic Theatre. Robson
as the •' boot*," — Robson a* the cockney druggist, lured into
vindictive Corsica — is an attraction altogether irresistible.
Even those who have already seen the Maid and the
Magpie at the Strand Theatre, may venture there again, not
only because this lively burlesque is well worth seeing twice,
but because there 'is a new farce called the Little Savage,
which, in itself no great aftair, renders Marie Wilton ex-
ceedingly prominent in the character of a protended romp,
and Marie Wilton is neither more nor less than an incarnate
sunbeam.
The suburbs don't assume any new feature of groat hn-
]K>rtancc. Henry V. seems to have retreated from Sadler's
Wells, where business of a mere routino kind is now carried
on — the HyjMxrite one night, the Bridal another, <fcc.
Mad. Celeste is so firm in the favour of oriental enthusiasts
that she seems likely to remain at the National Standard
till the opening of the new Adelphi gives her a western
home. Those who wish to see an M.P. on horseback, may
go to Astley's, where Mr. Townsend plays Glo'ster. At the
Surrey, the Woman of the World, one of the leading tales of
" Reynolds's Miscellany," has been turned into a drama of
intense interest, though in this respect Messrs. Shepherd
and Creswick have been anticipated by tho manager of the
Victoria.
However, whether performances are good, bad, or indiffe-
rent, all the theatres in London will speedily be crowded.
Tike Annual Cattle Show is coming on, and will bring with
it a throng of sturdy, pleasure-seeking agriculturists, bent on
seeing everything from the Princess's to Canterbury Hall.
As the mythical bull carried personified Europe all the way
from Phoenicia to Crete, so docs the real ox bring all Eng-
land from the provinces to London.
Madame Ajcxa Bishop.— M. Jullien has engaged this ac-
complished vocalist for the last week of his Farewell Concerts
at the Lycentn, and also for his Farewell Tour in the provinces,
in Ireland, and Scotland. Madame Bishop will moke her tirst
.„..„„«. M. JdM 0— * «.T.«U„ December
Sacred Harmonic Society. — This Society began its winter
concerts last night, with Haydon's Creation.
M. Saiktos, the eminent violinist, has had the honour of
receiving from his Majesty the King of Holland the royal order
of the " Couronne do ChGno."
Miss Arabella Goddard, who has been playing all the week
at the Livcrjiool concerts given under tho superintendance of
Mr. E. Thomas, is engaged at Chatham on Monday, at Brighton
on Tuesday, at M. .Tullien s (Beethoven night) Wednesday, and
at Greenwich on Thursday.
Mb. Macrkadt has experienced another bereavement in the
death, on Monday, at Sherborne House, Sherborne, of his
sister.
Death of Mr. Allcroft. — Mr. F. W. A 1 ! croft, whoso name
has been for a considerable time associated with musical and
dramatic undertakings, expired on Sunday fortnight, under such
painful circumstances, that his death must be regarded by his
friends as a happy release from the sufferings he has lately un-
dergone. It was the unfortunate gentleman's fate to lie afflicted
with mental as well as physical derangement, and for some
months post he had been the inmate of a private lunatic asylum.
As the well-known music-publisher in New Bond-street, the
most frequent provider, if not the originator, of those " monster
concerts' that included in one night's programme an unprece-
dented array of vocal and instrumental talent, and latterly,
after the secession of Mr. Copeland, the lessee of the Strand
Theatre (which he held until nis decease), there have been few
names more prominently before the public. To heavy pecu-
niary losses connected with tho Lyceum, some years since, the
excitement of the brain, which lea to final mental aberration,
has been generally attributed ; and the later period of his life
has been so sovcrely afflicted, that it can scarcely lie regretted
the hand of death bos now put a period to his sufferings. —
Era.
Thk late Mr. \Viu.iah Blaokove.— On Monday week the
faneral of Mr. William Blagrove, who died so saddenly the
preceding week, took place at Wigbgate Cemetery. His remains
were deposited with those of his brother Charles, who died a
short time since, and the arrangements for the mournful cere-
mony were most admirably conducted by Mr. W. Qarstin, of
Welbeck-etreet, Cavendish-square. The funeral was attended
by several of bis professional brethren, by whom ho was much
resp ectcd.
Mr. Sunt let Brooks has been Btated, by a contemporary, to
be engaged in preparing a Christmas piece for one of the
theatres. It is not the cose, and probably ho finds almost
enough occupation in his duties as the new editor of tho Literary
Oaiette, in completing the Oordian Knot, and in contributing to
Punch. — Era.
The Itauas OrERA is Paris. — A Parisian journal publishes
an account of the sums which M. Calzado, proprietor of the
Italian Opera House in Paris, is now paying to his singers.
Tambcrlik is to receive 40,000 fr. for seventeen representations ;
Mario, 15,000ft. per month for five months ; Alboni, 1 2,000ft'.
per month during the season. This lady is engaged to sing only
seven times during each month. Madame Pence gets 70,000fr.
for the whole season ; Graziani (Francesco), 40,000fr. ; Graziaui
(Ludovic), 37,OOOfr. ; Corsi,21,000fr. ; Gal van:, 18,000fr.; Madlle.
de Kudo, 17,000ft. ; Madame Catnbardi, 7,000ft. ; Soldi, 3,500fr. ;
Patriossi, 3,000fr. ; Madame Dell'Anesee, 3,000ft. ; Rossi,
3,0O0fr. We have not done yet. The French prima donna,
Madame Nantier-Didioe, receives 20,000ft. ; Zucchini, the comic
basso, 18,000ft. ; Augelini, 1 -1,000ft. ; and Madame Grisi
is to be paid 20,000 francs for two mouths. The chorus costs
41,540ft. for the season. The orchestra costs 40,45.5ft. Then
there are the expenses of scenery, dresses, lighting, and servants
of the theatre ; altogether obliging an expenditure which it is
calculated the utmost patronage on tho part of the public con
scarcely cover.
MANcnxsriB — At M. Halle"* orchestral coiircrt on Wedncadsv
week, MendcU.ohn's UUmnmrntr AigifM Dream *« the chief feature.
Madlle, Mcrio was the rocalUt snd Mr. Halle the pianist. At the
meeting of the Madrigal Society, Mr. W. Shore, the president, was
presented by his fellow members with a bsodaomc time piece. Mr.
Shore has been president of the aocicty since it* foundation.
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762
THE MUSICAL WORLD.
M. JULLIEN'S FAREWELL CONCERTS.
The crowds do not abate. The concerts appear to possess
greater attractions than ever ; whether derived from the eager
wish of the public to do homiuago to M. Jullien before his de-
parture ; or the increasing reputation of the new violinist, M.
Wieniawski ; or the superior character of the entertainments,
wo cannot answer. Certain it is, that the Lyceum Theatre is
not half large enough to accommodate M. Jullien's natrons,
that numbers are rejected ftoni the doors nightly, and money |
returned in many instances to those who entertain a horror of
a crowd, and dare not trust their tender selves to the enthu-
siastic and unrespecting denizens of the pit.
The second "Mendelssohn Night" took place on Friday
evening week, and attracted, if possible, even a greater overflow
than the first. The programme was nearly the same. The sym-
ihony in A went iust as well ; Miss Arabella Goddard played
' o first concerto for piano just as perfectly, and elicited just the
same enthusiasm; while M. Wieniawski restored his own
cadtiua to the violin cuueorto. Instead of •' Infelico," (Miss
Stabbach being absent) Miss Poole sang "The First Violet," and
besides the Wedding March, there was the welcome addition of
the overture to Buy Bla*. which was very superbly executed.
The revival of M. Jullien's famous " English Quadrille" has
constituted a highly attractive feature in the week's per-
formances. The applause nightly following this exciting com-
position is enthusiastic in the extreme. Each well-known air
employed in the different figures is receivod with repeated
cheers, while the soloists, whose special talents have never been
employed to greater advantage, come in for no small share of
the applauding thunder.
On Wednesday the first « Beethoven Night" will be given,
Miss Arabella Goddard will perform the Kreutzer
ith M. Wieniawski.
CRYSTAL PALACE CONCERTS.
The programme of the second winter concert, on Saturday
afternoon, was as follows : —
Overture (Kuryaathe) C. M. v. Weber,
V'Conoerto Tor the Concertina, expressly composed
* for the Oeurortina, Signor Uiulio Regontli ... B. Moliquo
Song, " Lo! hero tbe gentle lark," Mies Louisa
Tinning; ... ... ... ... ... Sir H. Bishop
Flute Obbligsto, Mr. Srensdcn.
Brmphony, No. -1, in B flat
>fow BslLad, " When shall we meet again," ex-
pressly composed for Miss Louisa Vinning ... O.
Morceau de concert, "Lea Oieeaux," Signer
Oiolio Regondi
Ballad, "Too late, too late!" Hiss Louisa
\ inning ... ... ... ... ...
Overture (Faniaka)
Both selection nnd performance reflected much credit upon
Mr. Manns and everv one concerned.
Mb. Charles SaLaman delivered his lecture on " Weber and
his Compositions," in the rooms of the Literary and Philoso-
phical Society, at Hull, on Monday evening, the 15th inst., and
on Wednesday evening, tho 17th, his lecture on the "Dramatic
Compositions of Handel and his Contemporaries." Both lec-
tures were received with great marks of approbation. Mr.
8alaraan was assisted in the vocal illustrations by Miss Eliza
Hughes and Mr. Theodore Distiu. On the 18th Mr. Salaman
read his Handel lecture in the minor room, St. George's nail,
Bradford, with equal success.
The Rodbrsdorft-Mouqce-Rakdxgoer party have returned
i a highly successful tour in the provinces. To tho three
ta named were joined Miss Palmer, Mr. Georgo Perren, nnd
Madame lludorsdorff took with her a new song,
'Merrily shines the morn," composed expressly for
her by Signor Randegger, in which she rarely failed to obtain
orff,
have
1ua>chjsteb.— At the Monds
Miss Palmer, Mr. O. Perren,
again been the attraction.
DRURY LANE
Tub Bohemian Girl was revived on Mondays bat did nr.
attract— which did not surprise vis, considering how the or*.->
has beeu hackneved for fifU-eu years. The appliiuae, $ow'er;ir
was loud and "frequent ; bouquet* were thick, and recall'
numerous. Miss Louisa Pyue sings the music of Arline to per-
fection. She was encored, ns a matter of course in I dreamt
that T dwelt in Marble Halls." Mr. Harmon s two aonp-
" When other lips," and "Tho fair land of Poland, were tern-
pestuously bissed and repeated to the great delight of the tggm
and the under gods, with whom tlioTWfian ait* of
are prodigious favourites. The reception of the "Old Girl
must have vastly pleased tho composer and the managers,
although we doubt very much the policy of the resn»atation c4
so antiquated a maiden of the muje. Miss Louisa Fyne Ml
Mr. Harrison should recollect that there arc other English
composers besides Mr. Balfe, and that to display unmistakeaWr
favouritism towards one writer, however talented nnd popular,!'
not adhering to the spirit of their prospectus. If the - Natjotil
English Opera" were entitled the " Balfe and Co. Opera," »:
should have no objection oven to the Bohemian Girl.
TT^ ■ . ^.
Oxford. — Mr. James Russell gave a concert in the Town
Hall on Friday evening, the 19th instant. The artists ioclivM
Madame Rudcrsdorff, Mias Palmer, Mr. George Perren, at!
Mr. Thomas, as vocalists, Herr Molique as solo violinist, and
Signor ltandegger, conductor— the party, in fact, which havebrta
making a professional tournfe in the provinces, with great fa*
—to whom was added Miss Dolby, as being a special favor: ru-
in Alma Mater. Tho pieces which obtained moat appbts-
were Balfe's new and charming ballad, "Daybreak," Duggaos
song, " Many a timo and oft," vociferously encored, bat
repeated, u The green trees" being substituted— all three sua;
to perfection by Miss Dolby, and a new song bv Signor
Randegger, called "Merrily shines the morn," given with great
point aud expression by Madame Rodersdorff. Herr Monnti*
was applauded to the echo in both his performances— " Souvenir
dc Norma," aud Fantasia on English, and Scotch melodies.
Liverpool.— (From a Corre^wident.y—The Thomas concert'
have been going on favourably. On Tuesday evening, the ilrst
part was ail Mendelssohn, including the ov.-rturc to Rvy Km,
tho andante from the symphony in A, and the pianoforte eooeef j
in G minor. Tho concerto was magnificently played by Mi«
Arabella Goddard, who was unanimously re-called at the termi-
nation. The orchestra pieces were capitally given node* Mr.
Thomas's able direction; and Miss Louisa Vinmng'a "Garhud,
(the only vocal piece) would have been irreproachable, aw
pleased even more, but for a cadenza liardly in good kevpiaj
with the unaffected character of the music. Selections fren
Rigoletto and Lucrezia Borgia, daily, morning and evening (fe
we have had afternoon concerts as well), afforded the puwie »i
opportunity of admiring and applauding the solo playing
Messrs. Percival (flute), Maycock (clarionet), Nicholson (obo*'
Hawkes (cornet), and FrospOre (ophicleide). Miss Aral*!'"
Goddard has created quite a Juror?, nnd is invariably encore
in her solos. On Wednesday afternoon, the " Li*at rose r
summer," being redemanded with acclamations, she return*; '
the orchestra and substituted Thnlberg's Don Pa#ptale. In tit
evening, the same coraj^ser's fantasia on Maaanie/to, hf>_-
similavly complimented, the gifted pianist (to tho nniwr*
satisfaction) satisfied the demand of the audience with " Hon*,
sweet home," which created an equal measure of enthusiasm
Miss Louisa Vinning has been singing "Taeea la notte," Prii
ten's " Too late, too late," " Vcdrai carino," " Where) the l>
sucka," and a very pretty tmllad by Macfarren, written express!.-
for her, and entitled " When shall wo meet again ?" with nniforr--
auccess. The overtures to I.a Gaza Ladra and Frn ZhatvA
have added to the achievements of tho band — solos on it'
clarionet (Mr. Maycock), comet (Mr. Hawkes), and a dr. .
for fluto and clarionet (Messrs. Percival and Maycock), to *fc*
displays of the chief instrumentalists. In short, tbe concert*
of Mr. Thomas have never presented a greater variety c
attraction.
Digitized by Google
November 27, 1858.]
THE MUSICAL WORLD.
763
The St. Jong's Wood Literary asd Scientific Society
gave a concert at the Eyre Anna Assembly Rooms, on Tuesday
evening. The programme was more varied than we have been
accustomed to expect in suburban entertainments. It consisted
of a tolerable selection of sacred, secular, and instrumental
music. Tlio singers -were Mr. and Mr*. Weiss, Miss Dolby, and
Mr. Montem Smith; the instrumentalists, Mr. II. Blagrove
(violin), Mr. Isaac (second violin), Mr. Richard Blagrove
(viola and concertina), Mr. Aylward (violoncello), and
Herr Wilhelm Ganz (pianoforte and harmouium). Movements
from Haydn's "God save the Emperor" quartet, and from
Beethoven's quartet, in A major, No. 5, were finely executed
by Messrs. II. and R. Blagrove, Isaac, and Aylward. Solos
were performed on their respective instruments by Mr. H. Bla-
grove, Mr. R. Blagrove (concertina), and Herr Wilhelm Ganz
(pianoforte and harmonium). The vocal piece most admired was
Balfes new song, « Daybreak," which Miss Dolby sang most
admirably.
UvKRVooir-(AbriJgeJ from the Liverpool Daily Poet, ATo».
23*/).— The sixth series of shilling concerts given by our inde-
fatigable townsman, Mr. Thomas, began last night at St
George's HalL with a thoroughly successful performance ; and
it is with no small pleasure that we have to report that the
attendance, both in the reserved and shilling places, was very
much belter than on previous first nights ; and we have no
doubt that the result will realise Mr. Thomas's expectations, in
a pecuniary point of view ; while, as regards the music, it must
bo admitted oy all, that whether we take the band " eneenMe,"
or the soloists and vocalist individually, the attractions offered
surpass the arrangements of foregoing years, and must receive
that appreciating patronage which the exertions of Mr. Thomas
so richly deserve.
The programme of last night consisted of the usual melange
of symphony, overture, opera selection, solos, and songs, with
dance music. The internet movement from Beethoven in F
and Hcrold's Zampa were as effective as ever. We have seldom
been more plcassd with the Trovatore music ; the soloists, includ-
ing Nicholson on the oboe, Maycock (clarionet), Porcival (flute),
ProBpere (ophecleide), and Snelling (bassoon), being perfect.
Wo felt inclined to award to each in turn the first place in our
list ; but, as each on his respective instrument was so good, we
feel that in uniting their names in one common award of praise,
we pay each the best compliment.
The violoncello solo or Herr Lidel was admirable. He met
with a hearty recognition on his appearance for the sake of " auld
lang syne," which was repeated on his retirement.
Miss Louisa Vinning was received in a manner that was not
more complimentary to her than well deserved. She is a vocalist
we have every reason to be proud of, and we were glad to find
that the audience estimated ber at her value. She was encored
in every song, and recalled a second time after singing " Comin'
through the rye." Abelii's song, "I'm a laughing Zingarella,"
is too close a copy of the well-known tarantella to be a favourite
with us ; but though lacking originality, Miss Louisa Vinning
redeemed it by her excellent singing, and we were much charmed
with her interpretation of ■ Ah, fors' e lui," and " Where tho
bee sucks." To-night she will appear, we expect, to even greater
advantage in Mendelssohn's lovely song, " The Garland."
The great attraction of these concerts, however, and markod
improvement on former years, is to be found in the engagement
of Miss Arabella Goddard. If we bad had the least doubts of
her great powers, the execution of Thalborg's "Last Rose of
Summer," and, on being encored, the same composer's " Home,
sweet home," would have set that feeling at rest once and for
ever. The clearness of every passage— the evenness, force, and
delicacy she displayed were wonderful. Tho melody kept singing
out as distinctly as though there were no extraordinary varia-
tions in arpeggios, octaves, &c, built upon them ; and these same
ornamental accompaniments were in themselves perfect through-
out, each note telling, every passage a perfect marvel of executive
skilL But great as she undoubtedly is in works of the class we
it is in the grand works of the great masters that
she shines ; here we find, coupled with dexterity, a refined in-
terpretation, a close observance, and conscientious rendering of
the author's intentions. Replete with difficulties just as great
as in Thalberg, the merit of the performance is enhanced by the
presence of genius ; and, in the reading and playing of Men-
delssohn's concerto in G minor, to-night, in the works she will
hereafter introduce from the pianoforte writings of Beethoven
and Mozart, will be found the great outstanding attractions of
Mr. Thomas's series ; and we cannot for one moment doubt that
the musical public of Liverpool will appreciate and crowd to
hear her in these her greatest triumphs. It is an opportunity
seldom offered us, and it is one that should be eagerly availed of.
We must not omit to notice the way in which Meyerbeer's
" March" from the Camp of Siletia was performed, and we are
sure ere the week closes, the verdict we now give will be en-
dorsed by all, that band and soloists excel those of any previous
Tn* Nkw Btmvm Tiibatrs.— The site of tho Hoxlon Theatre
occupies two parallelograms of ground, whereof one, next High-street,
36 by 52 feet, is appropriated to s tavern and two entrance wayt— sod
the other st tho bsck, 150 feet by 110 feet, is occupied by the theatre
shop. Between the two main buildings is a corridor cotered with
gists. Into this both the entrances lead, and it is united by wide arch-
ways to a similar space in the theatre building, st the back of the pit,
the whole together forming a promenade of 50 feet by 30 feet, from
which access is gained to the pit, and by the staircases to the other
part* of the house. There arc three tiers of boxes at the sides of the
house, but in the centre, the space corresponding in height with the
two upper tiers is occupied by one large gallery, which extends to tho
full limit of the building, or over the saloon, which itself corresponds
with that part of tho promenade which is immediately attached to the
pit. The pit extends under the lower tier of boxes. It measures 7G
feet in width, and ia 58 feet from the back wall to the orchestra front.
Tho stage is the same width, 76 feet, and it measures 60 feet from the
footlights to the back wall. The curtain opening in the proscenium is
36 feet across snd 36 feet in height. A portion of the pit is arranged
as stalls. The accommodation in that floor is estimated at 1,900 per-
sons seated (1,000 in the general area, and 200 in the stalls) ; bat
bringing into consideration the standing room in the promenade, and
at the beck of the pit, the total number accommodated will be 1,500
persons. The seats in the lower tier of boxes are divided into two
clssses by framed partitions. The whole accommodation in this tier
will give 600 sittings ; but tho standing-places in the refreshment room
and adjoining will raise the number to 650 persons. The side boxes
in the upper tiers and the great gallery will altogether hold 1,260
persons ; whilst the sum of accommodation in all parts of the house, at
1 foot 6 inches to each sitter, will be 8,260 persons. The two entrances
from High-street are each of them 14 feet wide. There are in all fire
staircases ; one of the number, however, is merely a staircase of com-
munication between different parts of the house. Leading oat from
the ends of the promenade sio two staircases to the boxes, each 5 feet
wide, and at one end is a staircase of tho same width to tho galleries.
Tho other staircases ore those placed as before noticed. The refresh-
ment room to the boxes is 50 feet by GO feet ; nnd the floor it fire-
proof. Three doorways of 4 feet opening, snd others of 4 feet 6 inches,
giro sccess to the boxes of the two classes on this tier. All doort are
made to open outwardly, snd within the thickness of the walls. Cis-
terns and fire-proof cocks are to be provided. In cate of a ruth from
the honse escape, in addition to that by the 14 feet ways, could be
afforded by removal of tome light framed partitions separating the inner
bar of the tavern from the outer bar, or that next tho street. The
arrangements for the refreshment department, and in the provision of
various conveniences, are extensive, as they are required to be from the
practice of the house to avoid trouble in checks and re-admissions.
Hetides the tat em and the refreshment saloon of the boxes, there is a
refreshment court communicating with the pit promensde, and mea-
suring 28 feet by 25 feet, and an open court on the opposite side 60
feet by 15 feet. The main waits are 2 feet 3 inches in thickness at the
piers, which carry the roof principal t, the recesses being formed with
arches shore, snd inverted arches below. Tho front to High-street,
comprising that of the tavern, with the entrance to tho theatre, is of
stone, save the ground ttory, which ia in oast iron. Piers or pilasters
with ornament carved thereon at the upper part of the shaft, a plain
•ndows with moulded and splayed reveals are the chief
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76 4
THE MUSICAL WORLD.
LECTURE ON CHURCH MUSIC.
Os Tuesday evening (ho Rev. T. Helmore, M.A., of Her Ma-
jesty's Chapel Royal, Manchester, delivered a lecture in the
large room of the Free-trade Hall, on " Church Music." The
Right Hon. the Earl of Wilton occupied the chair, and the large
hall was crowded with a respectable audience. Amongst those
present were Lord Grey da Wilton, the Countess of Wilton,
Lady Grey, Lady Elizabeth de Rocs, the Dean of Manchester,
<Ssc, &c.
The Earl of Wiltom, in opening the proceedings, said : —
Ladies and gentlemen, I have been requested to take the chair
upon this occasion, for the purpose of introducing to your notice
Mr. Helniore, who has undertaken to give a lecture upon church
music in thia hall. And it is with feelings of no common plea-
sure and satisfaction that I have undertaken to preaide upon
this occasion, having myself taken a deep interest in this im-
portant subject. — (Hear, hear.) And having again and again
devoted no inconsiderable share of thought and attention to it,
lam perfectly satisfied that the introduction of music into the
services of our church — I mean music of n good, sound, and
proper character — has been a means of improving and of dif-
fusing a spirit of piety and devotion throughout this kingdom
and people. — (Hear, hear.) And remember, ladies and gentle-
men, in countenancing this meeting with your support, and in
cultivating and nourishing a taste for music, you are performing
a great national good.— (Hear.) You are adding a most im-
portant element to the advancement of social improvement by
encouragiug that to which these feelings and these impulses
must invariably tend — I mean a sense of the value of
order, an attachment to the constituted ordinances and
authorities of the state, and above all a love of those great
and varied institutions of this country, which has brought it
to that state of social and moral eminence, which has made it
regardcil alike with feelings of admiration, and perhaps of envy,
by almost every state in Europe. Hut, ladies and gentlemen,
while we are Rpeaking upon this subject, and the object for
which we are more immediately brought together on this occa-
sion, we must not forget that this is but a branch of the parent
tree ; it is but a branch of that parent institution which I am
anxious to take this opportunity of recommending to your special
notice and sympathy and support — I mean the Manchester
Church Institute. (Applause.) This institution possesses news
and reading rooms, which are supplied with the leading Church
publications, London and other weekly and daily papers, maga-
zines, and reviews. The institution contains also a library for
reference and lending purposes, a class for vocal music, and also
ses for acquiring French and German. Now these are the
important objects. It would indeed be a great subject for
regret if an institution with such aims and objects did not meet
with the Bupport of the friends of the Chnrch generally in Man-
chester, more es]>eeially of the younger portion of the commu-
nity. Another most important object of this institute, which I
particularly to draw attention to is, the promotion of
unity in the Church. Unity, in my opinion, is the very soul
of Christianity, and there is nothing that has ever appeared to
roe so subversive of that unity in the Church as the employment
and the assumption of party watchwords and party titles, and
above all, the habit of imputing unbound views toothers. Would
to God that anything I could say could tend to draw together that
disseverance which has taken place, or to heal those wounds which
havobeen inflicted upon our Church dnringthe last few years. But
I have often thought that a very few grains of common sense, and
a very few drops of charity and indulgence to others, would
contribute more perhaps than anything else to heal those wounds
and to soften the asperity that so constantly enters into the
discussion of religious subjects. — (Hear and applause.) Why
should there be any party in the Church of England ? For my-
self I belong to none. — (Applause.) The only party we should
acknowledge in the Church is the reformed Protestant Church,
and more especially " that pure and apostolic branch of it which
has been established in these realms." — (Loud applause.) For
myself I confess that I love to hear our beautiful liturgy, the
compilation of the wisdom and piety and virtue of the ablest and
the most virtuous men that ever existed-I say I lovo to hear
that liturgy read with reverence and decorum, I love to hear
the services of the Church performed with decency and in order,
and above all I love to hear the pealing organ calling upon thr
united congregation to join with one harmonious heart and voice
to the praise and glory of God.— (Applause.) Having stated
the objects of the Church Institute, I would ask you what object*
could be greater and more ennobling than these 1 and, depend
upon it. by cultivating church music and those feelings and
impressions to which it is calculated to give rise, by affording to
the young and the ardent the means of religious and literary
instruction and, alwve all, by promoting unity iu the Church
itself, we are establishing one of the greatest means to improve
the social advancement of the country, and to augment the
contentment, the happiness, the prosperity, and the splendonr
of tho empire. — (Loud applause.)
Inour notice of the admirable illustrat'ouofChurch music giv-n
by the Madrigal Society on the 22nd of April, 1858, we remarked
upon the fact that the whole of the illustrations to Mr. Helmore '«
lecture, given in the Free-trade i i J i on the previous January,
were of a medieval character. The same was again the case en
Tuesday evening; with the exception of a small authem, 35 ban
loug, by the present professor of music at Oxford, aud the con-
cluding portion of an anthem by Croft, none of the music was
much less than 300 years old. When Mr. Helmore thus limits
his subject, the title of his lecture would be more appropriate
if it was less comprehensive, for it were to place the music oi
the English church in a truly contemptible ]iosition to insinuate
that such Illustrations gave anything approaehing to a fair expo-
sition of the ecclesiastical music of England. The magnificent
anthems of Purcell, the father of English Church music, are
entirely ignored, and Mr. Helmore has not yet given a single
specimen of the fine works of such worthy successors of that
mighty genius as Clarke, Blow, Greene, Handel, Haves, Boyc*,
Nam) Cooke, Battishill, Wesley, Attwood, Crotch, WaJmialej,
El vey, ftc, &c. And, the principal of foreign adaptation bt-ias;
conceded in the case of Falestrina, why is the privilege confined
to that one composer, when the annals of music contain such
names as Bach, Graun, Haydn, Beethoven, Hummell, Righini,
Cherubini, and Mendelssohn 1 The man who can be contented
with the materials which are to be found in the works of Fales-
trina and his predecessors, and who would obstiuatoly reject the
splendid acquisitions which succeeding generations have accumu-
latcd.must have a strange notion of the history of the art, and m tu-
be devoid of all sympathy with that feature in musical compo-
sition on which Mozart placed the highest value and impor-
tance—expreuion, which is seldom obtained by the dull and
monotonous rhythm, the timid and unvaried harmonies, or the
meaningloas canons, imitations, and other elaborate nonsect*
of the founders of our Church music. After giving a rtrum'
of his first lecture, Mr. Helmore commenced by commenting en
the striking difference between the old Chnrch music and thr
music of the opera, the theatre, or the military band, forget-
ting, however, to inform his audience that the secular music
of the period, which be considers the golden age of Chnrrl
music, was in all respects precisely similar to the sacred, at
any one may sec by examining the madrigals, ftc, of tin
period. The first illustration was the Venite,miug to the eight L
Gregorian tone, the verses suug in unison alternately by
and lads, comprising the choirs of All Saints, St. Andrew'"
St. Matthew's, St. George's, the Holy Trinity, Manchester.
St. Stephen'*, Sal ford ; St. Thomas's, Pendleton ; All Sststt,
Newton Heath; St. James's, Birch; and St. James's, Dsb-
bury ; assisted by four of the children of the (.'bnpel Royal .
the harmonies arranged by Mr. Charles Childe Spencer, beuf
given on the organ by Mr. Stevens, organist of Holy TJrtsity
Church, Hulme, whom we must highly compliment for the
smooth and judicious manner in which he played daring th<
evening. Mr. Helmore resumed his lecture with quotations from
the Fathers on the subject of music, incidentally mentioning that
iu the fourth century the choirs were divided into two t»stpi»
one of men and one of women, so that youths and virgins, old
men and young, were all unitedly engaged in celebrating the
praise of God in His Church. After alluding to the chants of St .
Ambrose, he came to Pope Gregory,!
Digitized by Google
November 27, 1858.] THE MUSICAL WORLD.
ho called himself " ttrtut tervorum Dei;" to whose missionary
zeal Great Britain is indebted for the introduction of Christianity.
It was he who ordered the first antiphonariuin, and ho was the
author of tho suffrage*, " Give peace in our time,' the " Kyrie
eleison,"and the Hallelujah, translated in our liturgy, " Praise
ye tho Lurd." The secuud illustration consisted of the Magni-
ficat chanted, with the festal intouationa, to the 7th tone, 4th
ending. Mr. Helmore then noticed the gradual introduction of
harmony, which was at first, merely a succession of concords now
thought extremely offensive to the ear. The earliest efforts of
contrapuntal skill were all based upon the old melodies. Byrde's
anthem, " Bow thine ear," which is founded on an Ambrosian
chant, might be cited as an instance. Palestrina was stated to
have carried the art to the greatest possible perfection — that he
had never been surpassed — and that in spite of all subsequent
advances, he still remained the bestexponent of ideal perfection.
He composed a whole mass on the plain song of the hymn
" Eterna Chritti Munera," which formed the next illustration.
The specimens of hymnology were from Mr. Helmore's "Hym-
nal Noted ; or Translations of the Ancient Hymns of the
Church, set to their proper melodies." This work on its
being presented to the Bishop of Exeter by the Churchwardens
of St. O hive's, Exeter, as inculcating Romish doctrine, and as
being an object of offence, was declared by his lordship to con-
tain phrases likely to excite scandal, and though the harmonies
are in the prospectus stated to be "composed on the model of
the great harmonists of the best periods of Church music," there
are many points to which a sound musician would object. The
very first cadence of the hymn, " The eternal gifts of Christ the
King." or as it was called in the earlier advertisements " Eterna
Chnsti Munera," presents neither the Bachitk boldness of the
leading note descending to the dominant, or the English stricter
course of ascending to the tonic, and there remaining, but is an
awkward jumble of the two. The latter half of the music to
the bytnn, " Ad ccenam Agni providi," consists of a series of
" chopping and changing" in tho parts with the view of avoiding
progressions grammatically incorrect, a result which is achieved
at such a sacrifice of all that is natuial and harmonious as
scarcely to leave anything deserving the name of music. Tho
first verse of the former hymn waa Buug in full harmony, the
second by men iu unison, the third by trebles in unison, und the
last verse full again. Any one acquainted with the history of
music must know that this is a scries of modern effects, and by
no means a genuine exhibition of the early hymns. Wo do not
think Mr. Helmore has any right to abuse modern music and
modern resources and yet filch from them when it suits his pur-
pose to do so. With regard to the adaptation of tho words
to the music, it struck us that the multiplication of notes
to the one syllable had a very clumsy effect. In short,
they were far inferior to our standard psalm tunes — the
Old Hundredth, St. Anne's, &o. Mr. Helmore then entered
upon an eulogiutu of Gregorian music, apologising for its appa-
rent failure in the Free-trade Hall, and remarking that it ought
not to bo judged of by its accidonts of time and place, but as the
expression of the hearty worship of the sincere Christian, or as
a means of edification. We confess that we could not see in
what manner tho selections from his favourite composer, the
Sanctus and the Anthem, " O Saviour of the world," satisfied
the latter requirement, as in the way of edification wo imagine
little can be obtained unless the words are distinguishable, which
they certainly are not in such compositions as necessitate the
singing of different words by each part simultaneously. In fact
it was only once or twice in any of the anthems .-elected that
with the closest attention and the programme in hand could a
•ingle syllable bo detected. Anthems of this class have no
accompaniment proper— if one is given it is a mere replication
of the vocal parts ; the organ was silent in two by Palea-
trina, but a most clumsy effect was produced by the use of tho
piano, which it seemed was necessary to enable the singers to
take up their points ; this said little for the ability of the ten
choirs. Mr. Helmore, on resuming his lecture, remarked that
the professional musicians of England were generally against
the church modes, but that as God had rai-.-l up Pugin to
restore Christian architecture, so he would give the church
another Palest rina to compose Christian music. He then enu-
merated several authorities who had spoken highly of these modes
and who had advocated them being made a subjeet of study by tho
musical student. He instituted a comparison between them and
modern melodies, and protested against the advocacy of them
being considered to havo any connection with the controversy
between the Church of Uomo and the Church of England. After
an eulogiutu of Pugin who he said was a great admirer of the Plain
Song, and reading a very absurd account of his visit to Cologua
Cathedral, tho lecturer again asserted his belief that the works
of Croco, Vittoria, and Palest rina, were superior to the Masses of
Beethoven, the Seven Last Words of Haydn, and the Requiem of
Mozart. Mr. Helmore proceeded at considerable length, bat the
expression of impatience on the part of the audience which at
this period became constant, prevented ns from being able to
gather even the meaning of the lecturer. If Mr. Helmore visits
the Free Trado Hall again we should recommend him to imitate
the method adopted by the Madrigal Society, and have the
lecture printed with the book of words to be read nt leisure, so
that it would be only necessary to give the illustrations. The
Holy Communion Service was then buiic to the plain song of
Meroecke, with organ accompaniment ; tho only effect produced
appearing to bo that of extreme weariness. Four specimens of
anthem music followed.
The anthem, "I will exalt thee," by Dr. Tye, of which the
choir sang the first part, is the first anthem set to English words
after tho Reformation. It was the result of the failure of a
notable work which the Doctor, learned in all the science of the
age, had composed in imitation of those who had previously set
the Genealogy of Christ to music, and turned the ■ Psalmcs and
Booko of Kyugca " into " ryme."
" The versa plesjaunt to make."
However " plcasaunt " the verse of Tye, the Doctor, according
to Anthony a Wood, was "a peevish and humorsome man,
especially in his latter days -, and sometimes playing on tho
organ in tho chapel of Queen Elizabeth, what contained much
music, but little delight to tho ear, she would send the verger
to tell him that he played out of tune ; whereupon he sent
word that her Majesty's ears wero out of tune." The Rev.
William Mason on this story observed that it tells us " preciaely
what the merit and demerit of Dr. Tye's music and that of his
contemporaries was ; they had all the learning of their time,
without knowing how to make it useful. Tho primary use of
music is to please tho ear, and of vocal to convey the words it is
joined to in a pleasing aud intelligent strain ; the second, but
much more essential use, is to convey sentiment aud affect the
passions." And Mr. Avison remarks, " that there arc, properly
speaking, but three circumstances on which the worth of any
musical composition can depend. These are melody, harmony,
aud expression. When these three are united in their full excel-
lence, the composition is then perfect ; if any of these are want-
ing or imperfect, the composition is proportionally defective."
The anthem, by Tallis, "If ye love me," was very unsteadily
given ; the choirs were not only not up to the mark, but Mr.
Helmore's bdton did not mend matters, for ho evidently knows
little how to use it. The anthem by Redford, though a nice
specimen of the stylo, made us recal, by way of contrast, the
fine composition by Purcell, to the same words, " Rejoice in the
Lord alway," which was giveu so well at the concert of the
Madrigal Society. The short anthem by the Rev. Sir F. A. G.
Ouseley, demands no remark. Three quaint carols appeared to
afford as much relief to the audience as they did on the former
occasion; they were the only illustrations which enlisted any
sympathy during the evening, but how far they arc to be consi-
dered Church music we do not pretend to say. The chorus part
of an anthem, by Croft, concluded the programme. The music
was much better sung than at Mr. Helmore's former lecture,
ample time having been afforded for rehearsals, which were
commenced with the intention of being ready for last Easter, tho
time originally fixed for the lecture. But was it really requisite
to briug down four of the children of the Chapel Royal to enablo
the boys to sing a few chants and choruses 1 The trebles in
point of quality were the best portion of tho choir, the other
parts wero somewhat coarse and unmusical.
Digitized by Google
766
THE MUSICAL WORLD.
[November 27, 1858.
After the conclusion of the lecture the lie v. Mr. Lamb,
who had generously assisted him, and the uuitcd^choir*
who had ao largely contributed to the efficiency of his illustra-
tion* on that occasion. — (Applause.)
Lord Grey : Ladies and gentlemen, I have great pleasure in
iing the motion which has just been proposed by Mr.
i ; for I am quite sure our best thanks are due to Mr. Hel-
more. I think also that our thanks are equally due to the gentle-
men who have so kindly assisted him. I therefore trust our
motion will be carried unanimously and by acclamation. Tho
motion was then pat and carried, after which Mr. He! more
briefly acknowledged the compliment.
The Re*. Canon Marsden moved a vote of thanks to Lord
■\VUton for his kindness in presiding on that occasion, and for
his readiness at all times to promote objects of public usefulness
in connection with Manchester and the neighbourhood. The
Very Her. the Dean of Manchester seconded tho resolution,
which was carried with acclamation.
The Earl of Wilton acknowledged the compliment, and said
it would always be a source of consolation to him to be able to
reflect upon this and any other occasion on which he might have
conduced anything to V -
rnent of tho town of
Courier, Oct. 23,
J vwWWB.VH *
anything to the welfare, happiness, comfort, or am use -
r.— (Applause.)— Manehetttr
AN ANCIENT CONCERT.
BY A V&KKRABLE DIRECTOR.
"Qlv© me oitl mn*:c — let dm bear
Tho soug* of Jays gjjw by * — H. F. Cwoblet.
0 ! come all to who lore to hear
An ancient aong in ancient tsite,
To whom all bygone Music's dear
An verdant spots on memory waste!
It! name, "The Ancient Concert" wrongs,
And ha* not hit the proper clef,
To wit, Old Folks, to aing Old Songs,
To Old Subscribers rather deaf.
Away, then, Hawes ! with all your band !
Ye beardless boya, this room desert !
One youthful voice, or youthful hand, >
Our concert-pitch would diaconoert !
No bird must j oin our " vocal throng,"
Tho present age beheld at font :
Away, then, all yo " Sons of Song,"
Your Fathers arc tho men wo want !
Away, Mias Birch, you're in your prime !
Miaa Itomer, seeli aome other door!
Go, Mrs. Shaw! till, counting time,
You count you're nearly fllty-four.
Go, Mias Not alio, asdly young!
Go, thou composing chevalier.
And roam the country towns among,
No newcome will be welcome here !
Our Concert aims to giro at might
The music that has had its day !
8o, Kooke, for ua you cannot write
_ Till time has made you It a Ten gray.
Your score may charm a modem ear,
Nay, ours, when three or four aeore old ;
But in thia Ancient atmosphere
Fresh airs like youra would give us cold!
Go Hawse, nnd Caw»c, and Woodvat, go!
Hence, .Sheriff, with your native' curls ;
And Master Coward ought to know
Thia is no plnco for boys and girl*.
No Mussona hero we with to see -
Nor i» it Mr.«. Seguin's sphere,
And Mrs. ■ ! oh, Mrs. II J
T>i Such bishops are not reverend here.
What ! Orisi, bright and beaming thus
To sing the songs gone gray with age !
No, Orisi, no— but come to us
And welcome, when you lears the stage.
Off, iTanhoff!— till weak and harsh—
"i hence ! with all tho clan;
But come, I,ablachc, year* hence, Lablache,
A little shrivell'd thin old man!
Go, Mr. Phillipa, where you please ;
Awst, Tom Cooke, and all your batch,
You'd run us out of breath with glees
And catches that we could not catch.
Awav, ye leaders all, who lead
W ith violine— quite modern things ;
To guide our ancient band we need
Old fiddles out of leading strings.
And into" "childish treble break,"
And bring, Miaa Winter, bring the pip*
That cannot sing without a shake ;
Nay, come, ye spinsters all, that spin
A slender thread of ancient voice—
Old note* that almost stem call'd iu ;
At such aa you we tkaU rejoice.
No Thund'ring Thai bergs here shall baulk
Or ride your pet D-cadence o'er j
But fingers with a little chalk
Shall moderate — and keep the score !
No Broadwoodt hero, ao full of tone-
But llarpsichords ssaiat the strain ;
No Lincoln's pipes— we have our owu
Bird-Organ, built by Tubal- Cain.
And welcome ! St. Cerilians now —
Ye willy-nilly, ex good Callows,
Who will strike up, no matter how,
With organa that survive their bellows !
And brief, 0 bring, your ancient style*
In which our ciders lov'd to roam,
Those nourishes that strayed for miles.
Till some good fiddle led them home !
O come, ye ancient London cries.
When Christmss Carols erst were sung !
Come, Nurse, who dron'd the lullabies,
^ u When music, heareuly maid, was young ! "
No mutter how the critics treat,
What modern sins and faults i
The copy-book shall still repeat,
These Concerts muit «
respect!"
Rood?* Owm, 1&S9.
NuTTiXGnAV — (from a Corrttpondeni).— Tho following pro-
gramme was performed at the third Concert of Chamber Muuc
on Friday, the 10th instant:—
1'iRT L— Quartet, Op. 21 in E minor, for two violins tenor ssi
violoncello, Messrs. Henry Farmer, Myers, Fracgcr, and T L. Selbv-
Onslow. Sonats, Op. 21, iu I) minor, for vU>:in and pianoforte. Measi
Henry Farmer and Shelmardiuo— (Jade.
"•-Quintet, Op. 4, in E flat, for two riolins, two tenors, sad
tic. onoello, Messrs. Henry Fanner, Myers. Fracgcr, AUsop and T. L
Selby— Beethoven. Trio, Op. CO, in C minor, for pianoforte. t»w,
and violoncello, Messra. White, Henry Farmer, and X. U SeHrr-
Mendelasohn. 1
The Onslow quartet, with ita refreshing flow of melody asi
the Beethoven quintet, one of the most captivating works of tie
great man's first period, were played with great precision aw
nicety, and elicited loud plaudits. Gade's sonata, one of tho*
jKtttio effusions of that charming and highly-gifted cowpoaer, wu
beautifully interpreted. Tho evening closed with M^trioV
that miracle of symphonious part-writing, with its
impetuous first movement, iu love, and comfort- breaking
andante, the witching faery of the scherzo, and the plaintivelr
passionate finale, with the glorious and triumphant chorale'.
There is an increasing interest manifested in these concert*,
which augurs well for the future.
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THE MUSICAL WORLD.
767
JOHN FIELD.
(From the Echo.)
John Fir.ij) is one of those f<-w Englishmen whose nnme is
inscribed in ineffaceable characters in the archives of art.
He was born in 1782, in Dublin, anrl was a pupil of Clementi's.
He soon took his place among the most distinguished pianists of
his time; and, even up to the present day, has never been sur-
{tassed for touch and melodious tone, ne gained his first laurels
as a virtuoso in Paris aud tit. Petersburg. In 1 elite, he migrated
to Moscow, where his concerts and lessons became very popular.
From 1KJ2, ho travelled through England, France, and Italy.
Ho was detained in Naples by sickness, until ho returned, in
1835, with a Russian family, to Russia, and died at Moscow,
in 1837. A groat number of concertos and solo pieces for the
pianoforte have given an imperishable importance to his name.
But tho compositions which have enjoyed the wiliest circulation,
are his celebrated notturnos, which liave been frequently imi-
tated, but never equalled for unsurpassable and simple depth of
feeling. F. Liszt characterises them as follows, in the preface
to J. Schubert's admirable edition :
" Field's nocturnes are yet new by the side of much that has
grown old ; six-and-tbirty years have elapsed since their first
appearance, aud a balmy freshness, a fragrant odour, is still
wafted to us from them. Where else should we now find such
perfect and inimitable naivtli ? Since Field, no one has been
able to express himself in that language of the heart, which
moves us as a tender, moist glance docs ; which cradles to repose,
like the soft, equal rocking of a boat, or the swinging of a ham-
mock, which is so gentle and easy, that we fancy we near around
us the low murmuring of dying Kisses.
" No one has ever attained these indefinite harmonies of
the /Eolian harp, these half sighs, floating away into air, and,
gently complaining, melted in sweet pain. No ono has ever
attempted this, especially no one of those who heard Field him-
self play, or rather dream out his songs, at moments when,
abandoning himself entirely to his inspiration, be departed from
tho first plan of tho piece, as it existed in bis imagination, and
invented, in uninterrupted succession, fresh groups, which, like
wreaths of flowers, be twined around his melodies, while he kept
continually decorating the latter with this rain of nosegays, and
yet so decked them out, that their languishing trcmulousness
ami charming serpentinings were not concealed, but simply
covered with a transparent veil. With what inexhaustible pro-
fusion did he vary the thought when it occurred 1 With what
unusual felicity did he surround, without disturbing it, with a
net of arabesques t"
[To If continued.)
ADVERTISEMENTS.
TJOARSENESS, SORE THROAT, LOSS OF VOICE,
1 J- IRRITATION' of the BRONCHIAL TUBES, carol, ami a perfectly Clcnr
Voicfi piodueei bv tn* iim „f W.IW.naou'a. lalo vYbklu-oti. BiI.Ikc. aud Co.e
BRONCHIO-THORACIC LOZENGES, prepared fr. m a receipt of coo of Lhc
moat eminent Phy a!cI*ua of the day.
They arc especially laoful in V c.ilUt*, M<i»l^r» i f Parliament. Clrrjymeti,
Bamater*, PuMic ftrrtvikcra, Ac, and a» a ?ruer»l Coutrh Istzotice uncpiall'd.
Prc|»rc»t ouly and *>H in t»<n« at In. and O.J. ; al»> in tin*. M l< (hi., 10«. ft. I ,
and 2lK coon. • y Tim„». Wilktnaou, Ut« Bridge and Co.. -
celebrated SaimiumU.*, a!to (linger and Canwrailo I
London, W.
. , 11V 1-1
u , i. -:<.
\l R. HOWARD, Surgeon- Dentist, .r>2, Fleet-street, has
!»A introduced an culiiely i cvr dr*rri|i'.Ioti ut ARTIFICIAL TEETH, fixol
without *p. witv*. or llgabire*. Tiioy »-. lawtVctly resemble tho natural
teeth :ix lint tol-cdi-i i ginaliodfrwii tiieorLthiaU ty the cii* «t otwervar. They will
liertr el Jtu"3 c. '.inr OTde ay. an I vyill lie fouinl euptrior to any Ucth ever Uluro
uaoil. This method docs not ri'inlre tho extinction ofro.t*. or any painful oiieru-
U>«, mil n«p|«>rt and |m«ne tenth that an- lut«o. sad la guaranteed to rc*tire
articulation and ma*t!culi"U. Dvcuyud tttta stopper! and
>n ni.wtktaU.il. 11, Hsct StWSli
rendered »juiid and
At home Imai lo till 5.
GLENFIELD PATENT STARCH,
USED IN THE ROYAL LAUNDRY,
A.n. m.-soejr. r.n nr HER MAJESTY'S LAUNDRESS, t> b«
TUlv FINEST STARCH SHE EVER USED,
S-.M by oil Chandler*, CJroocra, *c, lie.
RAPID CURE OF COUGH AND DIFFICULTY
OP BREATHING by DR LOCOCK'S PULMONIC WAFERS.
Hale, near Liverpool. — "Sir,— I writ* Ui luf*. rm yon of the groat benefit I haw
roeolvod fiom taking Loeock a Wafer*, which yon recommended 10 tot. I was so
much oppnaMol at my cheat that when I lay rtowu a cungiiingfit came on with
such violence that I have i ften thought I al.oaU not livo to M« the niondug ; but
now I can »le«p a whole night wltli.mt coughing, after having taken only two
boxo* of w*!eTa.-4. Ilara** WlUieaa. P. Robert*. 4. Ra»iela»;n-4tn>et."
DR LOCOCK'S PULMONIC WAFERS |fi*e instant reUcf and a rapid cure of
a»thma, oouiamption, oougiia. aud xj. diiH>r>Ier» o( th« btoaih and lunga.
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atrengthrniuff the TOice. Thoy liar* a aunt pteaeaut ttwU. Pn« la. 1 to. M ,
and II*. per ikh. Soli by all cbrmiata.
Cautios.— Eiory bux of the orxcias roedh-lne >aa the worda " DR. LOCOCK'S
WAFERS" in mk.lt MUr, on a vl orea.itf in the Oovmunent Suunp, and without
which word* a tx art oot »7r»raiT» *«■> a* mro«Tto«.
ONE OF THE FINEST OBGAHS IN THE WORLD
TO BE SOLD,
tl'ITAHLE roR a
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL
Apply to the Publiaher* of the " Muaical World."
THE IMPROVED HARMONIUM. — Mr. W. E.
EVANS, inventor of the Ei.;rll*b H*rBMalum(*x.ulUt«d In Londoo in IMX
call* attention to the improTemcnta he hoa lately made in tbia inatrutr.ouL The
anbjoine.l loatittionial from Mr. Alfred Mellou ia one of the many he haa rocclrod
from
Tss Vu i Kiso'a Roao. Ciiium,
March ISth, lSSe.
Dk»» Sir.— I have much plcoaure in irlvins you my opinion
onium ; it ia tho beat inatrumeut of the kind I h*v« ever hoard.
To Mr. W. K. Evan*.
61, Norfo!k-»tmt, 8h:fHclJ.
MUSIC STRINGS.
WHOLESALE WABEH0U8E — THE CHEAPEST HOUSE IK LONDON.
14, EAST PLACE, KENNINGTON ROAD.
MONSIEUR ALPHONSE VILL1N (de Paris) Importer
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and aamplr* f ir«arili»l (froel on applieathn.
The celebrated ACRIDELES. now iiiiiveraally adopted by all Vlilini.ta, cannot
be hod GENUINE but at the above addreiaof Monsieur A. \ illin, aolc and exclusive
Wbolriudo At;<nt for the United Kingdom.
ROMAN AND NAPLES STRINGS (not to be turpaated) are told by Monsieur
Vlllin fully 15 per cent cheaper than any other hi.uae in the trade in EnjrUnd.
PIANOFORTES— DEWRANCFS COMPENSATING
PIANO mav nnw 1« teen at the dcpAt, Si. 8oho-»o,uiro By the iu>pllcaUon
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' from a cottage instrument, at the aune tune tho
and l in tract with change
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in the •"Tilnary linlruuutit. la enUruly obvutod For ruin*** and roumlneaa of
tone, with extraordinary powera of medubitioo. three luatrumcnt< ate quite un-
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O Bo k of MualcalArt br 'he Hon. and Rev. T. C. Skeffii^ton, M.A. Loudon :
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Orttitoaa or rn« Prm* — " In the jagtJ beroru u^ ae tliink Mr.
hoa very
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J'bm» — " III the page* beroru u^ a
mOMMfully and ably aucceeded in performing the Link be act down for
.and nnitea, in the manner In which he trta'e hi* aiihioet, tha knowledge
or a aound and aocotnpilelied miuOciiii witli tho elegance and reading or the
echo or A Bcarcliingapirit ia br night to bear in a critical enumeration or the
omcea, uon, and effort or the divine art Our iftub r* will, >g ore lure, be much
pleated with thi* ma-terly iittle W"rk.''— flrut^t 7i'*v«.
'• There ia oomctbing good in ovtry chapter, and n tone of purity about
tho whole, which mu*t euiUt the aympaUiy of every right-minded perion."-
Af«A«o( ir.rid.
Da
M
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>ccembcr 6. will be pul lLbod, No. L, prion la . to
10 Number*, monthly, price le t ieh.
OORE'S IRISn MELODIES, with SympbonieB and
AcvmnpauloK Urn lor th« Pianoforte. People a Kd.Uon. in amoll tto
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A COMPLETE SET OF BOoSEY'S ORCHESTRAL
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may be had, bound In cl dh volumej, prico Four (1 imoaa.
- aud Ho»». S4, *ad as. UeUo*-»trcct.
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768
THE MUSICAL WORLD.
[November 27,
MESSRS. DUNCAN DAVISON & CO.'S
PUBLICATIONS.
PIANOFORTE.
ACHIANA : SELECT PIECES FROM THE
T5
^rtP^^^S'kl'»^iyir!ii."SF'nA*STIAN DAC1J' lQc!udcd h
lll€
*, d.
* (i
2 -
2 0
No. 1. Fug* Hch'Twwdo In A minor
3. Prelude and Fuguo on the name Rich, (in B flat)
3. FmiMia coo Fughctti (in D major) .. .
London : Duncan Davison A Co . "li, licueut ttfMsV
"The doner lies trmpM comprise* all tho pro ndea and fugue* of the eMer
Bach (hi* orgjk- .Aiposit iuu* cxe. pt© ll, with which the majority of amateurs
and |rrofes*or in this country are familiar, nut it in notorious ttiat ho O"ni|io*ed
a rant out- iw mqri-, between the perii>i of hi* residence at Weimar and hie
apj. I .i sjcot as CifiUir at Lelisnc. Some of these, too. are at ingenious and beau-
♦_<l aa any of tho famous ■ Forty-eight. ' of tlieso, Messrs Duncan D-ivlaun and
C'. arc publisi.lng a selection, which, to Jodgo by the two uuniters before u».
promise* to be hiirbly attractive. The ' ! uja Schenundo' (In A initnr) !• one ol
the most characteriatic and charming of the muter'* loieev w.rka.
"'Tho Fugue In B B«t. on the ictters com|«alng bis name— B A C H— which
repreaent four musical notes (' II, ' in German. standing for iw own B naturdl.
dtboiurh It cannot precisely be traced to Bach, la nevertheless well worth pre-
. and la bith valuable and interesting aa a tot of compsrison between
viewed in conjunction with tho very inferior
Bich. the patristeh's
wlio
nod and bad counterpoint, wh.il
fugue on the same theme onrni«'aed by John
youngest and least -occoiu pi lahed aon. At the
example* of cvmmou-ttlaee "sjcmiencc"
tofiisc to admit I hat it la genuine Bach
" Now that Hi»* Arabella Ooddarl in nmkln; fugue* popular by playing them
bcfro laige audience*, tho publisher* of 1 U.icUaiia ' (who. we ]rre*unie, are re-
aponiible for the in rent Ion of that drrlrative; have not. done unwisely In com-
mencing their Son*! with «pctlni*u. already introduced In public by tint young
Udy. whoso dauntless faith in clasaic modela ia eno of Ui« secret* ef her success,"
BELLA FIGLIA, (Rigoletto). by JULES BRISSAC,
2a Od. "Ainonglhe many pi motoric arrangement* of Signer Verdi'svcry popu-
lar qnarut. we have not aecn one rn-~s unpretending, and at the nmo time more
complete, than tlil«. The conipnwr's Ideas are reepoctod, while the display and
the convenience of ti c pianist are consults*! ; and the result is a piece of tuotlsrate
difficulty, attractive in more souses than one.'— .Wujicoi IFoWd. London: Pub-
lished oe^lijr Imnan Davison, 241.^ I^cnt street, whero^'Marie, ou lajmere
A SUMMER'S DAY: Romance for the Pianoforte. Br
Trie* 3s " Among tho graceful bagatelle* or M.
I\. : XP. MONIOT
Moni.it, there Is not
active; it pose'
being melodious and expressive"— ilmintt II orU.
the twoMu advantage of
ndon : Duncan Davlsnn s
new foreign mimic w*ruh<iu»o, 511. Regeutxtmt, wl.cre "A Summer's Kve,"
Humauce, by Eugene Mouiot, may also be obtained, it. Od.
M
XIX MKkM Mon-hc aux F:aml>-«ux). .„ — „. .
of the Princess Royal or Biutlaud with Prince Frederick William or Prussia. 6s.
an Davison. 244, ~
EYERBEER'S ROYAL WEDDING MARCH —
Comjwscd in honour of the Marriage
BIUNLEY RICHARDS' New Romance for the Piano
forte, "ETHEL," price -_. " Ethel Nmonw was atiout to give up her
Independence, her inclination perhsps. and to bestow her life on joudcr young
nobleman Looking at her as a girl devoting herself Ij iier family, her nacriticc
gave hern melancholy interest in oar eye* sly wife and 1 watctiol her, crave
and beautiful, moving lhroui(h tho rooms, roccivlin.' mil returning a hundred
greetings, bending to compliments, ta king with this Iricnd and that, with my
lord s lordly relations, with himself, to whom abe listened defervntlally : faintly
smllcug »s be spoke now and agnhu. doin« the hoiiuurs of her u other's house
Tin AVrcomM, Tof. 2, Chip. 10. Umdon : Duncan Davison and Co., 2*4, Itogcut
s'rsct.
"S
and Co
OUVENIK
for the Ptanof
241. Hcgeut'
des Champs Rlysvses), by t
"Mr. McKoAotl must b
DE GLUCK." (Armidc). — Armngcd
rte By CHAKLES MeKOKKELL. Duncan Dav.son
obtained " Ln Joveaso" (oouvcior
t. wh«re may be
McKork* 11, price lis.
praised for his Ustc In seeking materials Cur an easy
trscli'iiif-nhice :it on«. or the f.-uutiiin iiead^ ..f in. _v — t),e r>r«tos <>'. Ui |. 1.
"Arro de' la full of flowing exquisite tune, from which the skilful adapter has
selected some of the uioet lajilivsllnir paasages, employing them forhis own pot
i without in any way .lam iging their intrinsic beauty. Some more "Some-
ulie" of Gl.iek w. uld be welcome. Such healthy music cannot be too widely
aisseminated, in rvery poMlMe sba|w — provi.led alwaisfne oiiginsl f.n Is siiou
sympathetic and cwigeniol treatment as in the prcient insUllex•.••— M--iit«l Warld.
VOCAL.
THOU ART SO NEAR AND YET SO FAR {1>>
bist tnlr nab' und doci so fern): Lied. Sung by Ilcrr Belcbardt at «r
llownrd Glover's Concert, at Drury Lane Thentrs. and at the Cryetal Pslsr* Cea
certs and oulhusiaellcsuly cueored. 1» published, price 3*., by D Ihtvtsoo n4 Ce
Sli. Bsveut-street IMpit Oenetral de la Maisoii Brandos de Fans.
fM NOT IN LOVE, REMEMBER. — Balfe's New 8ou?
i snns by Madlle. Viotoiro Bilfe and Mi** Louisa Vinnn»g. ia published, fer.
Ss. Cd . t.y ftstiican Davison and Co.. S-M. Begeot-street. where Reieb*rdt*> j«cr— •
Lied. "Thoii art so near aud yot ro far." Sa.. and Balfe's "Oh, take u la '.-j
heart agnin." is . mav be obtained.
MERRILY, MERRILY SHINES THE MOKN
_ (The HkyUrk's SongX by Aice Foster. Sung by Madame Bndersd.rff
anil ioTariably encored. i» published, price Is., by Duncan Davison, in. Bswant-
srreev
NEW SONG. — THE MERRY LARK WAS UP AND
BiNGlXG . a Lonwnt Words by tU Ikv. C. 1
C A. John* Trice 2s. London : Duuean Davison and Co., SI
NEW BALLADS.— Sweet Little Jenny, 2* ; My Mm,
5*. (Ihesc are Madame End'-rsohn's l»*t nod most pMnular ballads.) Tt
Old Willow Tic-, t.y Kt. Leger. 2a. : I^jrl, hear us, pmicrby IUlevy, fx »>«».-.
Duncan Davison, »il. Regent-street. ___________
lS'EW VOCAL "mTScT
__
" Yet ere I seek a distent borne," ballad, by Louts Piohl ! I
■•To-morrow, "ballad, by C. J liargltt ! *
"The Troubadour's Lament," br l~ui«a T«rnold 5 '
" quick ari*-. ninldcn mine." AirKtyrien, by J. Dcasauer It
"The thoughts of youth, " by O. A. Ma> f >rren (|oetry by Longlellow) ., t
" Now the shades glow deeper" ( Nun die bciiatleu dunkeUi >. by ^
" Wcod's'aiid Flow, rs." by Dr. jane* Fech » «
" Go »it by the summer sos," by Dr E 0. Monk .. 4 •
"Tho Cuckoo "(" Hail, beauteous strsngrr .f the iitovo"X by MHk ..I*
•• Sunshine "("I love the sunshius'— Mary Howitt), br A Jela.dis .. .. .' »
London : Duncan Davison and Co , 244, Rq^ent -street,
TO CHORAL SOCIETIES— MEYERBEER'S S_R_-
JfADE, "THIS I10U8B TO LOVE 18 IIOLT," sung st the oprtiuic of St
•lames'* Hall, by Mr Benedict's Vorsl Ass/-ciatii.u of SOI) voices, is |«„«bsd u
vocal scons, 4s, and separate vocal parts, fid each, by Duncan Dsvisru s_i Co
(Dfpot General de la Maison Brxudua, de ParlsX 244, Recent-street, Lo-.l'-
rpHE LORD'S PRAYER for four voices (soprano, alto.
X tenor, and bam) and organ, ad lib . with Ennhsh and I*»tin text. By ti
Meyerbeer. Price, in vocal score. Ss ; separate vocal paits «d. each San/ f
Mr. Beiiedlcfs Vocal AseociaUon, Ac , Ac. London : Duncan Davison sol -
244. Keeeiit-street.
" This I* one of the few moreeau_ ol religions niusic. especially cosnpased (or w
Church, that we have seen from the pen of the illustrious author of the fV"4rv
But in the fine setting of tho • _ird's Praysr' wo have pr.x>f that, wert « ".-
devote hl« attention to it, M. McyerUer would excel equally in the oj_peain* a
religious as of secular inuaic. The 'Prayer' Is writ-en for f. ur rrdinary vos—.
without oocnmponimeiit. An oiyan part, bowevsr. has been added, a cm*
anv time the voice* h«v« a tendency to toa-er.' The melody, as ia |«oper r •
compostition of this iwture, is simple ; yet It is so elegantly harmonised tist ^
Interest never fla^s f-T a more-cut, and hcuce the monotony and coldnesv so
complained of in religious pleo-s without accosnnaniine.nt are cntire'y ssoeH
We *lt> not remember any composition iu which the inonulatlon* are more btsi*"-
tban iu this w-tk of M. Mc> orbc- r. Tho tntrtt of the parts, in ImtLttiec saki
occurs towards the middle of the prayer, c tild not have tiecn ctToct>d In s °>:r
mastcrlv manner. lulccl. thmuuhout the setting, the band of a eenesms -"»
- acompo.er rich in all the resource* of bis art-is distinctly vfc»U.
(Vliarof"1
Vccli
FOR THE
ORGAN.— In tr. -dart*:.
pa
,ud fugue dfll.-ated to his friend the Rev Frederic Parry H..!r e» Ml
f Lyme Begl*. DorseU and Fell .w ,.f WUiehe.ter College i. by l>.
Pncea*. L .ndon: Duncan Davison and Co., 244. B«heat-.trcc_ ,
N
Lou
EW MUSICAL TOY— The Scale
No'.n — A m et Ingenious InTention. combining
mg I,
compoiiitiou .ui>t amtuteiaruL Vtic>) , im'tuding
mIou ■ Dunc'm DaTiFon and Co., 211, It- goiit-titi^o;.
LONDON :
DUNCAN DAVISON AND CO.,
(DEPOT GENERAL D E LA MAISON B R A N D U S D E PARIS),
244, ItEGENT-STRKKT.
Published by Jolts' Bounty, of CaaUebar-hill, in the pariah of Ealing, In the County nf Mlddles_t, at the i.ttice ol Boost v A- Sons, 2S, Hollos-street. Sold » -
by Kttn, li, John-street, Great Portland-street; Ailkh. Warwick-lane; Vk-kikk, Uolywell-stroot; Keith, 1'iuiw-r, A- Co , 4S. Cheapside ; D. D*v»»st*i>-
244. Kegeiit-street; Jobs Batruuw. Newgate-street ; IIaMT Msv, 11, Hotborn-btu *. AgeuU for Sootlau I. Pai-kiuoh as Soits, fe.linburgh aud G !**£" "
for Ireland, U. Buaaaix, Dublin ; and all Music-sellers.
Printed by Witusw ar«cta J..nNs..jr, "Nv^„ steam Press," t», St. MartlnVlane. in the Pailsh of St. Martlu-iu-thc-FieMs, In the County ol Mlddle-v-
Salurlay, SovemlKT 2T, 1SS».
Digitized by LiOCK
•The wobth ok Art ai-kabb most iui.mm in Mi sic, siscb it beqcibes bo material, ko 8ubjbct-iu.tt.kb, wiioss bbbbct must
It is wholly
AND
WUAIEVBU IT BXl'B
for Postage, 20s. per annum— Payable in advance, by Cash or Post
to B00SEY ft SOBS, 28, Holies Street, Cavendish Square.
VOL. 36.— No. 49. SATURDAY, DECEMBER 4, 1868.
f PBICK 4d.
I STAMPED Ad.
ST. JAMES'S HALL.— THREE POPULAR CON-
CERTS mil be given tn this inag-ninernt Hall ou lbs eveuir.pi tif Tucedar,
Deo. 7. Wednesday. On. I. and Thursday Dec. p. Vocilist.: M.uUn.e WtU«,
Mies Poole, NiM 8uM«h. Ml** Iaaotiles, Mil. Messent. Madlle do VII1.lt.
Madila. Behrene, Mi*. Eleanor Anuetroug, Mr* Tcnnant. and Mute Dolby ;
Sir. Weies. Mr. Tenuant, aud Mr. Sim* Reevea. the Swedish Singer., who wiil
*tri(: roaic of tbeir most p pular pieces. Vlolouoella, Siguier Platti ; Harmonium.
Herr Eugel ; Pianoforte, Mian Arabella Gnddard Conductor. Mr Ucnodkt. Ta
comment* at 8 o'clock. Brfit Stulli. *« ; Reserved Se.i L. (balcony ), 3a : Unreserved
Benl., 1«. May be obtained at the ticket office of tho Hall, W, Piccadilly ; Koith.
paid*: Cramer aud Co.*., 201, Regent ■ireet ; and
Frowse and do . 48, Cheaptlde ; Cram
Chappell and Co a. SO, Hew Baod.lrcet.
M
ISS ARABELLA GODDARD and Mr. SIMS
REEVES will appear at the St. Jnmee'a Ball ou the evening* of IWday,
Dec 7. Wednesday, Dec. S Thurwlay. Dec. ». in conjunction with Mfaui Dolby,
Ml>a BUKbbecl., Mr, end Mdrac. Wel-e, lie . and the Swedish alngcra Sofa Stall.,
6a. ; Retired Bents, 3a ; Unreservod Sea la. la.
THE SWEDISH SINGERS, for three nights only, at the
8t Jamea'a Hall— Tueaday cvetiiikg. Dec 7. Wednesday evenuv Dec. 8.
and Thursday evemi-g I)~c 9 when H ey will give a election .if heir uwat
avonrite nieoee. at tbe THREE POPULAR CONCERTS, in ooujuDcUoo with
Mr Sime Reeve* Mue GodcLird, Misa Dolby, and other celebrated artist.. Sofa
Bulla te : Reserved Seala. »» ; Unreserved la. ; and pwwramme. at OtianpoSl s
10 New Uood-atreet; Cramer a, »1, Regent aircet; aud Keith. Prow.*,
and Co 'a, i*. Cheapatd*.
—
AUD MAXY Or
MOST GRACIOUS MAJESTY THE
M R U THE PRI MCE CONSORT,
oBB
THE ROYAI, FAMILY.
> raviUi
town and
ra of
edu-
DR. MARKS
ORKAT NATIONAL INoTTTUTlON,
THE ROYAL COLLEGE OF MUSIC,
BRUXiE-ifTREBT, MANCHESTER.
K«t*H -l,*l exv.res.iy by Lit. for tbe edw ition ofOentlcm< n tore
peteot an Maatera of Conarrv.Knrii. of Music, tob^ ceioWkahcd in every town
city throug..out tbe United Kingdom ; alec for Uoeerneaeea and lUw
Mualc to acquire to teach on Dr Mark', highly approved «yat*m or u.uaioul
cation, t* now o|«ai for tbe odniLiaton of poplin
Prospectuses may be hod elllier ou pereeoal application or by forwarding a
•lamped iTivdopo
; b^r? »'f respectfully to announce that bo i. open to eugnge-
a with faia highly upptoved, interesting, pleasing, aud Instructive
MUSICAL ENTERTAINMENT,
KMTlTlAn
DR. MARK AND HIS LITTLE MEN,
[Ward, of thirty Instruuienlalista. and A moat effective Chorus,
ibd whole formiii'' a m<t»t oompltle ami uuUino
JUVENILE ORCHESTRA,
LitUo Eug
operatic at
•log s-nge
jTTAimtAius
ayvteni of isuucal ed
exctU »u inti
M.rv*t<>tro» of
^T^mu-be
io»ruai:D or
1, Irish, and Hootch lioya, from Ave to sixteen years of age, who j In v
lion., solos, duct*, q'tarbu, qnodiillee. marches, and p<.lka» ; .md
loruacs, Ac. ia a m.-at effective manner, and to whom he gives n
era! and musical education in order to ilbianate h* li'ghly npiirond
uncul rdursiiou, and with whom l-o tia.eU ahnnt the oounlry t;
ereat f.;r and help to cetabliah muaical inatltuUons called - Con-
' iklreu in every town, city, and village of this
to Dr. Mark, Royal College of
49
MUSICAL SOCIETY OF LONDON.
COUNCIL FOR 1858.
JCLSM BBJIKDIOT.
•Wiu.iht Beau.
HcMitr G. Btjtoaovs.
•»'» CnarpiLL. F.S.A.
•R*v. mii Wm nranv Cora^ Dart.
•8m J, E HasjvoTOV, B«t
a K. Hobslcv, r
Jos Linei-
O. i
• Nou
Airnrn Mail.
ltr-HSHASO '
Kr.AMK M"pi
'1. D. Pawu.
Ed P. RimaCLT, LU)., E.8.A.
Cha>. Balakak.
•Ai OHSTia* Baioood, 1
Hmav BKAnv,
W. Via, ENT W ALL ACr .
THE COUNCIL
Will take pUco at tbe
BEEIHOTES ROOMS, 76> HABLKY-
CAVENDISH- SQUARE,
On WBDSEBDAT EYENINO. December 1Mb. IBM. to
Alee only will b? invited.
FOUR ORCHESTRAL CONCERTS,
8T. J,
To
MR. ALFRED MELLON,
Will be given st
HALL, ON THB POLLOW1NO WEDNESDAY EVENINGS :
February *3rd, March SOlh, and May 11th.
Uiedr Notnluated Subscribers, and the PubUo will be admitte 1
SOCIETY'S CHORUS,
D.iring tbe present y«*r, \i
ber l»th. December
ST.
take place on MONDAY EVENING*). Notoui-
a. 13th, and -Jtiih, at Eight o'clock, at tbe
names, aud to
(MIHOB) HALL, PICCADILLT,
Under the direction of
MB. HENRY SMART.
to Bans,, their.
The Council bovu (o
LIBRAR
Will be air^unwl lu tuo
■ OOIXTT'8 BOOKS IN ST. IiMII'1 HALL.
Ami oc^eaiitbte to Member', under certain regulations, from the 1st
January, 18,'.y.
PurtJior amngemeula will be duly anaouaosd.
Prospcctmea. with full particnlara, and a lint of the Fellow, and A:
nmy bo lisvl at Moaara wesaell and Co., Is, Honover-v]uare, W , of
Cramer and Co , 101, Regent^trset, and of tho Honorary Bccreurv,
allcoEnmunlaUlonssretobeaddressud.
CHARLES SAL A MAN,
HOMOBABT 8
(36, Baitr-trttt, Port
St. James's Hall, Piccadilly.
of
770
THE MUSICAL WORLD.
[December 4, 1858.
MESSRS. DUNCAN DAVISON & CO.'S
PUBLICATIONS.
PIANOFORTE.
BACHIANA : SELECT PIECE8
HiUOfortu Works of JOHN HEBA3TIAN BACH,
*' J/ortjr-cigbt Preludes and Fuguo*."
FROM THE
not included In the
s. d.
Ko. 1. Ftiga fVh-rzando in A minor So
1 IVude uiJ Fugue on the name Bach, i hi B flat) ..2 0
g. F..»i»*aaoun Fosbcttafln D major) .. .. ! 0
Loudon : Duncan Dnvisuii & Co , 241, Regent rttrcct.
"Jlio cUi'mt lite.-, tnapcrS comprise nil the pre udoa and fugues of the older
Bf^o (hi* organ tftnjf.i torn cxc -pto-lk with which tho majority of amateurs
.ti'i pirofessors in this country are familiar. But it la notorious that ho composed
a rant number mix**, between the period of his residence at Weimar and his
appointment us Cantor at Lefrislc. Some of theae, too, are as ingenious and beau-
tiful a* any of tb* famous 'Forty-eight.' <>f thee*. Messrs. Duncan Davison and
Co, aro publishing a selection, which, to Judge by the two number* before us,
promises to bo highly attractive. The ' Fuija SchcTxando' (in A minor) to ouo of
the moat chaiaoteristk' and charming i<r the m«Ur - lessor wnrks.
"The Fugue in B flit, on tbe letters exposing hia name— B A C H— which
represent four musical notes (• H, ' in Qorman, standing for ..ur own B natural),
although It cannot precis-ly he traced to Back, to neverth:l<«a well wotth pre-
«ci > ing, and in both valuable and interesting aa a teat of wmporwn between
«d In ooiijiiuctiou with Ibe vary Inferior
y John CbrUtinn Bach, the patriarch's
At tii* same time the former contain*
that induce us to aide with those wi o
good and bad counterpoint, wh- u
fugue on the some theme c*mi>"eed
youngest and lcaaHiccotnpUalifd sou.
examples of common-place ' sequence
refuse to adn-.lt that It le genuine Bach.
" Now that Mi»s Arabella Goddar.l is uiakimr fugues popular by playing them
e large audiences, the publishers of 1 Bachlaua ' (who. we presume, are re-
ttble for the invention of that derivative) have u>'t done unwisely in oocn-
their Serial with spc»-im>>na already introduced in public by that young
In classic models Is one of the scent* of her success. "
BELLA FIGLIA, (Rigolotto), by JULES BRISSAC,
2a. 6d. "Amongtue ouuiy pimofbrto amingemostaof Slguor Verdi's very ]*>pu-
l*r quartet we have not areu one tn> re unpretending, and at the aims lime uiorv
complete, than lh|.. The composer's idea* are respected, while the display and
the convenience of the pianist are consulted ; and the result is a piece of moderate
difficulty, attractive in mote senses than one." — Musical World. Loud* u : Pub.
lathed only by Duucin Davison, Sit. llejeut-atreci. where " Mane, on la pr.ore
d'uno Vitoye''— Andante, by Badarxewska, 2s . and Jul..* Bf Isaac* "Quttudo 1*
sere." and " Ah I fu g.usto " (Lulsa Miller) may bo obtained, pr
A SUMMER'S DAY: Romance for the Pianoforte. By
EUGENE IIONIOT- Price »s. "Among tbe graceful bagat. Ilea of M
Mouiot, there is not otio more attractive : It i>oas*saea the twofold advantage of
living raelo-Hou* and expreaaire." — ifuttcai World, London : Duncan Davison'*
foreign music wnreh^.e, 244. Begeut-street, where "A bummer's Eve,
»y also be obtained. "
2a 8d-
MEYERBEER'S ROYAL WEDDING MARCH —
(Quntriante Marcbe sax Platntu«ux) Composed In honour of the Marriage
of Ui« Prtr.«ss Roval of England with Prince Frederick William of Prussia ' 6*.
London : Duncan BaTtoon. Hi, Bagent^rcot.
BRINLEY RICHARDS' Now Romance for the Piano
forte, •' ETHEL," price 3t " Ellicl N< wcoroe was aliout to give np her
lndspoii<ier.co. her inclination perhaps, and to bestow her life on jonder y-ung
nobleman LcoklAg at her as a girl dovotiog bemclf U her family, her sacrifice
gave h<ra meUnci oly iutrre-t iuoureyca My wife and I watclacl bar, grave
and beautiful mnvn._- through the room>, receiving and returning a hundred
greetings, bending to compliments, tt1 king with this friend and tlurf, with my
iord'» lonily icUuikis, witlt lilmaolf, to whom sbe listened .uferenltol.y ; fain-ly
smiling us he sjwke
Tie .VneeowM, Fof. J
surest _____
" COUVENTR DE GLUCK." (Armitlc). — Arranged
O for the Piunof. lie. By CHAltLES McKOBKELL. Duncan Davison
and Co.. 341. Begeut-street. where inuy be obtained " I* Jrveuae" (Souvenir
des Cbamiis Eljkl s), by a McXorkcll, price 3s.
"Mr. McKorksU must be piaLsod for his taatu in seeking material* for on rnsy
teaching plooo at odo of the fountain-heads of mcioly — the oi.etas of Oluck.
"Armidc * to full or Bowing exquisite tune, from which tho skilful adapter baa
I some of tiie roost usptlvatiug passaee*. employing them forlnsoivn pur-
i without iu any way damaging their intrinsic beauty. <*onie more ' Suuve-
1 of Clock w uld be welcome. Hueli heal'hy muale cannot be too widely
in every potaiufc shape — pnni-lcd always ths mighal fia.ls such
"ZaMr*. Wortd.
3, C»»o. IS
wnuw, ..eivrL-iiiisii.y , uio'iy
doin« tho honours of her mother's house "-
odon t Dnuoan Davison and Co, S44, Regent
VOCAL.
THOU ART SO NEAR AND YET SO FAR (Di
hist mir nab' uud doch Ml fern): Lied. Sung by Herr Relcbardt tt M:
nownrd Qlorcr'a Coi««rt, at Drnry Ijuie Theatre, a»i at the Crystal Palace Ga>
oarts, and enthusiastically tucored. is publishcl. price ><■, by D 'iMvusaa a; d C
■tH, Regnnt-stroct Di<]>nt General de la Mulv n Ilraudua de Pat is.
T'M NOT IN LOVE, REMEMBER— Bulft'n Now
J- . i .• IfatlUo. Vtctoiro Dftlfc aiuJ MU« Ijnuia Vi&tiinir. U l utVAoJ, prvi
. CJ , Iit Duucoti DaviNi'n and Co., '241, B»*|t*'tit-»U«x(. Vr liwe ItticL nr-_h'« ]*?t;'-v
Liokl, "Thou art *o near iu*(i yet m> fur," 'im., au'l IUJiVs " Oh, t*lcc mt t > t; j
licHft ayttu," '2*. , uuty Ik. ut>l4iiut<J.
MERRILY, MERRILY SHINES THK MORN
(The Skylark's Sungl, by A loe Fo.tcr. firing by HadauM Rnoeratef
and invariably encored, is published, price 'It., by Duncan Danaon, 744. Ilsgcsv
strcct,
G"~A MACFARRENS NEW SONgT^— u THE
• THOUGHTB OF YOUTH." Poetry by I# ugfallow, £a. Ixnudoe: Dues
Davison, 'J44. Reg' nt-s-ra. I. — The whole of Lougfvllow's htautilul puea. a praua
on a separate page of this cditiou.
N~EW GALOP. — " SANS SOUCI GALOP," <or the
Piano, by J. Cxarksaki. price 3a. Played every night at M Jnl«,l
Concerts. Loudon : Dunon Davison and Co., S44. Basjaut-sirect, uepu MUrsI
de la Maison B nodus de Paris.
iVEW VOCAL MUSIC.
" Vet era 1 seek a diitant shore. " bnlUd, by Louis Diebl } «
" Tomorrow." ballad, by C J. Hargltt 14
"The Troubadour'a Lament," bv Louisx Yarnoid 14
" tjulek arise, maiden miuo," Air otyrlen. by J. Desanuer 14
"Tbe thoughts of youth, " by G. A. Mscf >rren (poetry by Longfellow) . :t
" Now the abadr* glow docper" ( Nun dlo SthatUn duukclu ). sv
J. Benedict ! | |
" Woods sad Flowers." by Dr. Jamea Pcch f t
" Go ait by tbe summer sea, ' by Dr. F. G H<*ik 14
" The Cuckoo - ( " Hail, beauteous Strang, r of t'no grove "x by Adelaidn .. 1 »
"Sunshine "("I love the sunshins '—Mary nowitt), bv Adalaida .. .. 1 »
London : Duncan Davison and Co , S44. Regent-atrett.
rpO CHORA iT^OClETIES. — MEYERBEER'S SEKK-
X NADE. " THIS UOOSE Til LOVE 18 HOLT," sung »t the oprniae uf n
James's Hall, by Mr. Benedict'. Vocal Association of Sf" voice*, is pubj.h<J t.
vocal score, 4a, and separate vocal parts. tA each. U- Duncin Djuisoa it; 0.
IDo'pot G^ni!ral de la Maison Braiidus, de ParisX S44. Regtnt-strea.t, U«*lc£.
THE LORD'S PRAYER for four voices (soprauo,
tenor, and bass) and organ, ad lib., with English and I.nUu text If'
Mtjerboer. Price, in vocal score. lis ; aapsratc vocal putts dd, each. Set.-:;
Mr. Benedict's Vocal Association, *o., Ac Louduu : Duncan Davison ami Ce
•Hi, ttcgeiit-street
" Tills la on* of tbe faw inerresur ol religions mn-ie, cspeciiHy c- mp aed far i-:
Church, that we have seen from the pen of the illustrious author ol toe rYswic*
But in the fine setting of thn ' Lofl'a Prayer" we have pr. of tbi.t, wcr 'e
devote his attention to it, M, Meyerbeer would excel usually in the onrarxntHa e,
religonaaaof sccnUr innalc The 'Prayer' is written for /air • nliuary n.m
witnout accompaniment. An oruan pott, bowovcr, i.aa b'-en ndded, -taeaw^
any time the voices Pave a tendency to lower." The melody, as is' prcsrt
cocil>ositioii of this n. dure, is simple ; yot it is so cte-^aiit.y harmonised that -J-
iuureat utver flags f r a inon loit. and hoic tlio Bn*otooy and ccldnes, so*, is
coiot.l lined of in isl'gioua pin-' a without aceoin|<aniioen( aiv entirely svaidsi.
We do not remember any oorojinsit on lu which the m«iiiLul<»is ire nrntebiTi-.
tlutn in thU w,-rk of if Me.verhe r. Ike ratrrt ofttie part*, m imiutaon. eii*
occurs towanls tbe mid lie of the prayer, c. uld not b.ive 1*11 cSocUd in % m. -:
masterly manner. Indeed, throughout tho actUn.-. tho bond e,r „ co.«.«u--
harm.«il*t-or acompoaer rich In all the resource* of h:a ait-la dlatincUy risdse
NEW MUSIC FOR TIIE ORGAN.— luti-uductka..
and fugue dedlcaled tobia frlen l tlie Hov FredcrU: Pstiy stodges. DCJ.
friearof Lyme Reg s. Dcrwt, and Fell w,r Wloclw-ater C lle^s). by Dr.
Pech. Price 3s. L/jndou . Duncan Davison and Co., S44, Rai^ent-etreet.
N~
EW MUSICAL TOY. — The Scale with Movc*b*
insttucticu in tae an
Book, IVt 1
J- a Nobs — A most ingenious invention, oirnlnnttig Inatm
compoaiuon and amusement. Prlc 15s, Including lnstrael
London : Duncan Davieoti »Ld Co., S4I, Receut-rtrect
LONDON :
DUNCAN DAVISON AND CO.,
(DEPOT GENERAL DE LA MAISON BRANDUS DE PARIS),
244, REGENT-STREET.
Digitized by Googl< :
December 11, 1858.] THE MUSICAL WORLD.
787
THE CHURCHES OF STOKE NEW7NGTON.
At the commencement of the present century St >ke New-
ington is described <ih a pleasant villaeo lying three miles north
of London ; having an ancient little Gothic church, staudirig in
a well-stocked little graveyard, and presenting, as viewed in
connection with the winding* of the New Hi ver, which skirt* the
village, a very picturesque, appearance. Bui London has now
reached it, and the oucu sequestered Utile village of Stoke New-
ingtou is fast becoming absorbed in the great metropolis.
Although it is evident a church lms existed here since the
time of Edward the Confessor — perhaps from that of his prede-
cessor, King Athelatan, about the year MO— yet the earliest
records relntinir to the sacred edifice itself is in the continuation
of Stow, which states that the church w.ih " repaired, or rather
ncw-builded," by William Patten, lessee of tbo manor, the date
of which, carvod in stone. Mill remains over the porch door
tbus:-
15(53
Sjs Alto.
Above another door a little more to the east — Queen Eliza-
beth's Chapel, used ns the vestry— is the arms of that gentle-
man with the initials of hi3 name, and his, motto : —
W P.
PnosriCE.
The sooth arcade of the nave and the lower portion of the
tower are undoubtedly remains of the former edifice, and date,
probably, a century anterior. In the year 17 Hi the church was
enlarged, and at the same time an exterior shell of brick was
added ; the ancient windows all removed, except that on the
east side, and brick casements inserted. Iu IH06 a further en-
largement of the edifice took place, together with a thorough repair,
when the outside was covered with cement, to imitate stone,
and the inside was embellished and newly paved, and an organ
set up at a total expense of t&flOQ.
In 1628, the church, still too small for the wants of a growing
neighbourhood, was placed in the hands of Mr. Harry (now Sir
Charles, architect of the Houses of Parliament), for further
augmentation and improvement ; and in carrying out this, he
gave to an irregular and shapeless structure the appearance of
comparative uniformity the edifice now wears. He pulled down
the northern arcade of the nave, re-built it on a larger scale, aud
added a second north aisle, placing a gallery in it ; extended
the edifice eastward for forming a chancel, replacing therein the
old eastern window of five lights, with its stained glass ; added
a clerestory to the nave, and a shingled spire to the tower, in
place of the old wooden bell-turret, and restored all the windows.
Considering the age in which the restoration took place, it must
be regarded as a very creditable work.*
The painted glass that ornaments the eastern window, was
purchased out of a collection imported from the Continent, by
Jonathan Eade, Esq., the then lxml of the Manor, nnd by him
to the parish in 1806. The painting* represent the preaching
of St. John the Baptist : the I-evitical purification after
childbirth ; and the giving of alms. In the south aisle
of the nave ia an alabaster tomb with painted effigies of
John Dudley ami his wife, kneeling at faldstools (15*0), iIuh
widow having re-mnrried with Mr. Sultou, the founder of the
* At this time, Mr. Harry had just hren npuointi^l by the Com-
missioners for KuiMing Nrw Churches to erect Ibl ehunbes of St.
Paul's, BallVpoml.St. John, Cpprr Ilollowuy, nml Trinity, Clouiiesiey-
•quart — these were all in the pointed ettle; aud this msy be considered
as the commencement of the revirul, in the present era, of our ancient
ecclesiastical arelutecture ; since, ncnrly all the chutches decided upon
by the Commissi ncrs up to this date, were, in point of architecture,
Grecian. Within ten yesrs of thU d»te, the same hand produced the
designs for the greatest Gothic work ever executed.
Charter-house. The monument having become in a state of
decay, was, aWit fifty years ago restored as now seen; the
expense of which was defrayed by a subscription of gentlemen
educated at the Charter-house. A monument on the cost wall
of the north aisle records tho memory of John Tavener, rector
of the parish, died 1GI39. He was the publisher of Mathews's
Bible, and was an eminent musician, having taken degrees as
hucIi at Oxford, and was Professor of Music at Grc&hom College.
And here rests the ashes of Dr. Watts, the sacred poet, who
spent the last thirty years of his life, the guest of Lady Abney,
at the Manor House close by, where he composed most of his
beautiful hymns, and where he died on tho 25lh of November,
1 7 IK, at the ago of seventy-four. The organ, previously ad-
verted to, was the fact ure of the elder Mr. England, and was of
a single row of keys, and was reputed by Mr. Mann, organist of
the church, who died 1608, as a very beautiful little instrument ;
however, it some time ago gave place to a new one by Robson.
This is also of a single row of keys, it is in a general swell, and
has eleven stops, with a full scale pedal aud bourdon pipes.
Notwithstanding the various enlargements the ed.tice had
undergone as related above, it is still but the village church of
limited capacity, totally inadequate to the accommodation of tho
neighbourhood now covered with habitations ; and, in 1865, the
rector of the parish, the Rev. Thomas Jackson, who hail just
been collated thereto, proposed to his friends and parishioners to
erect a new church by subscription, on a grain! scale, to serve as
the parish church — a proposition that was well received, and the
appeal for funds sufficiently liberally responded to as to justify
immediate practical operations — and the new structure was com-
menced iu that year on the site of the old rectory house aud
grounds on the other side of the road, from designs by Mr.
G. G. Scott, the eminent ecclesiastical architect, ana was
consecrated June 25th, 1 &58.
It is a Gothic building of most noble proportions — one of the
grandest of the sacred edifices that has been erected in the
suburbs of tho metropolis since tho revival here, in our own
time of the medi.-eval style. It is built of rag stone in horizontal
eon nes, tbe walls rcstiug upon a sub-plinth of groy grauite,
dressed, which gives an appearance of additional strength
nud durability; the after dressings externally and alto
internally, being of Hath stone. The style of the architecture is
that of the transitional period between tho early English
aud the early decorative. The plan of the church is cruci-
form, comprising nuve with side aisles, transepts, and chancel,
the latter having aisles of two bays, and terminating
easterly in an apse senii-octaugutar, with tower standing
square at the western end (not vet, however, carried
up higher than the apex of the roof of the body of the church,
but progressing) surmounted by a spire 2:20 leet high. The
principal entrance to the church is through the basement of the
tower, which latter here displays a stone ground roof carrying
the floor of the bell-ringing chamber : the entrance arch, deeply
recessed, having a double doorway separated by a clustered
pillar of A ubiguy stone. The tympanum over tho doorway is
filled by n eiretilar window, and in the apex of the arch a block
is inserted, intended for a carving of the Virgin, to be cut in
position. Another entrance is by a northern porch, of very
effective composition : this is a very deeply recessed arch, orna-
mented with circular columns ; its frontage comprising a central
pediment with a minor arm on each side, the tympanums over
which are designed to receive carvings. One roof — very high
pitched — covers nave and aisles, hence there is no clerestory; the
side windows— triple lancets with cinquefoil heads — are each
under n separate gable. The gable of the north transept has a
noble five-light traciuia window i^feet in height to the springing
of the arched head. The south transept — the unseen side of the
church — has a pair of double lights, with a circular window in
the apex
The interior — wholly without galleries — is ISO feet long, in-
clusive of the chancel, which is 53 ; 60 feet wide (across
tho nave and aisles) nnd 80 at the transepts, and presents,
from whatever point viewed, a general air of stately grandeur.
The separation of nave and aisles is by arcades of pointed
arches carried on circular columns, their capitals elegantly
Digitized by Google
788
THE MUSICAL WORLD.
[Dkcbmber 11, 1858.
containing figure*
the rsiaiug of Lazai
carved with foliage, representing English plants, such aa the
briony, the oak, the mandrake, the vine, the currant, the mul-
berry, &e. ; these rery excellent carving* were executed by
Mr. Farmer, of Westminster. The chancel, which i* raiaed four
steps, the apeidal sanctuary one more, is divided from the nave
by a large archway, having deeply aunken mouldings, the pier*
being cluster* of column*. The chancel aialee aru divided off
by two arches on each aide, supported by coupled columns of
Aubigny stone ; the soffits of the arches are embellished with
forty deep aunken panels, on which are carved, in alto-relievo,
angel* bearing inimical instrument*, and other emblematic
scriptural figures. There is no reredos. The altar rail i* of
onk, supported ou iron standards, gilded. The altar has fine,
long windows, of two lights each, with tracery beads, and these
are about to bo filled with stained and painted glass, illustrative
of the Te Deum : artists, Messrs. Clayton and Bell. A small
beginning in the stained glass ha* already been made ; of this
material are the four clerestory windows of the chancel— triple
Also, a two-light window in tho south chancel aisle,
"gures of the Saviours entry into Jerusalem, and
"Lazarus ; another small window on the east side
of the north trnnsept, snd two very small lancets under the organ-
stage in tho south transept. The roofs of the b*iy of the church
•how the constructive timbers, which are of deal stained imitation
of old oak. The seats throughout, which are somewhat plain,
though characteristic, are of the same material. The reading-
desk is of oak, elaborately carved. The font is a rich and
graceful work, the production of Mr. Weatmacott, the eminent
sculptorLand said tobave cost £400, and a gift to the church by
. vast goblet, hewn
i octagonal base of
i basin is a quatrefoil,
and on each side of it are carved pate no of leafage within a
circular moulded rim. The basin is supported round by four
dwarf pillars composed of pink marble, having richly carved
capitals, on which rest four kneeling statuette*, emblematic of
the sacrament of the baptism, cut in whit* marble. The pulpit
(now be inn prepared by Mr. Farmer) is of Caen atone, from the
design of the architect, and i* to cost £400.
The organ — part only of which is yet fabricated, and intended,
tar a while at least, to suffice — stand* in the south transept, on
a plstlorm of stained timber, raised about fifteen feet above the
level of tho church. It is not, as is usual, in a case, but the
frame of the instrument filling the transept is parclosed off by
a row of its double diapasons, ranging a little in advance of the
face of the wall of the nave aisle. These pipe* are handsomely
illuminated, alternately white and gold and veruiilliou and gold,
in pattern* after the ancient style of organ pips decoration. The
key-board* are set at a console on the floor ol the church, where
the organist *it* facing tho congregation, the tracker* from
the keys passing downwards and under his seat, whence they
ascend through a wooden shaft at his back to the organ above.
The
sculptor, and said to have cost £400, and a gift
Mr. A. Burnand. The basin is, as it were, a
out of a block of Csen stone, and stands on an
two step*. The plan of tne inside of the bai
is designed for one on a very grand scale, to
n forty stop*, including a complete independent pedal
* but the only part as yet set up in the church is the swell,
is a*) follows :—-
Coop*** CC to F.
1. Double Diapason . Wood
2. Open Diapuon .
3. Keranlophon Tenor C )
4. Stop Diapason Bass J
6, Clarionet Flute . (through) . 8
9. Octave 4
7. Filtecoth 2
16 feet.
8 „
* The pedal, rtjn- v • at In s state of entirety, is aa unusual feature
in sr. English church organ j it ii the one great point m which our
organs sre compared with the German. Our model i« yet •rtort-eorainjr.
The usual Englrth sHjuitment is not only deficient, but is in practice
mu.irslly anomalous; and thewi.iK.umr in the inuaie of tho "king of
instruments" rorturally feels interest in every instance of the erection of
the correct Jhing in this way. But the large spec* required for standing-
few of our churches on afford.
> of » German pedal c
together with the high price in England of wood snd meUl, will ever
be prohibitory to a general adoption l.eie of the reel
8. Mixture
9. Cornopean
10. Oboe
11 Clarion .
»l
8 feet.
With the Pedsl
..... O ITO*.
° »»
la
w «t
A Tremulant.
The
purpose ah all be
•Dcd*lc.•,
18 feet.
16 ,. tune.
portions are to be added as fund* for the
rthcoming. The spaciousness of the edifice,
the "loftiness of the roof, and the absence of galleries, coin bine
to render the position of this instrameut, remarkably favourable
to sound, and the effect of tho swell extremely fine. Meson.
Gray and Davison are the artists employed on thi* work, -which
i* estimated to cost, when completed, £1,800.
The church contains 1,000 sitting* lor adults, one-third of
which sre free, and 200 more for ohildren. The entire cost,
when the whole design shall have been carried out, will, it is
said, exceed £15,000.
At the onset of the scheme for the new church at Stoke New-
ingtoc, it was intended as a rebuilding of the parish church.
The new site was a matter ef expediency resorted to in order to
keep one ehurch open until the other was ready for occupation .
the intent was, to then close the old edifice — perhaps poll it
down, as was done in the adjoining parish of Hackney sixty
year* ago, or to convert tho building into schools. The plan
adopted has, however, led to a difficulty. The two chstrohes
stand in juxtaposition, the road ouly separating them, and have
assumed — to use n familiar phrase— the position of opposition
shop*. There is a very powerful and influential " old cknreh"
party in the parish, who strenuously oppose the virtual extusc-
tion of an old place of worship to which they feel a strou£
attachment, and in which they still may largely congregate, not-
withstanding the attractions over the way, among widen nay
be included the popular sermons of the reverend rector, who
preaches twice every Sunday in the new church. The sup-
porters of the old church have memorialised the bishop against
the proposed consecration, or rather tianalation, of the parish
churcfa ; and await his lordship's decision. Whatever this may
be it is certain that the closing of the old church wotdd not only
give great offence to many of the parishioners, but induce a de-
ficiency of church accommodation, as both the old and the new
building* are simultaneously well filled, and the neighbour-
hood is a rapidly growing one. Under all circumstances,
it is to be regretted that the worthy prebend* had not
chosen a spot somewhat more distant for the erection
of the new church. It is presumed that there oonld
have been little difficulty in obtaining a suitable site for the
purpose, considering that more than two-third* of the lands of
the parish is ecclesiastical propcrty.t St. Paucraa, Paddington,
St. Marylebone, and Chelsea, afford an instance or the erection
of a new pariah church, and the conversion of the old one into
a chapel of ease or district church.
There is another church at Stoke Ncwington, situate ic
• The Rector, the Bev.
"Wedland" in St. Paul's Cathedral. Tbe|
the revenue belonging thereto having
Eccleniaaticel Commission at the last vacation, 1850, by the opera-
tion of the not of 18*0. It is understood that t hero are no aaia*4.-v
duties appertaining to theae prebendaries, of which there are St7 % hot,
in tbe stalls, under the title of each prebend, is that of a Pi1—.
" which every I'rc Undary it >■ dmiy bound to repeal daily im prnaJ* t*
the glory of dad, and for Ilk* more Jully imvniy (a* intent a/ the
jouudert and benefactors hereunto"
t Tbe pariah of Stoke Newitigton is comprised in 650 acre*, at
which 326 belongs to the Prebcndal Stall of " ^^ewingtOO,, in St. Paul's
Cathedral, which stall, lapsing in 1842, its revenues fell in (o in*
Ecclesiastical Commission. Tho last incumbent of the stsll was the
Rer J. Lon»dale, who retained the income at £1,251 per Mnenm. ^wt
considering that ere long these lends will probably become covered with
houtci, ultimately Stoke Ncwington will be the source or
revenues for Church purposes. The stsll still exists, but
rated revenues ; the pre»eot dignitary is the Rev. R.
Professor of King's College, London.
Digitized by Google
December 11,1858.]
THE MUSICAL WORLD.
789
Barrett'* Green, south east division of the parish, consecrated
1853, and dedicated to St. Math ins. It is a Gothic structure,
built from the designs of Mr. Bntterfield, and presents some
features of novelty and successful economic arrangement, by
which a spacious interior has been given, and an unusual
appearance of architectural grandeur and dignity, at the com-
paratively small cast of £7000. The church has a fine "C
organ," by Willis, standing in the south chancel aisle. This
instrument is composed of three rows of key* and pedal, twenty
stops (swell tenor C), and a rank of sixteen feet open pedal
pipes, and embraces numerous modern improvements, such as the
pneumatic lever, curved and radiating |>ednl board, and com-
bination movements. The incumbent is the Rev. Samuel W.
Mangin, It. A , who directs the sacred services of his church In
strict accordance with high " Troctarian " views.
55, FUgtnt Strttt. F. C.
BROADWOOD'S PIANO MANUFACTORY.
(From the UluUraitit I^ndom
It is not, perhaps, generally known that, with one or two un-
important exceptions, the whole of Great Britain and Ireland,
and of course by consequence our dependencies abroad, are sup-
plied with those universal household appendages, pianofortes, by
the metropolis alone. As in all other of our great trades, ibis
supply depends a good deal on curtain large manufacturers with
whose names every one is familiar. It was therefore with some
interest that the public learned, in August, 1856, of the occur-
rence of a destructive fire which took place on the premises
of Messrs. John Broad wood and Sons, in the Horseferry-road,
Westminster. A new manufactory has since arisen on the
site of that which was destroyed, and which is established on the
largest and most perfect scale of anything of the kind in this
country. On entering the premises, the first thing which
strikes one is the large area which they cover, implying, of
coarse, a corresponding employment of a number of work-
men, and yet the business of the place goes on with, aa absence
of bustle which is remarkable. The new range of workshops
is on the left, on the right is the ouly remaining part of the old
factory which escaped the fire. The new building is 303 feet
9 inches in length, by 46 feet in breadth. The large area within
the walls is divided into thirty-two workshops, each 70 feet 1 org by
SI feet wide, communication with which is obtained from without
by a general entrance situated in the centre of the bulldin ',
formed by a segmental-headed archway, 14 feet wide and 10
feet high. In this archway are the staircase and two lifts for
the purpose of raising pianos and materials into the
workshops. Passing on we came to another yard, on
of which is a shed covered with corrugated iron filled with
dry timber from a wharf near Vauxhall-bridge, where the
greater part of the valuable seasoned wood is kept, and
the command of a large supply of which has been one
of the main causes of the reputation which Messrs. Broad-
wood's pianos have attained Near to this depository is the
. for preparing glue, an item of expenditure which
j£2.000 a-year. The steam for the coppers in which
the gme is boiled is supplied from the engine and boiler house,
which, with a saw-mill and shed, a room for drilling and turning
by steam power, and a foreman's room for matching veneers, &c,
complete the subsidiary range of buildings on the left-hand
tide. At the northern end of the building are the count-
ing-houses and store-rooms. The building is heated through-
out with steam, bv means of upwards of 10,000 feet of
piping ; one vertical pipe communicating with the various
floors. The southern part of the building contains six-
teen workshops, in one of which is a hot chamber
for glueing, technically termed a " caulchcst." The ventilation
is effected by cold air admitted under each of the win-
dows, and the vitiated warm air is carried off by four shafts in
each workshop. There is a square shaft for the carrying off of
accumulated shavings every night, and which are burnt in the
furnaces. On the roof is an iron tank containing 6,000 gallons
of water, which is supplied twice daily, and from which five
hoses are attached sufficiently long to reach to either end of the
building. As further precautions against fire, there is a. smaller
tank over the counting-houses, and another sunk tank contain-
ing 10,000 gallons of water, with all the necessary apparatus.
To give some idea of the extent of this edifice, it may be added
that it contains upwards of 200 large windows, and when fully
lighted up with gas presents a very striking appearance. As a
whole, the arrangements are as complete as it is possible to con-
ceive, and reflect great credit on the builders, Messrs. Baker and
Fielder, of Stangate.
Turning to the consideration of the operations carried on in
the factory, we find that fourteen out of thirty-two workshops
are occupied entirely by the manufacture of grand pianos, con-
sisting of the large full-compass concert grands, the most
powerful instruments ever yet manufactured, and the smaller
grands of three strings and two strings; and as we understand
that Messrs. Broadwood probably manufactured one half of the
grand pianos annually supplied in the United Kingdom, aa well
as more of the cottage ana square descriptions than any other
makers, some idea of the extent of their manufactory may be
formed. The space required for making a grand piano is equal
to that requisite for three cottage pianos, and there is necessarily
a difficulty in obtaining workmen sufficiently skilled lor work of
such delicate quality. The time required to complete u grand
piano is generally from six to eight months, while a cottage
piano may be finished in three. The number of pieces of wood
and materials of different kinds employed in the construction of
s grand piano amounts to nenily five thousand In the case-
making department alone there arc, we arc told, usually more
than a thousand pianos in different stages of progress ; and the
stock of finished instruments exceeds that number. The former
department is that in which the cases are made and the veneer
glued on. The place In which (he most critical part of the work
is done is what is called the marking-off shop, that is where tho
sounding-board is put into the instrument and the
fitted, which resists the pall of ths strings— an
quiring mathematical nicety end precision,
succession the grand top-ranking shop, the plinl
■hop, and, lastly, tho finishing shop, where the several ]
at lost combined in a piano complete.
The remaining range of the old factory is devoted to the
making of small work, polishing, lie Between the new building
and the wing of the old one is tun veneer vault, in which a large
collection of very valuable veneers is kept. Upwards of 200,1 HX)
feet of rosewood veneers are used in the course of the year; but
the moat expensive is the walnut veneer, which, as seen in the
factory, has much tho appearance of damaged leather. Of
necessity in an establishment of such extent a large num-
ber of skilled workmen oro roquirod. We are informed
the number of men employod by Messrs. Broadwood on
the premises above described, at a smaller factory in
Bridle-lane, Silver-street, Golden-square, and in Great PuLenoy-
street, smounts to between six ana seven hundred. The wages
which are earned by this able body of artisans exceed those of
most handicrafts, and their comfort and welfare are well con-
sidered and under excellent regulation. Seven foremen besides
clerks are engaged in the manufactory, and one of the principals
of the firm, as manager, is constantly on the premises. The iron-
work used In this manufactory is obtained from the foundry of
Messrs. Bramah and Co., of Pimlico, who have supplied Messrs.
Broadwood with this material for nearly forty years.
It may be interesting to add that the (bunder of this large and
important .business was a gcutleruan of Swiss extraction, Mr.
Burkhardt Shudi, of whom there is a picture on the premises in
Great Pulteney-street, in which he is represented tuning a
harpsichord presented by him to Frederick thu Great, anJ which
we believe is ati'l to be found in the palace at Potsdam. This
gentleman established the business in tno same house in which it
I is now conducted in the yea* 1732. Mr. Shudi was a great
friend of Handel, who often visited him : and his favourite
I harpsichord is now to bs seen in one of the warerooms in Great
Pulteney-street. Daring Mr.Shudi's time the harpsichord was the
keyed instrument in use, but when he was succeeded by his
sou-in-law, Mr. John Broadwood, later in the last century, that
I geutleroan introduced the instrument sines called the piano-
J forte, which has by degrees been brought to its present stete
Digitized by Google
[December 11, 1858.
of perfection. Descendants of Mr. John Broadwood bearing
bia name, are still members of the firm, no one who was uot
of the family having been admitted into partnership. After the
fire in 1856, when it was decided to reinstate the manufactory
with every improvement which experience of the trade had
shown to be necessary, and which modern science has rendered
possible, three gentlemen loug^ engaged in the establishment
were taken into partnership, in order that the business might
have the full benefit of their co-operation, the result of which
arrangement has proved satisfactory to all concerned.
THE OPKKA OF LOHENGRIN.
(From the J!ieSerr%nnitehe Mtitik-Zeituny.)
The reception with which Richard Wagner's Lohengrin met
three months since in Vienna, was so brilliant that a few
remarks on the work may not, perhaps, be too late. We cannot
say positively whether — as we have been assured is the case —
tho Lohengrin enthusiasm is already sulwiding ; the public, at
any rate, still flock to the theatre in considerable numbers The
unexceptional)!)* admirable miie-cn-scenc, not to be excelled at
any other German theatre, would of itself be sufficient to
account for this fact. At all events, a person devoid of tho
power of hearing, and merely capable of receiving the impres-
sion produced by the scenery, processions, grou]w, and the acting
of the artists, would understand the public enthusiasm more
readily than any one who knew nothing of Lohengrin but the
music.
However unanimous the public were en matte, we have found
great diversity of opinion in individual cases. The most
amusing feature in all this, namely, the laboured enthusiasm of
those persons who will not, on any accouut, remain in the rear
of "Progress" and the "Future," wo must leave to Figaro or
Kladderadattch. But even sincerity has wonderful extremes to
■how. It is a fact that persons of the most different ranks and
degrees of education, who make no secret of their indifference
for all kinds of music whatever, and who, as a general rule, are
scarcely ever to be seen at any opera or concert, have been
amused half-a-dozen evenings with Lohengrin. On the other
hand, it is, also, a fact, that several of our most accomplished
and impartial musicians were so impartially bored at the first
representation of fohengrin that they left the theatre after the
A highly numerous and moderate " centre1' very correctly
characterise the novelty as " interesting ;" but, on asking them
to explain more definitely in what the interest consists, we meet
with a remarkable uncertainty of judgment. Numerous parti-
sans of Lohengrin, who can say only next to nothing in favour of
the music, arc perfectly compensated by the ••incomparable
book." I must undisguiscdly confess I am as little able to be
enthusiastic for the book as for the music to it.
To begin with the book. We have unfortunately been doomed
to hear that it was an independent work of art, 'of the highest
poetical beauty, and of a perfect drama, which, without more
ado, could be played as such. We ruthlessly wish the experiment
had really been made on those who eutertain this opinion. If
we measure the libretto io Lohengrin as a poetical composition,
we fiud that tho sum of its merits consists in a fow poetically, or
I should rather say picturesquely, imagined situation*, lu plot
i it is undraiuatic, and in diction painfully harsh
i in the following it vie may bo found at every pngo: —
"Lass mieh ilin tebu, wio icb ilm sail,
Wio ieli ilm rah, aci er mir nah !"
(sixteen raonoaylbibic word»). Or,
" ttie rib" e> ZwoifcU SchuM, die grower,
Ala die an Dioh den Glauben ranbe?"
In T**nhS*s*r there arc passages which might almo»t do in Die
"" . For instance :
"Ihr Edleu mugt in diesen Wortea listen,
Wie icb. erkannt der Lie be reunites \Ve»en.',
" Hoch Qbarallf r Welt ist Gott,
Undseia
Or:
Wo prized in Lohengrin a very skilfully formed operatic
libretto, not alono more effective musically, but, in itself, more
connectedly imagined and more carefully worked out than moat
such productions ; whoever is contented with a work of this
description as an independent drama, may consider Lohengrin
one.
In the first place, the choice of the Gral myth is a very
unhappy oue. It is doubly so, as far as regards Wagner's
peculiar requirements, such as :— a libretto must, above all things,
be popular and generally comprehensible; ituiust appeal to
the most secret passions of a nation, &c. Now, no operatic
hero can well lie more exclusive than this Knight of the Holy
Gral. Who is I^ohengrin J Who is the Holy Gral I In what
audience cau we and ought we to presuppose an acquaintance
with the inediieval round of legends, on which everything in
Lohengrin turns ( We are separated by a whole world from
the moral notions and poetry of those times, the pathos of
which we might term armed eestacy. Even the serious literary
mass, fond of plunging into these epics of the Middle Ages,
will, in fact, guard against accounting them dramatic. The first
thing we demand from the drama is that it should present
us with characters, beings of flesh and blood, whose fate is
brought about by their own acts and passions. We wish to see
freedom of will acting against great struggles, in order to know,
with the deepest emotion, how (according to Gothe^ " man
feels" — "dctn Mcnsehen zu Mnth ist." What dots Lohengrin
know about this 1 He is a knight of the Holy Gral on Moubt-
salvat ; of the blood of Christ, preserved in a costly vessel of
precious stones, which the legend celebrates ns the miracle
working and dominant centre of the heavenly kingdom on
earth. The Holy Oral despatches its knights to seek adven-
tures in its service: alone it decides and suggests their thought*,
feelings, and acts. Through it they are not liable to be
deceived, but arc free from fault, and endowed with divine
nature, though they are bound to preserve the secret
of their wondrous mission. Can L)hcngnn's virtue an J justice
move us, when they are not the results of his own free w\U,\*it
the mere retlectiou of the Gral ? Can his love for Elsa excite
our joy and sympathy, when we know he possesses no pathos
but his secret ? Must we not consider inhuman his desire that
Elsa, " his Moved wife." shall never
his origin ami name I Tho bond of hive is confidence and not
secrecy; we range ourselves on Elsa's side, when she yields to
" culpable curiosity," and is, in consequence, abandoned by her
husband. In vain she falls at Loheugrin'a feet, and implore*
him to remain as " witness of her repentance." He has no
answer for her, but : " I must, I must ; the Gral will be angry
with me if I stay auy longer! A being who mutt do anything
(" No one must must " — " muss miissen"— says Leasing), is no
hero for a drama, for he is not a person like ourselves. He is,
according to Stain's striking expression, a "seraphic soldier,"
whose wdl and conscience do uot reside in his own breast, but
" in the frowning forehead of his divine commander."
Taking into consideration the laudatory tone of Warner's
prefaces, wo will not stop to notice the fact that Wagner himself
designates Lohengriu as the " type of a real and only tragical
material, especially of the tragedy of the lifc-clcmeut of tie
modern Present." It will ever be an act of perversity to have
sought the revivification of opera in a return to those mystically
symbolical subjects, which, destitute in themselves of all dra-
matic movement) have long since ceased to live in the con-
sciousness of tho nation. The real opera of the " Future" is
the historical.
The superiority possessed by Wagner's mythical Christian
operatic librettos over the surmounted classically mythological
ones is the clement of the Fatherland. They are German, and
those scenes in Lohengrin which depict German manners will
ulways produce the most permanent results, however obstinately
Wagner himself may continue to designate the mythically sym-
bolical principle as the real pith of opera. We cannot discover
any eminent specific dramatic power in the poetry of Lohengrin,
but simply lyrical capability combined with unusual theatrical
Such verses are not at all oflemive in opera, but they
— 1 as tho production of • great poet.
Digitized by Goo
December 11, 1858.]
THE MUSICAL WORLD.
791
■kill. ITow poor do the separate characters in Lohengrin
appear, all of them being, from beginning to end, stereo-
typed, and without any development or gradual increase
of intensity, compared to the life of the masses in it !
The power of forming groups, and bringing about situations,
which cannot prove aught but picturesque, is, perhaps, the
most peculiar feature in Wagner's talent, and that which, in a
fuller investigation than that which we are here enabled to make,
ought to be especially discussed. Wagner is neither a groat
poet, nor a great musician, but he may be termed, in the highest
sense of the word, a deenratire genius. The highest pitch to
which such decorative genius, assisted by intellect aud education,
can rise, is: W<u/neri'tn Operas. We can admire their author
for the penetration and energy with which he has provided his
talent with a perfectly adequate art-form, the only artistic
speciality attainable by him, but, at the same time, one which
could have been attained by him alone. The highest artistic
prize, however, to be gained by Wagner's stakes, is still not
the highest prize of art. One fact which is decisive against the
pretended absolute greatness of his operas is their musical
unfniitfulness. They are deficient in something we cannot
acquire, but with which we cannot dispense : the divine gift,
the creative power, the innate richness — in a word, the entire
beautiful injustice of nature.
When the celebrated Jomelli was once called upon to decide
a dispnte concerning Piociui's tahnt, he did so by the solemn
exclamation : " Questi b inventore !" He thought these three
words were the strongest expression for his admiration of
Piccini ; and, in fact, he thus defined the essence of artistic pro-
ductions, which, in music mote than in any other art, is ono
continual course of invention and creation of novelty. Whoever
is in music no "inventor," whoever wants the mysterious power
of creating something independently beautiful in tone and by
menus of tone, may certainly become a most clever experimen-
talist in art-history, — a master of hia art, but never a musical
No one can object to our dwelling on the miuioal part of the
subject, in Wagner's case, as long as his operas are sung and
played from beginniug to end, and as long as sensible people
coutinue to go to an opera-house for the sake of music. It is
only a melancholy proof of far-spreading infatuation that even
persons who confess Wagner's musical helplessness, claim for
him another and quite peculiar posiliou, and celebrate, as the
grand advantage newly gained, ■ the dramatic agreement of his
music with the poem," an ndvantage which puts out of the
question for the future the beauty of the music. It would be a
sad thing, if the German public possessed so short a memory.
Have we, then, really hitherto had no operas combining the
most fragrant aroma of melody with the seriousuess of dramatic
truth ? Have the greatest masters of three nations laboured in
vain to become dramatic composers ? Was the whole history of
opera, as Wagner fain would pTsuade us, in truth merely a con-
tinuous sin, awaiting redemption by means of Lohengrin t
I cannot sec that, in pregnant and moving pourlrayal of
situations, Warner has gone farther than Beet hoven, for instance,
in Fiddio, which — apart from this dramatic quality— is all
music in the fullest sense of the wort). Is there in the whole
of Lohengrin a single piece which causes the hearer's heart to
beat like the trio or the quartet in the dungeon I Has Wagner,
with his sublimated declamatory apparatus, ever produced such
pulsations as Beethoven has by purely musical means ? Or can
Lohengrin even show one character which stauds out from the
background of the picture so plastically, and with so much
truth to nature as the personages in Dun Juan? What aro
Talramund and Ortrud, as theatrical models, compared to
similar characters in the works of Weber and Spontini I Can
the " Gottesgerieht," indisputably one of the best scenes ii
Lohengrin be compared with the exactly analogous seen
in Marschner's Tempter, where Rebecca, condemned t
perish by the flames, looks out anxiouslv, nnd yet believingly,
for a champion of her inuoceuce ( \Ve hero quite leavi
out of the question the musical side of the subject, pro-
perly so called, and simply ask, whether Wagner has really
obtained new and unexpected effects in dramatic tmth, aa has
been so remarkably asserted by himt whether in the delineation
of a personage or situation, he has really bus passed or ever
equalled, what has been done by the masters mentioned
above ? The latter knew and respected well enough the
pretensions of the poet, but thoy were, at the same time
musicians and inventors. They possessed a power, which
Wagner would ignore, because he does not possess it,
namely, the power of melody, of the independently beautiful
musical thought. It is a great error to represent melody as
being of itself, and as a matter of course, the foe to every kind
of dramatic characterisation ; this is only done by persona, who,
naturally wanting in melody, endeavour to gain a small ad-
vantage by clever effects. On the contrary, there can exist in
original musical thought, in the melody iueif, a dramatic power
to which declamatory pathos, and all the instrumental clover-
88 in the world will never attain.
We have mentioned names which render it completely un-
necessary for us to adduce examples. But we need not at all
confine ourselves to classical composers ; let the reader recollect
the Huguenot*. The depreciation of Meyerbeer, one of the
Gesinnungs" articles, as is well known, for some time of the
"German critics" (who, we may remark, are enraptured with
oue of the stupidest of all conductors), has, since the unbounded
abuse of him by Wagner, risen to such a pitch that it ishigh time
to remind people of the reverse of the medal. The delusive
his
peopl
adventitious expedients with
great talent, no ono can regret more sincerely, or criticise
unreservedly than we did, when speaking of his Etoil* du Nord,
but the actual fact of his great mutical talent is not to be
disputed.
After the finest pieces, Meyerbeer di*
only too oRen by a few subtle bars, but we always again i
across passages which only a musical genius of the first rank
could have written. In every opera— perhaps in every act—of
Meyerbeer's, there arc musical thoughts of overpowering novelty
and beauty; thoughts which no living composer can rival; in a
word : thoughts which throw the public into ocatacies, and
cause musicians to say, " Questi e inventore !" Can the some be
asserted of Wagner 1 Alter studying, repeatedly and atten-
tively, Lohengrin, I have not been able to find, in the mi '1st of
the author's clever intentions and touches, a theme of eight bars
of which it could be said, " These eight bars could have been
written only by a musical genius of the first rank ; they are the
work of a creator in his art."
{To he continued.)
Vocal Associatios.— To the new works already i
for performance in the course of the season by the members of
this Society, we may add a new cantata, by Mr. Lindsay Sloper,
entitled The Birth Day. Mr. Sims Beeves has been especially
engaged to sing the tenor music in Professor Bennett's
May-Queen.
Tub Cowsumition or Paris.— The amount of edibles and
liquids consumed by the city of Paris is certainly something
prodigious. Paris drinks annually 1,200,000 hectolitres* of wine,
50,!>00 hectolitre* of brandy, 21,000 hectolitre* of vinegar, and
176,000 hectolitres of beer. It eats 1,000,000 of flour, 500,000
hectolitres of grapes, 70,000 oxen, 20,000 cows, 82,000 calves,
500,000 sheep, 00,000 pigs and wild boars, 12,000,000 francs'
worth of butter, 0,000,000 francs' worth of eggs, 0,000,000 francs'
worth of game and poultry, and 6,000,000 francs' worth of salt-
water fish, exclusive of 1,500,000 francs' worth of oysters.
Finally, it eats above 22,000,000 francs' worth of vegetables,
fruit, oil, cheese, charcuterie, ready-dressed meat, pies, jars of
salted or preserved meats, shrimps, snails, lobsters, etc. Thus,
Paris spends annually on eating aud drinking more than
500,000,000 francs. Its pleasures, furniture, and dress, cost
three times as much, or more— 1,500,000,000 or 2,000,000,000
(rancs. Every year the women of Paris have 31,000 children,
living, 10,000 of whom are illegitimate.
* A. hectolitre is 3 5317 oubio i
2-7412 Wincheiter bushels.
Digitized by Google
792
THE MUSICAL WORLD.
[Decembkr 11, 1858
ST. JAMES'S THEATRE— OPERA-COMIQUE
FBAXCaIS — This theatre will e(r*n on Wednesday. Deevtatxs- » next, with
a troui«e of eminent artis'a, among wboov M.idaroc Faure" (from tbe TlirfSatre-
L/riqu* He rNria). M»dl«v C --line Mathken. (tr "> tbe Grand Theatre de It. >rd i mux ),
M.oie. PougSce, and Modi. Entou (fr'Dt this OpOra-Corniq'ie de 1 iris), wir umke
tbelr ft ret apeanuvcc In England- Full ctiorua and ootnpltto orchestra under the
direction of Mona. Kemusst (if the Aciwiilmlo Itnruirlilo and OpeYa-Oorakjae de
Parlsl comprising tho i«rincipol pcrf-Tnien of lier Majesty's Theatre and RirjrmI
ItalUn Opera. Fall particular! will be duly announced. Every information re-
specting Boxes, Stalls. *c„ can be obtained at Mitchell's, Rojal LiVrarr, 93,
Old Boud-alreeC. Acting Maiugir. Mr ft Bari.ett.
ROYAL PRINCESS'S THEATRE.
The Public U respectfully informed, that the Tragedy of MACBETH can only be
represented tor » limited number of nights
Farewell season of Mr. CHABUW KKAN i
ON MONDAY, Wednesday, and Friday, MA'
Ou Tuaaday, MCOB ADO ABOUT KOTHIKii. On Thursday KINO
JOHN, Saturday, THE JEALOUS WIFE. Preceded ..very evening by a FARCE.
M
JULLIEN'S CONCERTS. — LYCEUM THEATRE.
• I.A*T FIVE NIGHTS, ending paeHlvely on rJuUintay nexU LVo. lSto.—
EVERV EVENING, at F.igbt— Btengetnent of Maduno ANNA BlSfflOP, who
will mslco hex Fir»i Appearance ou Tuesday ucxt, Dec. 14th. M. WIKNTAvVSKI,
the celebrated Vtollulat, will perform .-eery evening .
Ou MUnd-j, December lltb. M. JULLIEN'S ANNUAL BAL MASQUE
LYCEUM THEATRE— M. JULLIEN'S ANNUAL
BAL MASQUE on Mondav. December 13th, 1838 — M. JULLIEN'S present
BAL MASQUE will b- riven with no -urp.aaed splendour.
Tiekrts for the Ball liW. ad PLicce, and Private Boxes, may bo r ecu red of Mr.
CHATTER rON, at tho Box-Office . Lyceum. Opeu at Half-past Nine, and the
Dancing cammcocea at Half past Ten.
ROYAL ENGLISH OPERA, COVENT GARDEN.
Under the Management of Miia Louisa Pyne and Mr. W. Harrison.
The publlo are respectfully infiwmed that the above new and elegant theatre
ill be . .peuc-l for the FIRST ENGLISH OPERA SEASON, on Monday. Dee. 2Mb
lo celebrated Pjroo and Harr son Englliih Opera Company every evening
pREAT NATIONAL STANDARD THEATRE,
\J BUOBJCD1TCH — ^Proprietor. Mr. Jeun OoucLaas.
Re-engagement ef tbe celebrated M id. Celeste. Her Iset appearanoe at the
E*»i- nd -likewise Mr. Pnu! Bedford and Mtea Mlxa Arden. Ou Monday, TUE
FLOW KHS OF THE FOREST. Cyn'hle, Mad. Ce'cete ; The Kinchin. Mr. Paul
Bedford ; Starllg. t Beet, Miee Eliea Atdcn. On Tuesday (las', time). SATAN
' CeWe. Ou Wednesday and Friday (iasi t tneab THE GREEN
1. Mad. Celeste. On Thursday, CHRISTMAS EVE. Madeline.
A'ter the first on Tuesday. Thursday, and Friday (l ist timea). THE
>oo Monday wlHi THE
I.LAOE (SCANDAL. To
of NORMA
C.own
LITTLE SUTLER
FLAO OF FREEDOM. On Tueaday, to conclude with VILLAOB
conclude on Wedoewday end Friday with, but time, the
Norma, Mr. Paul Bodr, rd. Great j repAiatlone for Uio "
by tbe ceLbrated TOM MATTHEWS.
~~ ™~* TO^ORRESPON DENTS! ~
Cobnet-a-Pistoss— <W.' D., Ipswich).— We have no doubt that
the vorke named are as perfect at described by our corre-
sponded. Be had better inform every person he meets of their
great merits. The publishers will treat him liberally for a
EasATra.-lnThe ad re rl iff went of the Musical Society of London,
in latt week's number, the name of Mr. Vincent Wallace was inad-
vertently inserted in the list of tho Council, in the place of that ol
Mr. G. A. Osborne.
THE MUSICAL WORLD.
LONDON-. SATURDAY,
llTn, 1858.
Madame Anabtabie de Hrllbtillk Ourt has addressed
a letter to the publisher and manager of the Musical World,
indignantly disclaiming the Authorship of a certain communi-
cation " from a lady corretq»ondent," which appeared in our
last impression, and requesting (or, jH>rhaps, -wo should say,
insisting) that a notice to the effect that she was nut
the writer of tho document may be inserted in the
present issue. Always charmed to oblige one of Madame
Anastasie de. Belleville Onry's gentle sex, we hereby
declare emphatically that the epistle was not cither of her
writing or of her composition — to which we may add that
nobody hut the Editor of the Brighton Gazette would have
been likely to lay such a misdemeanour to her charge ; seeing
that the letter itself gives evidence of her innocence,* which,
though presumptive, would be received as undeniable
by any jury ever empanelled, comment. 1 upon, ap-
provingly by any judge that over sat ©n the bench, and
accepted unconditionally by any person endowed with a grain
of common sense. That grain, however, seems to have been
wanting to the Editor of the Brighton Gazette. But of this
anon. Suffice it here that we exculpate Mad. Oury, and
that in doing so wo ant overwhelmed with astonish-
ment at the fact of such an exculpation being thought
necessary by any one who knows Mad. Oury, who is
aware how, during the course of a long and brilliant artistic
career, she has invariably kept aloof from all kinds of
petty bickering and intrigue, winning and sustaining the
honourable position at which she aspired from tho first
entirely through the agoncy of her own talent.
One of tho causes of the mystification of the Editor of
tho Brighton Gazette, and, it would appear, of Mad. Oury
herself, most be attributed to a misprint in the signature of
the article which hascaused so much offence in certain quarters.
The signature, as printed, was "A. de B. 0.," but tho signature,
as written, was "A. de R. Q." Now this mistake of one of
our amanuemt* (we keep copies of all letters addressed to
the Mimical World) was unfortunate, inasmuch as we can
neither take the blame upon ourselves, nor attribute it to
the compositors and readers. Nevertheless, wo have said
quite enough to eradicate the last vestige of suspicion that
could possibly remain in the mind of any envious person,
like Herr Block, or any simple person, like the Editor of the
Brighton Oeuette,
With regard to a desire expressed that the luwue <Ji \\ec
writer of the letter be given up, we have only to reply that
such an act on our parts would not only be one of ill-faith,
but superfluous. For both reasons, therefore, but especially
for the first, we decline.
The Brighton Gazette is angry, but amusing. We always
imagined ourselves on tolerably friendly terms with
this periodical, and for that reason, have never lodged
any complaint against its hebdomadal custom of ap-
propriating large slices of our musical news and our
musical criticisms, usually (unless the matter should be
controversial, and the Gazette anxious not to incur respon-
sibility) without acknowledgment of the obligation, with-
out reference to tho source which enables it to dispense
with a London correspondent, and yet to appear extremely
well informed on the art-topics of tho day. It neerzis
that we have reckoned without our Gazette. We, however,
quote the rejoinder of our Sussex contemporary, who advo-
cates the cause of Kuhe with as much enthusiasm (if with
not as much eloquence) as the poet Shelley that of the poet
Keats. Here is the prose Adonaia of tho Gazette; —
'• CRITICISMS OP THK MUSICAL WORLD.
" In t!>o Musical World of Saturday, appeared an article on Madame
Dotti'e concert at Brighton, on the previous Tuesday. It purpart**! Co
be the production of a lady correspondent, and is not so much a criti-
cism upon the conoert, as it is s vehicle for the most fulsome praise of
Miss Arabella Ooddard, an attack upon us and our musical critic, and
a cowardlv stab in tho dark at Herr Kuhc. With tbe first item we
hatre nothing to do, feeling convinced that we did fall justice, to Mies
Goddard. The attack upon ourselves ws are also content to pass by,
for we are bold enough to regard our opinion in the matter to be as
good as that of the writer of the article in question. But it is to the
•ttsek on Herr Kuhe wo would more particularly allude. We wyrv bold
• - The ad.
fnirttbiu
i grand
Madame ^BeUerille^ Oury has
Digitized by Google
December 11, 1858.] THE MUSICAL WORLD.
793
cnouffh to sny tti&& t)r^r**np©d It^rr ^wuHo 0 u^&^PBVlABt 101* oi^ •% Ot^i*t &m
piece to that of Mies Uoddard. For this Herr K the i. designated a. ■
harmless indieidnal, and a highly reepeetable teacher — how-tothoot — of
the _y>i.Mw iWf,ip and wo ore told (hat no one it better aware than himself
of the immeasurable ditlanee between hie playing and thai of Madile.
Ooddard. Further on we read that Uerr Kuhe endeavoured to
accompany M. Sainton in a duet, and afterward) made another
attempt, <Jv.
"Tat character, ability, talent* and high standing of Uerr Kuho
require no comment* from u «, bat we feci it a duty incumbent on u* to
protect a kind-feeitnp;, g.jod -hearted man, and ooe of the moat clever
pianists of tho day, from such unwarrantable attacks.
" We do not believe Minn Goddard to be in an y way implicated in
this. Her character in tho profcMion stands too high, but ju.tice to
herself require* that she should rid herself of such 'friends' who seek
to draw odious e©tnp*ri*ons, calculated to involve her in quarrel* with
her brother* and aiatcr* of the profession.
" The article concludes with an announcement of the forthcoming
concert of * Madame de Belleville Oury,' and the article itself is signed
A. de B. O., and dated from Brighthelmstoric.
" On tbis every reader will say ' This is palpable, it it from the pen of
Madam* Oury.' Such, we admit, was our impression, but inquiry
leads na unhesitatingly to say, it is not tho production of this talented
lady, nor is she at all aware who the writor is. Nay, more than this,
wo arc requested by the Isdy to say that sbe has written to the Mniical
World to demand tho name of the fair (?) writer who thus dares to
attempt to injure Uerr Kuhe, and shield* himself or herself under the
initials of Madame de Belleville Oury. Pcrhape the writer may yet
have cause to regret so ill-timed a composition."
Now really our friend near tho Downs is a little bit
too down upon "A. de U. Q." In her whole letter,
which occupies a column and a-half of our type, the subjoined
is a summary of what is actually written about Miss God-
dard : —
1. — " Xolamment, Arabella Ooddard, the pianiat."
2. — "A truly splendid performance by the above-named famous
player*, with which the audience were more than delighted, a* we*
testified by the heartiness of their applause."
3. — "After rendering full justice to Arabella Ooddard'* tuperb
execution of Robin Adair,' on being encored in which the young lady
substituted ' Home, »weet home."'
4. " No one is better aware than Herr Kuhe himself of the immeasu-
rable distance between his playing and thut of Mdlle. Ooddard, from
the diatonic scale of C major to the sonata Op. 106 of Beethoven."
The above is absolutely all upon which "A. de R Q."
ventures in praise of a lady who, by general consent, is the
first pianist in the metropolis, and might, therefore, be
highly rated throughout Great Britain, without offence to
watering places, inland or outland. Pint — that Miss
Goddard is "a pianist," will hardly be denied. Second — that
Mendelssohn's second trio, by Miss Goddard, M. Sainton,
and Sig. r*iat ti, should be a " splendid performance " was not
surprising, considering that they are all three deservedly
"famous players;" nor was it surprising that the audience
should applaud. The ItriglUon Guardian pronounces the
performance "almost perfection," — while the Brighton
Gazetts surpasses "A. de R Q." herself, by citing it as
" perfection," without qualification.
Third— that Miss Ooddarda execution of Mr. Wallace's
" Robin Adair " is *' superb " every connoisseur knows who
has enjoyed the ulvantageof hearing it. (Sou what the Gazette,
which accuses our correspondent of "fulsome praise," itself
reports^ Fourth — the "immeasurable distance" between
Herr Rube's playing and that of Miss Goddard is surely
no paradox, if pianoforte playing is to be regarded from a
serious point of view. For this reason the parallel between
the German pianist aud the English pianist, adventured on by
the Gazette, most probably led " A. do R. Q." to suppose that
the writer was not in carnost, aud that, instead of intending
a compliment to Herr Kuhe— one of the most highly
respected of the hundred and one respectable Teutons who
gladden this realm with their presence, and make music and
" hay" simulttaneously — he was ai ming at a species of Socratic
irony. Now, however, we are fully convinced that the
GazetU reporter is quite innocent of irony, if indeed he ever
beard of the man of whom Plato was the chief disciple.
But, seriously, these questions had best bo left alone. We
have no doubt that our correspondent will bi- able, when
necessary, to take her own (art, and that she will write a
rejoinder to the Gazette. If she does, however, we must
request her to address herself to the Brighton journal,
and not to the Musical World. We desire, as long as it is
possible, to avoid consideration of the respective claims of
foreign and native professors, whether public performers, like
Miss Goddard, or — like Herr Kuhe— in strict truth merely
teachers. The metaphor of the sign-post is incouveuicntly
at hand — and as we do not like always to take the path
conventionally indicated for our guidance, we would willingly
avoid the subject. At the samo time, if provoked, we are
quite ready with materials for discussion.
TffE present state of theatrical art is sickly enough, but
is not quite so bad as some mourners for the good old times
would have us believe. If there is uo strong company capable
of giving weight to the smallest part in a numerous list of
personages, such as, for instance, wc find in the old comedies,
we are at any rate free from such utter rubbish as the pieces
that, forty years ago, wore considered not only tolerable but
highly meritorious. Something like regularity of construc-
tion has been learned from tho French dramatists, and though
our national pride is wounded by our subjection to theatrical
Paris, the chastisement has not" been unaccompanied by in-
struction.
One peculiar feature of the modern play-going public
is a love of brevity, which, by-the-way, is national
enough, as we do not find it on the other side of the Channel.
Much as wo borrow from the French, we generally avoid
those lengthy dramas that make the fortune* of the Porta
Saint Martin, the Ambigu-Comique, and the Gaite, or at all
events trim them down so liberally, that, instead of filling up
an entire evening, they merely serve as the substantial fare to
be followed by a spectacle or a couple of farces. Modern
John Bull has an instinctive dread of the "slow;" slow-
ness and length are with him equivalent terms, and the
more genteel he becomes in his habits, the greater is his terror
of being wearied.
One of the consequences of a love for brevity on the part of
the public is a predilection for those pieces, in which an
actor stands pre-eminent above the rest. A very compli-
cated action becomes perplexing if it takes place within limits
too narrow, and hence dramas of character, rather than of
intrigue, appeal to the miblio taste. Again, a complete de-
velopment of several characters within a small compass is
impossible, while a single personage, or perhaps two, may, under
similar circumstances, be elaborated to the highest degree.
From a one-character piece, therefore, a modern audience
derives greater enjoymout than from a broad ensemble, and
it is moreover encouraged in iU preference by the actual
condition of the stage ; for we have several theatrical com-
panies, who can work efficiently, especially when under the
guidance of an experienced and judicious manager, but of
actors, who can make a strong impression on an audience,
the number is exceedingly few.
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[DecemDbr 11, 1 85a
All these circumstances being taken into consideration, wo
can scarcely wonder that a Loudon manager is ever anxious to
secure those piece*, that employ in the most striking manner
the principal member of his company. This one member
is probably the great attraction of the establishment, and if
his fellow-labourers were allowed the same opportunities for
distinction, the public who came to see the star, would be
perplexed if it were nearly rivalled by a number of lesser
lttminaries.
Let not our meaning l>e perverted into an assertion that
subordinate parts should be ill-played ; that the minows
should become puny minows, in order that the Triton may
be a more magnificent Triton. No— let every part be per-
fectly acted, if possible, but at the same time let subordinates
accept their position, and not mar their own usefulness bv
indulgence in ambitious dreams. Expei •ience forces upon
us the conclusion that from an English public one man in
particular draws the money to a theatre, and that he had
better be as forward as possible. How transient is the ex-
istence of those plays, that without any exhibition of marked
individual character, doixmd altogether on the ingenuity
of the intrigue ; how long do those works remain on the
stage and dwell in the memory, which are distinguished
by the presence of one single personage, who is either the
type of a class or an exceptional idiosyncrasy.
Nor is this a mere peculiarity of modern degenerate days.
From time immemorial, actors" rather than dramatic writers
have drawn the public to the theatre, and among the actors
there has generally been one who was the constant object of
curiosity and -
Laurent's Maod Valsk.— This popular noretau dt
has been one of the nightly attractions at M. Jullieu'a concerto
during the past week.
Stctset Tome Sol-fa Coscsbt. — A very successful concert
in aid of the Carr-street Ragged Schools, was given in Stepnev
Meeting School Rooms, on Wednesday evening, the 8th instant.
The choir, consisting ol 50 voices, selected entirely from two
Tonic Sol-fa siuging classcs.gavo (he vocal music so satisfactorily,
that five of the pieces, including Miss Stirling's Harvest Hymn,
encored. A selection from one of Bach's motets also
extremely well. Some instrumental pieces were well
red, by Miss Stirling and Mr. Kemp.
The Bcxton Amateuu Musical SoeitTr gave their second con-
cert on Wednesday evening to a crowded audience. The orchestra
was conducted by Mr. Boose. The concert opened with Weber's
overture to Preciota, which was well played, with the exeej>-
tion of a little wavering in the first few bars. This was fully
atoned for by the spirited performance of the rest of the orches-
tral music, more particularly in Moznrt's svruphony No. 2,
ovcry movement of which was executed with an amount oi
care and steadiness seldom met with amongst amateur players.
The same praise may be awarded to Rossini's overture,
L' Italians, and Weber's March from Obtroti, and two solos on
the cornets-piston and clarinet were applauded. The latter
was by Mr. Snclling, junior, a young and promising pupil of
Mr. Boose's. The vocal department, with the exception of
Mrs. Lucas (always a favourite here, and well meriting the dis-
tinction), was weak throughout, especially in the case of one
" professional," whose name is needless to Vneution. The third
concert is announced for Wednesday, January 5th, 1659.
Islixotok Musical Uxios.— Myddelton Kail »u« denielv crowded
on Mond«y evening, when the first concert of the Idiiint.ln Mus.cnJ
Union took place. The nrti.ts wen- Mrs. Wei,., Miss Laura Hujt<r,
the Misses Dauby ; Mr. Weiss, Mr. G. A. Coper, and M. Siuutoo.
Hcrr Wilbelui Qanx was conductor and solo pianist. Fur the next
mTh' Busts' "sad M%»q[ur,,,mM Arabtli* Ooddwd,
M. JIILL1EN8 CONCERTS.
Ox Monday — the third " Beethoven Night" — the overtures to
Ltonora and Egmont, the symphony in C minor, and the piano-
forte couccrto in E flat, were repeated— Miss Arabella GoddarJ
being once more the pianist, and once more re-called unani-
mously after her wonderful performance of the concerto.
To the above already rich selection M. Jaliien added the
Kreutzer Sonata for piauoforto and violin — Miss Araeblla God-
dard and M. Wictiiawski. This performance was in every
respect jwrfect, and created an enthusiasm for which we ■carcely
remember a precedent. A tempest of cheers and plaudits
greeted the two artists at the conclusion, and again when they
were summoned back to the orchestra. A more brilliant success
was uover achieved.
The » Mozart Night" comes off this evening,
other things, Miss Goddard is to play the famous
concerto in D minor — its composer's masterpiece.
CRYSTAL PALACE.
The ''Mozart Concert" — which has now resolved itself into
an "annual" entertainment on the auuiversary of the death of
the great composer — was given on Saturday, the 4th, in place of
Suuday, the 3th, Mozart having died on that day, 1733. It is
questionable whether such events should bo " commemorated"
in this fashion. To celebrate the birth-days of eminent met
would be far more graceful and appropriate. At all events, if it
be deemed necessary to remind us annually that Mozart died on
December r,th, it would be as well to select some of the graver
works of the master for the occasion. The RoptUm would bt
just the thing.
Apart from these considerations the programme on Saturday
was admirable, comprising the Symphony in C, the pUooforU
concerto in the same key the overture to Dtr .ScAo.ujj.vtl Director
(L'lmpreiariv), and a selection from the ZaubxrH6U, including
the overture, grind march, aud chorus of the Prieats of Isia, the
tenor air, " O cara imagine," the duet " La dove prende," the
comic duet "Papagcna, Papageno," the grand bass air " Qui
sdegno" (" In diesen heilcgen Hnllen"), Ac None of the
of the Queen of Night was attempted.
The Symphony was well plaved. and the
concerto lett little to be desired. The overture to Die
was occasionally open to criticism. That to the comic opera,' iV
ScJiauipiel Director, which exhibits all the ease, grace, and viw
citv ot the Figaro, and Cot) fan tuttc, was excellent throughout
The Concerto in C (played by Miss Arabella Goddard last
winter, on two occasions, at M. Jullien's concerts,) was capitally
given by Herr Pauer, whose performance was characterised by
vigour of style and great mechanical dexterity. His ■ cadenzas'
in the first and last movements, however, were by no roeac,
Mozaitean. Nevertheless, he was greatly applauded, and with
goo* I reason.
The vocalists were Mr. and Madame Weiss, and Mr. Geom
Perren. The exquisite tenor air, " 0 earn imagine," sung 5f
Mr. George Perren, was something wanting in expression. Mr.
Peimi has a capable voice, aud with a little more refiuna*,
would be a decided acquisition to the concert room. The loveh
duet " La dove prende ' (so well aud long known to the Engh>£
public as "The manly heart") was extremely well giveu by Mr.
and Madame Weiss. Mr. Weiss declaimed the magnificent sin
of the high priest, Sarastro, "Pussenti numt," and "Qoi
sdegno," with befitting solemnity. The comic duet (for PatagtTK
and Papagena) requires the stage for effect. A foot note in the
programme informs us that Rossini, in his light and pl<Xffv'
opera, the Barbure, was greatly indebted to the duet "Papagecic.
Papagena," which " light and pltt>ful" remark was, no doubt,
made at bap-hazard. Tlmt Rossini is greatly indebted to
Mozart, Rossini himself glories in acknowledging, but we cannot
see what on earth the Barbiere owes to the duet. Had tfc*
writer afiirmed that the duet " Papageno, Papagena,"
suggested the trio "Paptttaei, Papataci," in the^
A&n, ho would have been nearer the i
had
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Dbcbmber 11, 1858.] THE MUSICAL WORLD.
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ST. JAMES'S HALL.
These concerts, denominated " Popular," were given at the
above hall on the evenings of Tuesday, Wednesday, and Thurs-
day, ostensibly got up for thu London public, hut directly
addressed to the visitors who flock to town at this period of theyear,
eager to behold certain unctuous beasts rolling their larded sides
in stifling pens at the Bazaar, Baker-street. It is not always, how-
ever, that the lovers of fatted beeves and eyeless pigs are attracted
" pa musical programme.or moved by the concord of sweet sounds.
to the ears of our cattle-surfeiting gentry arc the low of
herds, the bull's loud bellow, the neigh of tho gelding, the grunt
of the pig, the quack of the duck, the cackle of the goose, the
bray of the donkey — the whole artillery of the farm-yard — than
the Guest symphouy or the sweetest song. The crowds expected
from Baker-street did not arrive, and so the great hall of St.
James's was uot as well filled as might have been anticipated.
Certainly one great attraction was wanting the first night, in
Mr. Sims Reeves, whose Newcastle influenza still lingering
about him, prevented him from attending. Ou Wednesday and
Thursday, however, he was able to attend, whew the hall was
better filled.
The three concerts were of the slightest possible contexture —
such, indeed, as would have consorted better with entertainments
given in remote suburban nooks, than in the splendid metropolitan
ball. The programme exhibited a few eminent and several goodly
names. A coueert, which shone conspicuously with the names
of Arabella Goddard, Sims Beeves, Alfredo Piatti, Miss Dolby,
Mr. and Madarue Weiss, Miss Messent, Miss Stabbach, Mr. and
Mra.Tenuant, Miss Poole, Madlle.de Villar,Msidlle. Behrens.Herr
Eugel and Tho Swedish Singers, argued, <i priori, nn entertain-
ment of excellence and variety. The "Three Concerts" have
been denominated the " Cattle-Show Concerts." With greater
justice, we think, they might be called " The Publishers Con-
certs." Nearly every vocal piece sung was of the latest
production; copies, still wetfrom the press, lying on the couuter,
crying out, "Who'll come and buy me I" As long as the com-
positions are good we do not find fault with this mode of adver-
tising; but the attempt to force indifferent ware upon the public
should meet with no forbearance. Of course with such practised
artists nothing but success could follow, and we have only to
chronicle the leading features of each night's performance.
On Tuesday the triumphs of the evening must be awarded
to Miss Arabella Goddard, in the first instance, in Wallace's
fantasia on "Robin Adair," and Thalberg's "Home, sweet
home," in both of which she created a furor, the latter being
demanded with acclamations; afterwards to Siguor Piatti, for his
fantasia on airs from Sonnambula : to Miss Dolby, for her ex-
pressive siugiug in Balfc's charming song, " Daybreak ; " to Miss
Stabbach, in Linley's ballad, " Itonuie new moon;" and to the
Swedish singers in all they sang.
At the second concert, ou Wednesday, Mr. Sims Reeves made
his appearance nod was received with uproarious delight. He
sang Balfe's never-tiring song, "Come into the garden,
Maud," and with Mr. Weiss, the duet, "All's well," and
was enthusiastically encored in both. Mis Arabella Uoddard
again enraptured her hearers in Fu in igal I i's " Clarice*' and Thal-
berg's '■ ProphCte." Mi*s Dolby sang in her most finished and
expressive manner Duggau's new s<>ng, " Many a time and oft -,"
and the Swedish singers again distinguished themselves in several
of their national melodies.
At the third concert Miss AraMla Goddard played Thalberg'B
fantasias ou " Masaniello," and " The Last Rose of Summer ; "
Mr. Sims Reeves sung " Bonnie Jean," and " Phoebe, dearest;"
e were boys together,'"
FUNKE.
To the Editor of the Musical World,
Sib, — Can you inform mo whether Mr. J. Funke (a composer
for tho pianoforte) was ever in England 1 He was, of course,
only a spark, but perhaps in your extensive researches you may
have seen or heard of htm.
i yours, &c,
*ong,
, called
called " Sir Marniaduke," a very
way ; and Miss Dolby sang Faith-
1 times." All these pleased more
Mr. Weiss gave his own
also a song by Angelina,
pleasing composition, by the
fill's ballad, "These dear old
or less, and constituted the features of the _
Goddard, receiving five " encores" too marked and
to be resisted, thus played eleven timet during the
J of six!
i concerto were conducted by Mr. Benedict with his
ability, and with
Styka.
THE KREUTZER SONATA.
To the Editor of the Musical World.
Dear Sir, — In the paragraph you have inserted in to-day's
Musical World, on the late concert given by the Torquay Choral
Society, you have omitted to give the name of the duet for violin
and piano, played by Mr. Rico andmyself. It was the "Kreutzer
Sonata."
Had it been an unimportant composition, I should not, of
course, have troubled you with this note ; but as it is about the
most important compositiou for the violin and piano ever
written, and also extremely important to find that it was en-
joyed by a tolerably large audience in so out-of-the-way a place
as this, I trost you will kindly mention in your next number
that this was the duet performed. Fat hfully "yours,
Torquay, Dec. 5. C. Fowler.
"ELLA TREMANTE."
To tie Editor of the llaneal World.
Dear Sir, — Will you kindly inform me in which opera of
Donizetti's is to be found tho tenor aria " Ella treinaute," as I
have in vain endeavoured to procure the same. Should you bs
unacquainted with it, possibly some of your many readers may
oblige me with the information. Your obedient servant,
Tesorf. Robcsto.
EPIGRAMS.
No. I,
Lo I Fashion scorns the gifts of health and wealth,
Upon her altar laid by Folly and by Vice j
The pampered goddess now demands by stealth
Ot wives ami daughters a burnt sacrifice.
No. 2.
Yoc pretty birds, whom Fashion now encages,
The better to display how fine you're plumed,
Mind, only phoenixes— my little i
Rise from their ashes when by I
Dublin. — Mr. and Mrs. Charles Mathews made their tint
appearance here, after their recent successful engagement in
London, in the brilliant and cleverly written comedy of London
Assurance. The acting of Mr. Charles Mathews is so familiar
to the theatrical public, so easy and assured, and m irked by
such self-possession uuder the most startliug circumstances, that
he imparts the impress of a conventional reality in sceues which
are meant to test the coolness of the men of tho world, and
leaves the idea on the mind that h<J could light a cigar at the
crater of Vesuvius, without being disturbed in bis equanimity
by the sudden outbreak of flames that Pliny could not speak of
without peculiar emotion. As tho fashionable and worldly
Dazzle
manner,
upon the i
ance in Lady Gay Spanker, until a late period in the uumUU,,
and when her joyous laughter was heard behind the scenes, the
applanso was initiated. In person and face the lady is attractive,
her voice is clear and judiciously modulated, aud the dashing
fox-hunting woman of tho country was depicted with great
vivacity. In the well-known passage in which the exciting race,
and tho rivalry of the opposing horses, was described, the dash
- of the actress renders justice to.the author's word-
I peculiar emotion. As the fashionable aud worldly
Mr. Mathews acted with his wonted quiet piquancy of
•, and telling abandon, producing a commensurate effect
leaudieuoe. Mrs. Mathews does not make her appear-
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THE MUSICAL WORLD.
[December 11, 1858.
— - ■■ —
MOZART'S ' MAGIC FLUTE."
(Prom Dvijhft Bottom Journal of Untie.)
Berlin, Sept. 30. 1858.
Dear Dwioht, — Remembering how very interesting to roe,
yean ago, any operatic programme from a foreign city was ;
bow it seemed to give me a clearer idea of the manner how
things were dome, I translate complete the " Zettel " of last
evening, leaving it for yon to drop it into the basket or not, as
you see fit.
ROYAL DRAMA, OPERA-HOUSE.
Wednesday, Sept. 29, 1858.
(167th performance.)
THE MAQIC FLUTE.
Opera in 2 parts, by E. I
Ssraatro llr. Fricke.
T amino 31 r Kruger.
Queen of Niffht Frau Hosier.
Pernios, her daughter Fraaleia Wippern.
Papugcrvo llr. Krause.
Monastatos, a negro Hr. ltaaae.
Speakers (of the Priests) Hr. Bo»f, Hr. Koser.
Ladiea . . Frauleio Car!, Frau Bdttichcr, Fri. Beldamui
Papagena Franlein Bsur.
Two men in black ennour ... Hr. Lieder, Hr. Frieie.
Frl. Oct, Frl. t. Meddlhammer, Fran T
, Blare*, People.
Text books, 12 1.2 cti.
, 2 13 cts.
Strangers* Boxes $1 50.
1st Rank and Ma Balcony with Proscenium boxea and
orchestral seats 1 00.
Parquet, Parquet Bores, and Proscenium, 2nd Rank, 75.
2nd Rank Boxes 60.
3d Rank and its Balcony 44.
37 1-2.
(OsUary) 25.
Notice,
Thursday, September 30. lC8th Performance.
Montecchi. Opera in 4 part*, translated from the Italian by J. C.
Mu.ic by Bellini. Middle Price..
Die Capulotii and
Frsulein Triet-ch, Herr Sobafler.
Bcsrinnine C 1-2 r.*f. End about 9 1-2.
Ticket OIH-e will be open at 5 1-2 r-.ir.
I have no long disquisition to write upon the music of the
Magic Flute. It is enough to say that 1 consider it as possessing
more truly beautiful and popular music, both melodic ana
harmonic, than any other opera ever writteo. Don Juan is
greater, because there are greater passions in it to pourtray ; but
nothing can be more beautiful than the constant succession, the
heaping up, of the loveliest melodies, together with accompani-
ments and hnrmonic combinations, which are as extraordinary
and marvellous to the contrapuntist now as in L79L Sometimes
when I have not read As Ton Lite It, or too Tempett, or the
Winter't Tale, for several months, I reperusc them with the
feeling that I never felt their beauty adequately before. So last
evening, solos, duets, quiutpts, choruses, overture, accompaniment
and all, familiar as all ore, — constantly to be met with as most
of them are in our eon«-books, glee-books, pxalm-books in all
sorts of shapes and all kinds of text* — seemed almost for the
first time to opeu to mo tlieir delicious perfection.
Near the close of the opera, as I listened with "John* — whose
emotions were written in his face — it was the first hearing —
both of us in that rather rare state, one of perfect satisfaction
with the music — I was startled by somethinir peculiarly familiar.
I should not have thought this of you ! I hope I
line ; and I shall be so, if it does not prove that
you, in the ritornel'lo, in this air of Monastatos, and in a part of
the vocal motives, have stolen the idea bodily from tbe Largo ol
factotum, in Rossini's Barber.
(Interruption from the reader.) "But, Mr. Diarist, Rossini'i
opera was not written until twenty-three years after the Magi:
Flute ! "
Is that so, reader T Well, then, Mozart is free from the impu-
tation of plagiarism in this case. But what right had he to
compose such prophetic music T He was alwayB doing it. It at
the opora you are struck with a concerted piece fbr an/ number
of voices up to the sextet, which naturally springs out of tk»
dramatic situation, in which, at the same moment, as masy
different passions are depicted iu music upon the stage, as then
are parts, you will be sure to find something almost perfect of
the same kind, as a model, in one or more of his operas ; if y«
are struck with the effect of a concealed chorus, singing soleaa
music, as in so many modern operas, this bad Mozart did tlw
same thing again and again, and save by Oluck, with almost
unparalleled effect ; iu this very Magic Flute, you have two tats
come upon the stage and sing an old Lutheran choral, -while tie
orchestra works up a fugued subject aliout it. Now, what rigit
had this man to forestall Meyerbeer's greatest effects in tar
Huguenot* and The Prophett If the man had lived twenty yean
longer,Idon't see thathe would have left a single new tnnsical ide*
for nis successors to have wrought out — his European successor! ,
of course, for when our " free, independent, and enlightened
citizens " take to operatic writing, we shall beat the world, V
we do now in architecture, sculpture, painting, landscape gar-
dening, railroad building, steamboat exploding, and I know a«t
what all. John Smith assures me, that we do lead all Gorow
in these things, and this being so, we shall soon also lead the
way in opera. Then where will Mozart be with nis Don
and Magic Flute t This brings me back again, from, mr riJejp
the American eagle. *»«
A vast amount of matter has been printed upon the history
of the Magic Flu'e, but much of it is scattered, and has escaped
both Holmes and Oulibicheff. , Without waiting for the fourth
volume of Jahn, which, judging from tbe first three, will give
us the story in full, here are two or three matters, which I tusk
will be new to the reader.
The authorship of the text is almost universally attributed to
Schickaneder, as it is by the programme given above, by Nfasra,
and after him by Holmes and Oulibicheff. Yet. many yean
ago, I think in an early volume of the London Muncal World.
some twenty-five years since, there is a notice of the death of a
German teacher in Dublin, Ireland, who claimed it. So far si
my reading goes, no notice of tbia has ever been taken— net
even so much as to question the man's vemcity.
text is a matter of tome importance at least— man
carried good music with it to the shades, and some have nred
music in itself hardly good enough to be worthy of |
and its author is worth finding out.
I translate a short article ou this point from the Stue
Zeiiung, of Juno 13, 1849.
"The real author of the text to the Magic F7uie was
Schickaneder, but his chorus singer, Giesecke, who dres
plan of the action, made the division of scones, and mi
the familiar nato rhymes. This Giesecke — as J. Cornet relates
in his interesting book, Die Oper in Deuttchland — a vfudci'
born in Brunswick, and expelled from the University- at Hit
— was author of several magic operas, also of the M <tgic fht*
(after Wieland's Lulu"), Schickaneder having no other shawls
it than to alter, cut out, add, and — claim the whole. The js*v
devil of a Giesecke contrived to keep soul and body toeaHnee bj
sincing small parts, and in the chorus on. Schickaneder 'a staff
in the Frtihatit auf der Wieden— the Theater on dor VTien net
yet being built <\i a '■'»••
(7b I* conuaved). : ii;-*
* Wieland's Lula J I know of no play or tale of this title is
Wieland'a Work*. The poem, "Schaek Lo>'o," has nothing in eosaunos
With tbe text of tbe Magic Ftutt. Who can tell as ?
And yet a
Digitized by Google
December 11, 1858.] THE MUSICAL WORLD
797
MUSIC AND MUSICAL TASTE IN HAVANA.
Lmil FBOM SlOSOR TiOlIAFICO TO A FRI5CH FHTKTO TS CPBl.
(Trtnilated for Uie Philadelphia Etemtf B*ll*ti»
Corner dts £tatt- V*U.
You hiivo often smilingly naked me, " What do you think of
our ItalilUI theatre?" My dear V., you know Mrs. Glass's
Sfith.
My Dkar V.,— We have often conversed during the present
sason of the Havana Italian Opera, and yon have seemed to
attach some value to my observations, rather, I fancy from the
recollection of the days when we were chums at the college of
Henry IV., than on account of my personal importance in this
theatre. Allow rae, in leaving h>-rc, to give yon my impressions
with the candour of which yon know that I am possessed.
I have, during my stay in your fine country, written a dozen
letters that I design for publication. I will send you what I
lave written from Paris or from London. In the meantime
I will give you a summary, as brief as possible, of all in those
letters that touches the question of art.
%
receipt for a potted hare: "the indispensable thing is first o
theatre."
. "Bnt, say you, the great Tacon theatre r Well, the Tacon
theatre is au immense building, which might do admirably for
a ballet or a fairy spectacle, but never, never for hearing singing,
and especially Italian singing. Built in violation of all the best
known rules of acoustics, without any regard for draughts of
air (I appeal for this to tne musicians of the orchestra, whose
cigar smoke darkened the foot lights and choked the singers
during rehearsals^, open to every wind, to every noise, to every
smell ; not far from a railroad, whose American engines, with a
most nnniclodious screaming, add new effects to Verdi's harmo-
nies : finally, covered with a kind of zinc roof, which, on rainy
days, makes cymbals entirely useless in the orchestra, the great
Tacon theatre has not even a retiring room (for the singers that
would be a luxury) which, communicating with the orchestra,
would allow the musicians to tune their instruments at the
beginning and between the acts of the opera.
You call tliis a theatre for Italian Opera ? I do not speak of
tho stage— that tanctum imptnetrabiU of every theatre that
respects itself, to which, in Paris and St. Petersburg, no one is
of the Minister. Here the stage
is a mere tobacco-sbop. Smoking is prohibited in the lobbies of
the theatre ; but behiud the scenes ono may smoke in the couliuet
in the very faces of the singers, who may have taken, during tho
day. every precaution to keep their voices clear and their lips
fresh ; so that Lucrezia, or the Favourite of King Alphonso, or
the niece of tho very noble Don Ruiz Gomez dc Silva, have to
sweep up, with their velvet or satin robes, the saliva of Messieurs
the subscribers. The chorister smokes, the machinist smokes,
the soldier on guard smokes, dressers, sweepers, servants, black
and white — all smoke. Is there any need of all this, to remind
us poor artists that our art, our ambition, our glory, everything,
is only smoke ? We know it well enough, without having to
pay so dear for it.
An Italian theatre requires, moreover, an orchestra and a
chorus. I know your opiuion, and the press has been unanimous
in regard to the orchestra and chorus of this season. I have,
therefore, no hesitation in testifying to their worth lcssness.
But by what right can you demand at Havana an orchestra and
a chorus 7 Have you ever done anything to procure them I
Yon do not pretend that Marctzck, or any other director, should
bring you from Europe or the United States, twenty-four choris-
ters, and ns many first-class musicians for the orchestra, which
arc necessary to put your theatre on a level with other establish-
ments of the kind? We have often laughed, I assure you, when
your journals have anathematised the first performance of La
TaroritayOn acconnt of the general effect and the scenic appoint-
ments. Do you know that, to produce this work in Paris, sis
months of rehearsals were required, with the orchestra and
chorus of the Grand-Opera? Do you know that, in London, for
two mouths, our chorus have been rehearsing every day the
works that we are to produce next summer? You say th-> mire-
tn-tcine is deplorable. And whose fault is it ? Did not Maretzek
have to pay $650 for the right of not having in Noma a \
of the Rue de la Paix, with the Veadome column in the back-
ground, and in Maria di Rohan a Pompadour chamber and
ornaments, in Ernani a portrait nailed to the wall, so that the
bandit was obliged to hide himself in the ante chamber— in a
word, pitiable appointments, and disgustingly dirty !
When, Havanese, you shall have established by a private
subscription— which is the easiest thing in the world with your
pecuniary resources — a conservatory of music, where you can
train vocal and instrumental performers; a Philharmonic Society,
such as are found now-a-days in the small cities of Italy, France,
England, and Germany — a society which will promote a taste
for music in all classes — when you shall bring out at your
monthly concerts and in a grand annual festival, the productions
of the great masters ; when, in a word, you shall know, other-
wise than by name, the works of Beethoven, Mozart, Haydn,
Handel, Chorubiui, Spobr, Mendelssohn, &c, 4c, then vou will
have a right to be hard to please, and to demand of foreign
managers, to whom you furnish resources found in your own
country, a perfect performance ; then, but then only, you will
have tho right to call your country a musical country. Why,
you have not even a quartett toirfe in Havana! You have not
a single house where people meet for music, or where artists are
received ! You know, my dear V., how much the art of music
at home owes to the talon* of your countrywoman, the Countess
Merlin, to the Rochefoucaults, the Cazes, the Orfilaa, the Cre-
mieux, the Girardius, and others, among whom the greatest
artists of all kinds were the peers of the greatest names of
France.
To return to tho theatre. You have a queer word in your
island, which shocked me a good deal at first. It is theword
Trabajar (to work) applied to the profession of a singer.
" When do you work ?" people would ask mo. " Do you work
in La Sonnambula /" " How well Madame Gazzaniga worked
last evening in La Traviata f This word, I soon learned, was
perfectly appropriate to these who sang at the Tacon Theatre.
You are right. The art of singing here, is not the most
ideal, the most perfect expression of the feelings of the soul.
It is work, work for the throat, the lungs, Uu: arms, the legs,
the whole muscular system. There is only one way to sing at
the Tacon Theatre, it is to scream. Cantar et gridar I And
this will explain the success of every singer who, consenting to
sacrifice his artistic convictions, sctks to produce effects, for
example, by that eternal holding of the dominant, on which he
seems to hang with bis whole strength, to fall afterwards with
all his weight on the tonic Everywhere else this is a mark of
bad taste, but in Havana it excites frenzies of applause, espe-
cially if the thing is accompanied by a blow of tne fist in the
air, or by several rapid slaps with the open hand on tho chest ;
(probably a sign of mea culpa !) This is sublime, according to
Havana taste.
" But," say yon, " the great Marty company." When you say
these words you produce in me all the effect of most old grumb-
lers of tho first Empire, who, when reading the reports from the
Crimea, never failed to exclaim, " Ah, the Old Guard ! Where
is the grand army ? " The artists of this great company have
been our friends and comrades of the theatre, at London or St.
Petersburg, before they dreamed of coming to Havana, where,
it is true, they had their greatest success, nut where also they
terminated their career, with one exception, and (between our-
selves) without Getting rich, for their wardrobes, left in pledge
in your hands, alone saved them from Moro Castle, the Clichy
of the Antilles.
" lit ne chanlent pl«t" as Mai eel says in the Hugenots, and
the exception I have made proves the rule in the Tacon Theatre.
In fact, 1 have read all tho papers of the time, and 1 have found
that Mduie. Bosio was daily accused of sparing her voice, of
singing carelessly, of being cold, in a word, of not icorking as
hard as her associates. Mme. Bosio is now the first cantatrice
of Europe. She is, said lately one of your friends, the only one
of the "great company "who understood the Tacon Theatre—
the theatre still full of their voices. That does not surprise me,
I answered ; they left their voices here !
I would not speak to you of the press and the public (that is
Digitized by Google
798
THE MUSICAL WORLD.
[Decbmbbr 11, 1858.
hard for me, who owe them nothing hut praise)— of the public,
whose judgment ia always sovereign, if not infallible— of the
Jiresa, whose duty it ia first to express the impressions of the
public, and then (and it is its most important mission) to en-
lighten it, to guide it, to instruct it, to teach it, to regulate its
sympathiu*, so that art may not fall iuto the hands of the parties
that cannot fail to arise in a country like yours, far removed
from the great centres of light, progress, and civilisation. I
have certainly read all that has been written in the journals
upon the Italian Opera,during the season, aud I candidly declare
there are not two lines from which an artist could derive l.euelit,
or which could in the le.ist degree assist the public in forming
their opinion.
One paper, in the beginning, with a very slightly disguised
opposition to MareUek's uudcrtakhig, hazarded some technical
musical words, confounding style with method, blaming one artist
for altering, and another for transposing his airs, without
troubling itself about the voices, the proprieties, nor even the
traditions of the great opens of Europe. This, happily, did not
last long ; the critic soon found himsrlf nt the end of his voca-
bulary, and then began what we call the " proof before letters,"
the criticism before performance, llere is a specimen : " On
such a day, such an opera was given. Why does such an artist
•ing in it, and why uotauother 1 We should like to know, Mr.
Manager, how many rehearsals you are going to have. Ah, ah!
eight years ago we heard the same opera giveu by the great
company. Take care, caramba ! for we shall be there, we the
Chls of criticism, the Don Quixotes of the feuilieton .'"
But of rational appreciation there is uoue; of analysis of the
good points of this artist or the defects of that one, none. No,
I am mistaken. A certain sergeant of my acquaintance was
blamed for having, in L'Elirir d" Amort, kicked away a piece of
bread which annoyed him on the singe, without regard for the
public ! But this poor sergeant liaT tiijht pantaloons, and an
accident might happen to him so easily. To go higher; Bouconi
was to bo the star of the season. What is the amount of the
criticism on this artist I Tn if aria di Rohan, they have provpd
clear as day that it is always imprudent for hiixl.niKla to loot I
through key-holes; also that in seizing a woman by the hair,
there is danger of pulling off her head-dress. Wo hnve read all
Tn y1 Mfta mftm raft J mm « U ~ I . - ., 1. ~ I ^.i A. _
things! Tn VElitir d'Atnore he has been advised not to
embrace the Notary, as he does when he has to say, " T abraccio,
e ti saluto, uficial d' amor." These are observations full of deli-
cacy and propriety, when they relate to two of the grandest
creations of that great artist, called RoocoaL Poor Bouconi !
baa he not been advised bv a journal— I will spare it the shame
of naming itr-to engage himself in the comic troupe, to take the
place of Ruiz, tbe clown and buffoon of the place ? O glory!
That the greatest dramatic genius of the time, the actor whose
name is inscribed by London critics next after that of Rachel
on the list of celebrities of the stage, should come to Havana, to
be disposed of in this way ! Mabel sua fata, kittrionei !
I have told you that, under such circumstances, parties are
inevitable, especially with an ignorant and foolish public. So
we have had them this season here, where, instead of a public
— Villuttrado puMico," as the bills say — we have had two
parties ; where, instead of nn Italian /roup,-, we have had two
prima donnui eclipsing all the rest ; vehement, fanatical, insane
parties, and prima donna* much amazed, 1 am sure, at the ex-
cess of honour 01 of Indignity offered them. One evening I
asked oue of these rude piirtUims the cause of this inexplicable
worship of an idol who was certainly far from reckoning perfec-
tion among her divine attributes. lie answered me, '' I love
Gog, because I hate Majrog." " And you hate Wngog f" '• Be-
cause I love (.Jog !" I asked no more.
What idolatries have we not witnessed t You recollect, my
dear V., that temple ringing witli fi-autic hurrahs, the seats
abaking under the blows of the knights of the chandelier (the
cfaqutur*) the bouquets strewing the stage (t hoy were swept
away at each fall of the curtain to serve for further triumphs
in succeed iug acts) ; the crowns of artificial flowers, of gold or
tinsel a CO ma, with which the goddess had to cover her heated
brow ; the doves — that emblem of peacr ever since tho flood —
carrying in their claws the symbols of discord, the colours of the
parties; and finally the sonnets, tbe caricatures, the journals,
the papers, large and amall, rough or Balined, of
form, of every colour — this waa the ordinary ceremony.
But on the great days, the benefits, the ancient saturnalia
waa revived in nil its splendour. After having exhibited tbe
goddess in a glory, surrounded by little loves, in a blaze of
Bengal lights, amid a shower of scraps of gold paper, the adepts
conducted ln-r to her chariot, and the march of the ox Apis
began. Nothing was wanting— neither the yelling of the crowd,
nor the torches waving in tho dark night, nor the boya hat ging
to the trees, the windows, everywhere, att l crying "Lonclive
the goddess! Death to her rival!" At last and above ail, the
inexpressible :im boumboum of two military bauds, plnyiug two
different airs at tbe same time (what airs! what music!) accom-
panied and completed this tropical masquerade.
"What!"' they will exclaim in Europe, ' all that for a scale
well done, a note finely given, or a trill skilfully executed !"
Well, well, voice, singing, talent had nothing to do with this
matter. People had first to amuse themselves, to belong to s
party, to pretend to be connoisseurs, and as, at the end of the
account, the result was no small amount of golden ounces and
Spanish quadruples, for the manager and the artists, everybody
found the fun charming. But pour Contour de Dieu f my dear
V., auk me no more what I think of yoivr Italian Optra. Cowe
and see Bouconi aud me in London, next summer. We will
show you the Royal Italian Opera; and you shall see for your-
self, as we used "to say at college, quoJ erat demonstrandum
Bring us some cigars! Yours, P. Tagllatico.
Harmomdsworth — (From a Correspondent) — A concert,
aided by professional talent, was given in tbe National School-
room ol the united parishes of Harmondsworth au-1 West Dray-
ton, Middlesex, in aid of the school fuuds, on Saturday but,
and attracted a very numerous audience. The amount realised
was considerable. Wc subjoin the programme: —
I'abt I.— Overture (Seuiirsniide), Pianoforte a Quatre Miia<.
Messrs. Clinton unil J. P. Chiton — Rossini. Sung, "To J alii." Mr.
Ilisillmslls Hsliillli ll^llad, "Oh! initio me not, mj moAtaer,"
Mrs. Thropp— Maiia B. Ilawc, Song, " Di Provcnza " (Tratiala),
Mr. 'fhnrlev — Verdi. Cans »Dti, " Ln Pnmstera" with Flute Obbiigato,
Mr-. Thrnpp, and Hon. nn.1 Rev. T. ('. Skrflincton— T. 0. Skeffington.
W.'t.p, " A tMiiio amor" (Parents), Mr. Chapls- Donizetti. Son?,
"11 SSgrot.. " (Lncrezis lton-ia), Mrs. Tbrupp -Domsetti. SoDg,
The maiden's clrrmii," Mr. B-aitl waite.
Past II. — Andante aud capricein, pianoforte, Mrs, Thrupp— Wrn-
delssolm. Son?, "Teh me, Marv, honr to woo thee," Mr. Braithww'ta
— Bo.Is.jd. Song, "The three fleherr," Mr. Tliorley — Hnllab.
Fantarn, flute, on airs from Kig-iletto, Hon. and Kev. T. C. Skrfincloc
— Clinton. Sent;, "Not.il dtmr.a" (Huguenots), Mr». Thrupp — Merer
beer. 8 tig, "II Hal- n (Truvutore), Mr. Clinple— Verdi, Song, " Ti*
minttrel boy," Mr. Thorley — Mou.-c. Hullo aone, Mr. Braith*
Pinal-, " Ood *ave the Queen." Conductor, Mr. Clinton.
ADVERTISEMENTS.
HO A 1? SEN ESS, SORE THROAT, LOSS OF VOICR
IMITATION of iba BRONCH|At TOUSLi ewed, ami a j^rtVt.r c>ju
Vmco p'fwiuvcd t'V ti'e ua-i of IrVi.lcMmm.**, I a to WliUu (-a. Bril^e. anl C*^'»
&HOKCHIO- THORACIC LOZENGES, j»u[.aml fr-tu a receipt of *>f Out
niOMt rminciit riij ■iciaiif* *>i tiu> day,
Thry nrv cupcoal ly useful to V- M> m**ri <>t P.-triiauiCuL, Cl< icj-cwa,
DtrrutcT*. Put Hi* K c.ikm, fcc, tin- 1 oa :\ ucrm.) Cough Ls^xa<i/e anr^ttaJl 4
Frvi,atv«l «.ti)y an-; I m boxes ut la. uuti tXfri ; al** lutina. at 4, 6*1 , )o&. Vl.
mad 2'". rarh, " y Ti>o ■ a* Wilkiiiauu, BriiiiC auil Co.. Cho iitst, at ItndgTt'*
t. 1 1 iini'ctj SaTfiat-ari^a, aw <(.ii„-tjr mil Csiniornllsj IVi-ftt^ STf>, I1s?nsaLV«B«<«
Uadon, W,
DR. LOCOC KS PULMONIC WAFERB— From J. D.
M.v-t:» 1. M 1) I. cturer m tbo Ituml lus;i:utt><». i.u-l Cbemiae In frvLmri
to Her Mv*»tv tbeQuc-u — 'll.jli * rect, DciCvt- Oir-t iti.ai.— I i>ara> aba ttmu-
il.-jtion . f .luting tlui. (mm .ill 1 hssi n SBsMidsSSO* ro of DR. IvOCOGsTV
I'ULMONIC WAKKRS, Ihev I ave been of ■ lumei.t Krtiw in the allevulwa H
■avere Mtl.rottle ooujrba. |ia(< a in tho rh<*i, Ac. J- U. Msmmuklu M-D."
DH L000CK1 PuLHoKlC WAKEIlS mtm Inatint Rlkfaosi a rapid ears of
».thn:n cnnumpiiciu, e*rig. *. :inel nl ilnwr.teri of the liTCAll. aiid luu^a.
To HINiiBIm and PUHi-H: 8PKAKKHS thev are iuvaliv.be. for ei«a«rh>* mri
•trei kUuuIiii,' the voicu They l «ve a most |t)cvu.t taete IVioo 1». 1)4.. is. ad
anif I la. |«r K.x. folil t.jr »ll mrdlrine tenrt .ra.
CAltrios,— Kvoty l».x ..f the uexvixt tnedi. iue haatke i
WAfKllS" iu k^i/< tittrrx on a yvon^it lu the Oovcrumoot 8'Jtaip, i
wiiicb worts »i.l ihr. coin rear kith *»o am iMrosiTion.
Digitized by Google
December 11, 1858.]
THE MUSICAL WORLD.
799
CHRISTMAS PRESENTS.
The moat appropriate olfcrinfj* lire ttioa* which leu J to 1 1 o pr. roution of P- t*mal
Beauty In the fa.r and routuful, who at thi* festive eeaeon are n. ore than uauallv
' i to adrutiijii under the gaze o[ theli u-fceud* : riune aui be inure
KOWI.ANns1 MACASSAR OIL,
A delightful fragrant and transparent preparation fortbc flair;
tor and beaiiliiler beyond all precodunt, Pnc-r .Ja 8d.ru, Family
to fcir small), 10v fid ( and double that «ui', 21*. p r lavttl>\
ROW LANDS' KALYDOR,
Unequalled Cor ita run and iiteatimable qualitiee 1a importing a radiant bloom to
tho Complexion, and a aoftn -»*n l deiiciicy tothj U..u is and Arm-. I'noe in C-l,
and Pa. lid i» r bottlo. And
ROWLANDS' ODONTO,
Or P >rl Dentifrice, which l»«otr<« i >h<.-T< ctha pe .rl :ike ••• l.ltenw. .'rcugtlienv
tha Guma. tn I rendcra the flrcatii nwc-t aud tlire. Price M inrbox.
The Patro i Be << Itoy.ty, .ml Rank and F a'.i-ti, through .<li Euro;", and
their univereeUy.ki.owi. eflloaoy, five thca* p.*i>aratiim* acelvbrVv aupatalh h-d,
and tender them nfi =«riv elegant a... I *eu«ocable p. eseut* h-'llly A. ROWLAND
& SONS, :!0, llatton Garden, Loudon, and by Chcml**.* and Perfumer*.
\ IK. HOWARD, Snrgwn-DuntiBt, j">2t Fluot-.streot, has
UJ. introluctyl uti euUrvtjr t*cw di* n pi iou of AKTIKIUAL TBBTH* fix«i
wifho.il uprinipt, wirr.\ or hgztntra. Ti cy *•> |K!r f rtly rcsemllo tno natural
tooth as iw>t lobodl't »ifrul.tWi from tiioori.-."ikl* by t»e cl<<*v**<t t»l«*trver They will
never d aiuo colour or tWay wl will i>e found nujvrtdr to Any t^cth oT«r Ik- tor*
uftod. Till- Mrfbod M n*t MMllratSN * xiractlon of ro>>ta, or fmy paiiifo] oparra-
ti-*H, will npfMtt uii'l pre* rvt> teeth I U »t are lowe, an 1 is guarantee! to rv* t^r*
articulation Mid mtiml.uti .... Divavt*! t-nti. *top|N,d aiv1 rcn-lir-l ■ouud and
Uicful in miutf.lcatir.ne !>% ricvt-alreeL At BOOM -nm M till i.
T/- EATING'S COUGH LOZENGES.— A good speech
XV i.t im effect ivi? M:.ug ntnnot \>.- given if the vocal org an* urc id a<i un aund
c<rii*litii>r. affre'iyl wKji lji»^t*f jicju or Itrl'ittton To rou,<*ly th« latter and to
pnxluce tueltxli >ub ununci "ion, butj' | iiblic cbarac*. r, wbctl.cr of lae Bar, tl.e
Sctiatr. or tha Pulpit, »Tit»i.M hav« .**. h.in l K«at i-if'n <'"U^ i Iy>/«u»r(>4. w1 tc- 1 arc
ftatrooift d by the iu»)<>r ty of «>f llio I ip p*r ;»1 Pari am tit, th>- lieu h, and le*d-
inff meniben of tho *'p«r«.nc C«rpa Fur affcetloatu ol 'itc throat o* cltoat, aud
for W-ti'«T C- mjii, th y ire unfaihri- Pr- pu. <t
^>^5S
i,7'i« wi ■ »'v i i-ioaia »» vnuav, nui«
uil aoid In boxaa, la. lH-a>ul
*c, M{ St. Pau.'s fhtircliyard.
IMPORTANT TO S1NUKR*. *e.
Sir, — I hare m«cli iduuure m nc tutnemi n^ your LtaMagCJ to thoac whi
may be din-roaned with houraancM. Tt' *y lr.\c afforded rou r« Ivf en aeveral
occ-iaiotl* wh«u scarcely able t « a ug from the tff e.a . f caUrri.. 1 Lulnk tbey
Would bo very tka-. fill to clergymen, bairiatera, and | iiblie r.rutnrv
1 am. Nir. y.iura f.dthfu ly.
THOMAS F8l.U'|j,
To Mr
GLEN FIELD PATENT STARCH,
USED IN JHK HOT All LAUNDRY,
rRuM.UKr'M.BV 111 I! MAJE-SIVH I.Al NI'ltr>S, I 1,3
THE FIN'EMT Sl AKCIl CHE EVER VHS.lt.
Sold by all Cli iiidlii^. Orocifra. *e.. lie.
THE IMl-'HUVED II AHMONI UM. — Mr W. E.
EVANS, liiTtnlor of the Ei irliati Harmonium (esliibited In Ixin ton In lin).
rail* utUiiiU iii t< tha tniprovemauta he baa la'ely niada m ttna Inarni" cut. The
aubjuine 1 tealinifiiiAl from Mr. Alfred Metl »n ir* u:to 1 1 the m my he hua re.cived
Vair. Kiko'» MoAB. Cutiaita,
Marcn 10th, iitM.
Ivln^' you my o|
C C'
Dr»n Cir, — I lnvn Fiiueh plemura in elvln^ you my oplniun
; it ia the beat iuatrumei.t of the kit d I liare errr h, ard
To Mr. W. E.
N, _
Yoiu*A T«ry truly
A I
LFRXD MELLON.
M U S 1 C S T 11 1 N G S.
WJIOLE" AL'J WAi EHOUS" -THE CHEAPEST HOUSE IN LONDON.
14, EAST PLACE, KENNINGTON LOAD.
MONSIEUR ALPHONSE VILLIN (<b Paris) Import it
of Italian. French, aud O.nriaii Siring* k* a I tiiatrunici>r«. I.Ut ol price*
and aamp'ra f -r-Aarife i (Iruel on api licntion.
The re., hinted ACRIHKI. EX. now .mlvomvllv udnp'el by all Vi linl-:«. cam ot
be had GENUINE but at the ab-ic addre-iof Mon*j. nr A Vll'.in, aud oirlualre
Wliobaalo Armi'- for th.- Unii».i Kn ad< m.
ROMAN AND NAPLES SI RINGS (not to bo «ni)«i*i(d.) are ar.M by Monsieur
Villio fully li per ornt. ehraper than any otlier h> uou hi the tialv in Ei gland.
TO MCSI
COMPLETE SET
'A I, CONDUCTOrtS. tc.
OF BOOSEY'S ORCHESTHAL
uvmi Ol, I 1. -l.l w| IIOOUOI \ J LWj 11 l^J K i\ n u
JOURNAL contuininfr •evrn'r-'wo acta of dine* mumc for lull err icatra
may be had, bound In cloth Tolnm.-». [irice Four Omnena.
Booarr »»l> Bow*. M, and 08. HoUea-atrcat.
THE OPERETTA COMPANY.
MADAME EN DERSSOHN,
(The ce cbrarrd Elig i»h SSopraU" )
MRS. TENNANT,
(Of the Nobiht/i fooema.)
MR J. O PATET.
(Of U>« Tbcatra Royal Drury Lano )
MR T E N N A N T.
(Of the Riyal Italian Ojwra Company.)
CONDUCTOR.
8IQH0R EMAHOELE BItETTA.
Tl.e above naaied Artinta will romrmnce thalr tour in the Proaiueaa on tba lat
Jaimar , , wi eu thev will pre-ent mi ENTIRELY NEW OPEME
wnlUn by J PALORAVE BIMPB'J.N, Eaq , Mu.le comv<wed byf
cuuilcd
"CAUGHT AND CAGED."
IPRMETTA,
BILBTTA,
Ska Ctetriinoa by Madame MARZIO and Mr. NATHAN.
General Director and Htage Manager Mr. CASSIDT.
(Of the St. JameVn Thoatro )
AI! conitnuDlcatloira relative to eniMgcment* to be addrcaacd to the hcCTciary,
Mr J. ENDERSSOIIN, Meiijourue-hL.iino, H«irbttoi.-hia. S.W.
AN EVENING WITH CHRISTY'S
MINSTRELS.
MELANGE FOR THE PIANOFORTE1.
By RUDOLF NORDMAXX.
aaag by th.
Including In an
all the in. *t favourite I
troupe.
Priee 4». solo : 5/. duel.
ani 8on«, Mtuieal Library. 28, HoUei-street
PI A NO FO RTES. — DEW R A NCR'S COAIPEN SATING
PI A NO may n..w bo aean at tha depot, a.1. Sohrvaquaro. Dy the ap| .licntiou
..I thia prlu i|«»l a heavier «trinii ciu he uac I. tbc rcault o( which in, that the full
power .1 a trr.B<l l» .. .Ulocd 'Iran a cottage instrument, at tl e aame tlm« tha
wirca and tht frame on whic . they aru atriintf exi^nd ai.d cutract with ch.iiig«
of b.ntp. rat>lT> «pin!ly and tcsethcr a lt attb. nece-ailj for frequent tuniiw, aa
in tho orlii.ary lustrum, nt. is entirely obvl.tcd Pi r fulncaa and toun h<aa of
ton.-, wltheatraotdiuan |w..er»of m.«iu!atUm. thtae iiiatruincut- aiequbo un.
equalled, at the aamo tlmu tuc psicc is m> higher than that of an
CARDS FOR THE MILLION. — A Copperplate
engraved In any atvle la. 40 larat ca'd. (anr kind) prioUd for la. |K»t
free. Arthur Graiig. r. Cheap Stationer. 308. High U^bunu
PEOPLES EDITION. AND ONLY COMPLETE EDITION. OF MOOR87S
IR1CH MELODIES. WITH THE HUslU
Just i.utlUI od. No. I . price la. to tie compute! in 10 Numbers, moutlily.
M price la. each.
CORES IKISH MELODIES, with Sympboniea and
Atcom|«iiim.nt«fortho PlanoforU. Pa. ple'a Bditi .n, h» aroall ato.
Ia>i«man. Urown, an I Co., and Addlaon aud Co.
Mmh- t-t.r • If imo an 1 Adduson.
ROBIN ADAIR, tor Piano, by \V. VINCENT
WAL' ACE, t* . ««nic» d expressly f-r, and .lolientaxl to, MnuiAmUlla
G.xl-laid. AIm. p. r! rnu.1 l y M «- A Ood ard. Viuoeut Walla. * a "Home,
Bw ct lioii.c," s* — "Her I Miaa A 0<d lard'») .dmira' lcex. cntion < fa fanta.iaon
' Robin Adah, written «xtir»>lr for bir hi Vincent Wallaov In which rho J> w*r«
rf her- lofi hand * vm f. rcdily rhowti, thon ier r*g out the liaas wltu the ulinoat
gl at pnvrcf of a Thalborv. whilst ah* revelled In a ai.ower of ^ight upt cr riorea,
uiaplayiiu the mr.tt ei.p.iaito touch ami aklll. Sh» aa* nptuioosly elKOtad."
— Ilricbtori Ovfulte, Doc 'i '•Whrti rap uroully rs>leai:uidad abo a«
■ H. me, aweet h-me.' "-Brighton Herald. Dec. i.
M
U..D,
0
USU AL PRESENTS.
A LISP, embtaeiiw a choice ecloc
i.tn a cat* h sue c-f lS.Oo.0 puiill jat
-(imtis and postage free. —
on of 160 WORKS, auiUble for presenta-
LD FATHER CHRISTMAS QUADRILLES, by
illmiraled, 3* -London : Robert Cocks and Co.,
ADAM WRIGHT, finely
New Buruugioii-alrcO, and all.
Digitized by Google
800
THE MUSICAL WORLD.
[December 11, 1858.
SPLENDID CHRISTMAS PRESENT
IK MUSI C.
Just Published
PRICE ONE GUINEA.
Magnificently bouud, and with Illustrations by Misa Corbeau and J. Brandard,
THE OPERATIC AL BUM FOR 1859
Containing a Selection of
ONE HUNDRED GEMS
From the mott popular
MODERN OPERAS,
Arranged for the Pianoforte without words, by
& ® G £ F HGftaiE&lCK.
The ephemeral and monotonous character of the ordinary musical album suggested the idea of the present volume, whioh, etttKfriatac *
whole of the bait music from eighteen favourite operas, cannot fail to have permanent attractions for every pianist The OPERATIC AUTl
will be illustrated and bound in a style that will render it an ornament to the most select drawing-room tall*.
THE CONTENTS ARE AS FOLLOW:
LA TB AVI ATA,
1. LIBIAUO
t. UN DI FELICE
8 All I POHS' E LUI
I. 8KMPRE 1.1 HER a
6. Li I PROVEN/.A
«. PAR1GI O CAttA
IX TBOVATOBE.
7. ABBIETA ZINGARA
«. 8TRIDR LA VAMPA
0. I! BAl.EN
10. D' AMOR SULL' A I.I
11. MISBRKRE
11. A II I CUE LA MORTE
13. SI, LA STANCUE'.ZA
RIGOLETTO.
11. QUEST A 0 QLELLA
11 MINUETTO
Id, IrIL BOl. DKLL' ANIMA
17. FOB->ENTK AMOR
is LA DONNA E MOBILE
Iff. TUTTO | 01OJA
ERKANI.
M, COME RUOIADA
KRNAM INVOI.AMl
M. TUTTO SPREZZU
13. IN FELICE I B '11/ CREDEVl
AH I MOHIR
VIP.N1 MF.CO
OU! Ht VERD
21
u.
St).
LUIS A MILLER,
ST. LO VEDI E L
39, QUALE UN bORRlBO
3». DEII : I.A PARDLA
30. Q LAN DO LK HERE
31. LA TOMBA B UN LETTO
LES VBPEXS 8IWLIENHB3.
32. BEAU PAYS
33. ET TOI, I'ALEtlME
31. CHLEUR SUR LA MER
3i, MARCHE
so. Dance. No. i
07. DANCE, No 2
33. dance, n... 3
3ff. DANCE. NO 4
40. AMI. l.E CXEUR D'BELENE
«1. POUR MOI RATON NB
ML ME lu I. J RUNES AMIES
43. LA BR1SE
MARTHA.
'4. ACCORKTR
<y ouanti voci
4". NANCY. GUARDA
47. CORO
48 QUI SOLA, V ERG IN ROSA
411 CUI Ml DIRA
60. IL TUO SrRAL
M. M'APPARI TUTT AMOR
4S. LA LB PANCUE
LA S0NNAM BULA.
63. TUTTO E fJIOJA
Jl. COME PER MK
66. SOVR \ IL SEN
80. PRENDI L ANBL
67. AH. VOHUE1 TROVAR
68 VI RAV1860
69 TU NON 8AI
60. D' UN FENSIERO
01. NON E qUESTO
61 TUTTO E SCIOLTO
63. AH. PERCIIB NON
64. Alii NON OIUNOE
R0RMA.
MARCIA.
CASTA DIVA
AH. BE LI O A ME
OH. DI OUAI. SEI
e« IN MIA MANO
TO. OIA MI PASCO
71. QUAL COR TRADISTI
I PRRITABI.
72. AH, PER HEMPRE
"a. A TE. O CARA
74. CINTA DI FIORI
7J. 3UONA LA TBOMBA
DON PASQUAXE.
70. BELLA 81CCOMK
77 COM' £ U EN III
TS. To EN AMI A DIB CHE MAM'.
79. LA MORALE
LUCBEZIA BOKOIA.
80. COM' E BELLO
81. DI PESCATORE
82. IL SEORKTO
LUCIA DI LA.MJCKRMO0K.
83. PKRCHB NON HO
81. TORN A TORN A
8S. BULLA 10MBA («ecood moTcnMjnt)
80. O SOLE PIU RATTO
87. FBA POOO A ME
88. TU CHE A DIO
LINDA DI CHAMOUIf I
S». O LUCE DI QUEST
»0. PER SUA M a ORE
01. A OONSOLARal
L'RLISIBE D* AMORE.
M, UNA Ft'RTIVA
LA FILLS DO REG I MEN T.
93. APPARVf ALLA LUCE
• I. CIA8CUN LO DICE
H. TIRO LESS
ROBERT LE DIABLS.
00. qUAND JB quiTTAia
07. O FORTUNE A TON
LE8 H0GTJEROTS.
M. PIFK. PAPF
Irtl. NOUIL DONNA
100- RATAPLAN
BOCSEY AND SONS' Musical Library, 24 and 28, Holles-street, Oxford-street.
^hlftSTfi n.^ftfff"!1 i* SV^i! 52« C''»^?f,MlddU«x«th« office of Uoo«r b «.>*«. M. Uoil<~tr«*. fe. 7
•4i jSSJl!.: , ►wtSa<ri-»tn!et: Autv. Vatwfeh-h»n{ nevee* Bolyweikstiveli tana. rWae, & u>. 4». cw«*io ; d. 0*,vas**«A
Pri''sat^^^ay7VD^W^M»SD,1i,'IO"' "!f"m" 8un,n P>**-" *>» Bt »"«»'»-hui», in the Partsh of E*. Hartiu-m-tl.e-r.eMs. in tbe Count, of M^J.:
Digitized by Google
r-
"TUS WOHTII OF ABT APPEARS MOST IMIKENT IV MUSIC, SINCE IT REQUIRES KO MATERIAL, NO SUBJECT-MATTER, WHOSE K»'ECt MCs
BE DEDUCTED. IT IS WHOLLY FOB 11 AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES." — Oiitth*.
SUBSCEIPTIONi-Stamped for Postage, 20s. p«r annum-Payable in advance, by Cash or Post Office Order,
to BOOSEY & SONS, 28, Holies Street, Cavendish Square.
-_==±J-4--+--~-t— - - -_- -
VOL. 36.— No. 51. SATURDAY, DECEMBER 18, 1858. ^IMtt*
'T'O ORGANISTS.— Wanted it Deputy for the 25th and
A Wth (two Hrnn e*c>.). tonna. Al la. Ad lrcis, stating quaJilicatious,
loW., 12. Marlborough-place. KcnnkuKtoii-CTOU
rPO BE DISPOSED OF, an Old-ostobliidied Pianoforte
X mid Music Warehouse, in one of the principal b>wns in tbo North of
Knj.*Uu I, Including a good timing connection and several ageneii a, aBbrding a very
eligible opportunity for a profuesional gentleman, tlio picacnt prounc'or (a pro-
fessor • f tmu'c) removing io L<.nduu. For particulars, apply to Measnu Be ey
AS GOVERNESS.— A lady of
ronuirce a dally ensaKemout. Aoauircme
requires a dally eni:aijemont. Acquirements : English, French, Music, and
Thawing. Young children preferred Address, If,
Sons. 21 and S!i, Holies-street, Cavendish-square, W.
considerable experience
eb, Music, and
A. IS.. Mcaar*. Booncy and
M
151, Altaiiy
M
R AGUILAR HAS REMOVED
street, to IT. WcstLournc-aqiiarc. W.
R. THOMAS begs to inform his friends and the
mu'lcal profession tbat be will return from bta provincial tour on the
All communication* respecting engagemems to be
Hampshire-terrace, Ciun ltn-road Vlllaa, N. W.
30th of Dcccinbc
to his rosidcu .% 19,
B
ALKFTS New Onra, SATAN ELLA ; OR, THE
POWER OP IXrVR. wWVa published on TUESDAY next, by
Bona, M »ila llrllcs-altcct.
ST. JAMES'S HALL — Popular Concerts.— In conse-
quence or tha great siiccee* or the late c .nc rt», the Entrepreneur begs to
annouuee that FOUR n ore POPULAR tXiNCBKlS will be given, at the above
Ball. 4«i the evenings or Holiday, Jan. S, Monday, Jan 10, Mouday. Jan 17,
M inJay, Jan. SI. Mr. Sims Breves, Madame Vlsrdot Uarcla, Mies Ar.dwIU
Gnddard, and all the available talent In Loudon will appear. Further particulars
will be duty announced.
HALL— Handel's MESSIAH on
lirectlon of Mr. JOB N HU1 LA II. Principal vocal
ST. MARTIN'S
Monday next, under th<
performers. Ms* Banks, M m Fanny Rowland. Mia Dolby. Mr Montem Bn.ith,
Tickets, la., k «d j stalls, it. New iubecribcre wUI be entitled to
dtet* r.,r tl.ia Concert. Cumrscncu at 30 7
TnoMas HcabLaMD, Secretary.
THE~0P E RETTA C 0 MPANY.
MADAME EXDEItSSOUN,
(The celebrated English Soprano.)
MRU. TENNANT.
(OT the Nobility's Concerta )
MR J. O PATE?,
(Ortbe Theatre Royal Prury Lane.)
and
MR. TENNANT.
(Of the R/yal -
SI0N0B
Italian Opera
CONDUCTOR.
EM A N UELE BILETTA.
Tlie above named Artiste will commence their lour in the Provinces on the lea
January IMP. when they will present an ENTIRELY NEW OPERETTA
I by J PALO RAVE SIMPSON, Etq., Mu.lc composed by 8ig. BILETTA,
" CAUGHT AND CAGED.
Tha Oostnmee by Madame MARZIO and Mr. NATHAN.
Genernl Director and Rtaxo Manager, Mr. CAHS1PY,
(Or the St. Junes'. Theatre )
All communications relative bo engagement* to be
Ir J. ENDBRBSOHN, Melbourne-house, Surblton htll, 8.
51
AN EVENING WITH
MINSTRELS.
MELANGE FOR THE PIANOFORTE.
By RUDOLF NOKDMANN.
Including in au effective Term all the moat £av.«ritc airs sang by I
troupe.
Price lr. tolo i 5*. duet.
ONE OF THE FINEST ORGANS IN THE WORLD
TO BE SOLD,
eciTanu: son A
CHURCH, CATHEDRAL, OR GRAND MUSIC HALL
Applytotherublisberaof the "Muaical World."
A»D «.»KY o»
MOST GRACIOUS MAJESTY THE
II It H TUE PRINCE CONSORT.
An
THE ROYAL FAMILY,
ntmNauuiti
THE
DR. MARK'S
ORKAT National INSTITUTION,
ROYAL COLLEGE OF MUSIC
BIUHOE STREET, MANCUEfiTElt.
Beltblished expmsly by him for the eduction of (Sentlunen, t»
anpi.intmcuts, as toon ea o>tn|«rteul. a. Master* or Conac
eaublishol in every town and city throughout the Ua
Governesses and Profoaaore of Mu-ic t.. irqulrs to f aeh
rved syetern of musical education, or to be brought
for the admiaalon or puplla.
be bad either on per*onal applicat
Dl
Mark bei
wl
us also roost respectiully to announce that
1th his highly approved, intcrwitng. plerenn,
MUSICAL ENTER! A IN. M
■RIIMB
DR. MARK AND HIS LITTLE
Numlwriug upwards of thirty Instruuieulalislji. and a meat
lbs whole rorming a most complete and unlqw
JUVENILE ORCHESTRA,
cswromn or
Little Kng'.td>. Iriah. and Sc.a«h l»ys, from five tn si)
oi*r:,t:j selec'.lons. soke, ducts, qiurUts, quadiillea,
sing a^ngs, cbonwe*. *c , In a m et effective manner,
gratuitous general and musical education in order to
system of musical education, and with whom be
excite an interest for and help to establish am
aervatoires „( Music" for little children in every
BMl mpire
All letter, must be addreseed to Dr.
street,
MEX,
802
THE MUSICAL WORLD. [December 18, 18&8.
SPLENDID
CHRISTMAS
I jST music.
PRESENT
Just Published
PBICE ONE GTJIHEA,
IhgnMrmHl bound, and with Illustration, by Mis* Corteau ami J. Braiidard,
THE OPERATIC ALBUM FOR 1859.
Continuing n Selection of
ONE HUNDRED GEMS
From the ino*t popular
MODERN OPERAS,
Arranged fur tlie Finuofurte without word*, by
The ephemeral and monot nous character of the ordinary musical album
wholo of tho beat music from oignf>en JaTonrito operas, cannot tail to hare
will be illustrated and bound in a atyle that will render it
the idea of the present relume, which, eompriaitf &
attractions for every pianist The OPERATIC UOT
to tho mo*
THE CONTENTS ARE AS FOLLOW: •
LA TBAYIATA.
i. i.ibiaim
S UN l»t PKLICE
S All* VOltS E vat
4. HKMPRK t.IltLRA
5. DI PBOVKNZA
6. TABIUI O CARA
IL TB0VAT0BE.
7. AnniF.TA ZINOARA
a. stride t.A vampa
0. IL BALES'
IP IT AMOK SULL- A T.I
II M1KERERK
1!. AH! ySL LA MOTITL
13 L.CBTANCHKZZA
14, QUEST*. 0 (Jl BLLA
(IMA
I I.
15 MINUETTo
10. &' IL 8»5L Pfi
IT. POSSBKTE AM
18. l.A DOWN A K
19. XUTfO U GIOJ
j max Am.
j». ' ' >ME itruun.v
fl. I KVAM IXVoLVMi
ii TTu sprjuzo
». infei ic»l *TV >:\:i 1'i-vi
a ii • Mount
55. VIKNI MECO
tt. OH ! UE VKBD
LUIS A KILL KB.
:t 1.0 VKDI Kh
M. <jUALK UN M>RMSO
». HEH1 LA IWBHI.A
3D. QUANIK) LK MKItK
31. LA TOMBA K UN LETTO
LES VEPBES KICIXIENNE3.
HI 131'AU PATS
us. et toi. PALnoia
u. caaua BCR LA WEU
HARCBB
dance. No. i
DANCE. No 1
dance, n« .1
DANCE. NO 4
AMI. LE OEUIt DI1F.LENE
POUR MO| BATON NE
UEHCI, JECNK.1 AMIKS
LA BRISK
<€. ACCOHETF.
<». wi'anii voci
fi. NANCY GUARDA
«7. CORO
«. yUl SOLA. VERG1X
43. <lll MI DI HA
*«. IL Tl'O STRAL
51. M' APPARI TUTT AMOR
ill. l.A LE PANCUE
LA SONNAWBULA.
TUTTO E GIOJA
COME PER MP.
HOVRA IL SEN
TREND! L' AN EL
All. \ORIlEt TBOVAR
VI BAYIBBO
ru Ni>N SAI
»• UN PENMEBO
XON K ylJKHTO
TUTT<> E isCIol.TO
All. PEBiJBE M)N
AH! NON GMNUK
NOBKA.
MARi'IA.
CAM A DIVA
AH. HELLO AWE
Oil, HI QI AI. SKI
IN MIA JlANtl
TO. ii I A Ml PA800
71. O.IAI. COIl TBAD13TI
I PUBITANI.
7i. All. PER T.MrrtE
71, A IK, O CABA
71. CINTA DI FIOKl
T V SI UNA LA
DOM PAMIUALE.
T«. BELLA MCCOME
77 COM' V. tiENTIL
78. ToltNAMl A DIB CUE ]
TD. LA MORALE
SO. COM' F. BF.LLO
81. DI PRSCATORE
82. IL !
LUCIA DI ]
ft! PKBCHE NON HO
6*. TORNA, TORNA
8J BULLA TOMBA («»roi„l inorement)
Si5 O SOLE PIU BATTo
»7. PIU POCO A MK
8». TU CHE A DIO
LINDA SI C a AMOUNT.
*9 O LUCE DI «<C
1M. PER SUA MADBR
1)1 A CO.N.SOLAHMt
I'BLISIKE D' AMORE.
UNA FUBTTVA
LA TILLS DO BEOIMENT.
M, A PP A BVT ALT„V T.CCE
W. CI ABft N LO DiCE
■Ji. TIROl.KSE
BOBEBT LB DIABLE.
Mk QL' AND JE QUITTAIS
HT. O FORTUNE A TON
9i. PIFF, PAFP
NOBIL DONNA
>0 BATAPLAN
BOOSET AND SONS' Musical Library, 24 and 28, HoUet-atreet, Oxford-street
Digitized by Google
Dkcembbb 18, 1858.]
THE MUSICAL WORLD.
803
THE GREEK SCALES.
To Ue EHil* of the ltnsical Wort A.
, or any of your correspondents, lie kind enough
to iuforin me upon what authority wo term the scales upon
which the church tones are founded " Greek ?" I kuow, of
course, that successive writers have for a long period been in
the habit of so calling them ; but I desire to understand whether
any certainly exists on the subject, and, if so, how derived. Have
the tones beeu fonnded on the scales, or rice vers-l > Further-
more, is it positively known, or only surmised, that Gregory the
Great added those tones called » Plagal." And what proof hare
we that theso aro not just as ancient as the authentic— popu-
larly so named t I have waded through many treatises on the
subject, but can only inert with unsupported statements which
may or may not be correct, and which too often appear to have
been reiterated by musical theorists upon very loose authority,
their
easy I
of glossing over the history of a matter beyond
ZOUMMMUT.
CONDUCTING AND CONDUCTORS.
To the Editor of the Musical World.
Sir, — Tho following observations which I have to offer arc
neither prompted by a wish for notoriety, nor to show how
little I know about it, but for the simple benefit of those who,
like myself, occasionally murmur in secret.
To criticise the art of conductin},', or conductors themselves, is
not my wish, bat simply to remind conductors that their
motions arc seldom as intelligible to the performers as they
imagine, (I speak with respect to choral bodies). With a body
of voices, no one will deny that unless certain given rules are
strictly adhered to, musical rhythm must fall to the ground ;
aud even the smallest degree of precision could not be hoped
for, unless one uniform plan were laid down to commence with,
and never deviated from. We often wish to convey inuendoes
without speaking out, especially to those who are so fur our
superiors, and if those interested can be benefited, without in-
curring the displeasure of others, to whom doubtless it does not
occur that their ideas are misunderstood, or sometimes unintel-
ligible, a point is gained which many would think (foolishly) a
presumption to comment on. Having sung myself in a choral
body for some years, I do not speak without some experience,
and I have no doubt that many will echo my sentiments. In
the first place, that the commencement of a part song (for
instance) should altcays bo preceded by a whole bar, and not
sometimes with, nud sometimes without, thereby occasionally
causing part of the chorus to start, and part to stay behind ;
and secondly, that all eyes should see the baton perfectly
motionless and elevated, that a certainty may be obtained that
they all start at the tame beat. I am perfectly convinced that
the real success of Mr. Leslie's choir is mainly owing to this
extreme nicety, as the deviatiou of a few inches suffices to cut
all tho voices off dead, which creates kucIi a fine effect, particu-
larly in part singing. If you can find a corner for these re-
marks, you will oblige a former contributor, and many readers
of the Musictrf World. — I have the Ivmour to remain, your
liEFOIlMKK.
(To the Editor of the .V.uical World.)
Hoy* Lodge, Woodford, Dec. lUh.
Dear Sir, — Having seen in some of the daily papers an
account of the fearful accident that occuried on Monday eveniug
last, the 0th, at tho Hackney Station of the North London Hail-
way, and thinking that some account of it might appear in your
journal, the Musical World, I have been induced to trouble you
with this to correct a misstatement, viz., that it was not myself,
but that it was my dear son, Mr. F. W. Bates, who was so
severely injured ou that occasion by the gross negligence of the
railway servants.
He has been removed home from Dr. Pyc Smith's residence at
Hackney, and I feel happy to state that ho is progressing
favourably ; he has one fractured leg, his face much contused,
i severely bruised.
I am, dear air, most truly yours,
ELLA TREMANTE.*
T" the Editor of tU limited World.
Sir, — "Tcnoro Robusto" will probably find the song he
wishes to procure is by Belliui, in / Puritani. I believe the
second movement of « Ccdea si misera." Yours &C, &c.,
• Be* last week's Ifuiical World.
MUSIC AND SOCIAL IMPROVEMENT.
To the Editor of the Musical World.
Sir, — I read your paper constantly, and, therefore, I feel a
kind of familiarity towards you, as the Editor, which gives me
courago to insist upon at least balf-*-coluiun of your valuable
space. I hope yon will havo the decency to insert this letter.
I like your pa|»er for several reasons.
Firstly. — ft -cause it is lively, for it has usually four or five
lives going on at the same time (may I instance your eicelleut
biographical articles upon Weber, Mozart, Handel, Beethoven
and Haydn).
Secondly. — I like your notices of new organs, and that careful
aud interesting manner in which you allude to open diapasons,
clarabella trebles, doublettes, three ranks and preparation for
trumpets, &c., &c.
Thirdly. — I liko Haydn W ilson's poetry.
Fourthly. — I am fond of class newspapers, and consider the
Pawnbrokers Uaxtte one of tho liest conducted periodicals of the
day. Vou will excuse me. You'll find mo, generally, pretty
correct.
But Sir,— I am speaking seriously— if you allow that "Old
Truepenny" to write any more of his nonsense about Music and
Social Improvement, I'll make my scullery-maid use your
enlightened pages for cruel purposes. I can stand a good deal,
but there are some ideas which, <Scc, cannot brook, &c., and
are indelicate, &e., tell a gentleman by his cloth, do. Trusting
to your sense of justioe, I remain,
Straightforward akd so Underwork.
[Our eorresjiondent— our humorous correspondent — our
witty, nay, ironical, corrcsjiondent — must have just returned
from the Antipodes. " Old Truepenny " was cashiered for
iusubordinatiun and insults to the sub-editor as far lwck as
February hist Ho lias since been writing a novel. " What
icill /us do mth it r—Eo. Jf. W.]
Lola Montez. — A letter from Dublin, dated Thursday, says :
—"The news of the day is all about Lola Montez. Nothing
lse is spoken of. She has created quite a furor here. Last
night she effected a triumph, as they say in the theatrical world.
A few preliminary notices in the newspapers, that the ' Countess
of Lausfeld' would deliver a lecture at the Rotunda, sufficed to
attract the largest audience which has appeared in the groat
room of that building for many years. It is capable of accommo-
dating about 1,000 persons comfortably; but there was little
room left for comfort last night. Every available spot was
packed. The lecture was anuounccd to commence at eight
o'clock, but long previously tho doors were shut against tho
incoming throng, the ticket -takers hallooing, ' Full, fnTl.' The
platform, which was set apart for the holders of 'reserved'
tickets, which, by the way, cost 3s. each, w as just as densely
packed as the body of the room, to which access was obtained
tor half the money. There were but very few ladies present ;
in fact, it was nearly altogether a 'gentleman's party.' At
half-past eight o'clock Madame Montez made her way to the
platform, and after a round of applause proceeded to deliver her
lecture ' On America and its people.' "
l'uorassoii Wiuai.ba Kkiksli, — >"«orly 3,000
present in the Free Trade Hull, Manchester, ou several
the engagement cf this popular conjuror.
HmiiHTON. — A concert was given in the Town Hall, for the benefit
of the Choir Fund. Miss Uultuo and Mir* Hey wood, SJtlstod by tho
members of the Choir of St. John's Church, tang #ev?ral piece*, and
more than one encore mas awarded. The Honorary Organist of St.
John's played some solos on tho
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804
THE MUSICAL WORLD.
[Decembeb 18, 1858.
MADAME ANNA BISHOP'S CONCERT.
(From the Mornuvj JleraU.)
ArTF.n nn absence of ten years Madame Anna Bishop has
returned to tho country of her biith, tlic scene of her early
artistic snoeesses, and with laudable ambition has at one© placed
herselfbefore tin- tribunal of public opinion. " Am I," she might in-
wardly have speculated before the numerous audience assembled
on Monday night, in Kxeter Hall, to welcome her, "Am I mnrh
changed since I last sung before you — have I retrograded, or
have I advanced as a proficient in "my art >." In both cases tho
response, had the interrogation been audibly tendered, would have
been decidedly favourable. Mad. Anna Bishop, if changed, is
changed forth'e better.being nowstont and buxom, while retaining
all those attractions of physiognomy that used to lend a charm to
herslcnder personal exterior. As an artist she must also be con-
gratulated, for besides the perfect justness of intonation,
agreeablo quality of tone, fluency and uniform correctness of
execution for which she was deservedly renowned from the first,
her voice has considerably gained in force, her style in expression
and what maybe termed dramatic vigour.
Mad. Bishop's reception on Monday night was enthusiastic
beyond measure ; aud her performance in the old-fashioned
sacred bravura of Onglielnii (a contemporary of Mozart's) entitled
"Gratias agimustibi,' with clarinet Mtigato (Mr. Lazarus), was
so irreproachable as at once and unequivocally to entitle her to the
highest honours. Later in the evening, the tiro and passion she
infused into Mendelssohn's superb "concert tcena," known in
Italian as Infeiice, showed her equally nt home in another and a
nobler school. A duet from Donizetti's /•'(air d'Amore (with
Signor Bclletti), with a couple of sentimental ballads, " Oft in
lt>j stilly night," and a ballad about Mr. Dickens's "Little Nell,"
i.tl quite up to the calibre of Thomas Moore, were Mad. Bishop's
other contributions to the programme. In every niece sho was
successful, herbal lad siugingbeiug quite on apar with herftrar«ro,
and with Iter more serious cxert'.ons in tho fine composition of
Mendelssohn. She was recalled aft»r each performance, and
enthusiastically encored after "Oft in the stilly night." In
short, our great harmonic societies, sacred and secular, and it
may be Rurmissed our lyric stage, have now at command a new
singer, thoroughly efficient and more than ordinarily endowed
— an artist at all points, equal to any emergency, and exactly
suited to till up the gap which has so long yawned iu the terra
firma of metropolitan musical entertainments. Madame Clara
Novcllo has found an honourable competitor in the concert room,
and Miss Louisa Pyue on the operatic boards.
The concert was otherwise rich in attractions, although
the members of the orchestra were at fault all the evening,
and even in Weber's familiar Concert-stuck played so badly,
so out of time and out of tune, that had not the pianist been i
the accomplished Miss Arabella Goddard, whose executive pro- I
ficiency is so great that nothing can wholly disconcert her, it is
doubtful whether they would have got to the end of it. I
Happily the audience were not over-critical, and Miss
Goddard was loudly recalled at the termination of the per-
formance ; while in her solo " Home, sweel home," where
she had no such antagonist elements to tight against, she
took what our friends on the other side of tho Channel
term unc tdatantt rfranche, playing with such exquisite
refinement and such dazzling brilliancy of fingpr ns fairly
enraptured the audience, who recalled Ler with acclamations
and compelled her to repeat tho whole. Another interesting
feature was the masterly performance by M. Wieniawski (from
M. Jullieu's concerts) of a solo by Vicuxtcmrm. This beiti"
unanimously redemanded, the great Polish violinist introduced
the popular Csrnaval, in which the well-known variation in har-
monics was, as usual, encored. Mr. and Mrs. Weiss and Signor
B»ll< tti swelled the I ist of vocalists, and the Italian artist was
deservedly recalled, after Ilicci's air. "Sulla poppa del mio brik,''
which he gave with genuine spirit, and repeated with increased
effect. The couluctor, Mr. 6. I<oder, did not seem to have
much control over his orchestra, except in a somewhat lugu-
brious overture of his own composition, " suggested " (according
to the programme) by Scott's " Marmion,Pl,ut which wo are
rather inclined to think must have been 0 suggested " by ttrau.
inspirations of Carl Maria von Weber, composer of the open
Dtr Friexhittt, fltc. This overture, at least, went well ; bet >■'.
all the other pieces with which the band had to do— Mid, beiow
all, the unfortunate Concert-ttiict — the less said the better.
[The other morning papers arc agreed with lit flMfsj
to the merits of Mndamo Anna Bishop, but ut kue ».:!
regard to those of Mr. George Lodcr s overture, which tin;,
pronounce extremely clever, ami which we were uoUonv
nato enough t<i hear. — Ed. M. W.]
MOZA11TS "MAGIC FLUTE."
(From lhru)ht'» Botten Journal of Mtttit.)
(Cor.c'ftled from o r latt.)
At length Gicsecko disappeared, nobody knew whiiii:.
(During Napoleon's continental embargo he wasinPolui t-
dulging his taste for natural history and collecting roiaenljja
s|M;cimens.)
" In the summer of 181s," savs Comet, "at Vienna, i utt
looking old gentleman, iu a bluo swallow-tailed coat, lift
neckcloth, wearing the ribbon of an order, seated himself i'
day at the table in an inn, where Ignax von Seyfried, K;n-
theucr, Jul. Lnroche, Kiistner, Gnedand I met daily to d.t»
The venerable snow-white head, his carefully chosen wart*
phrases, his demeanour in general, made a very plcasut tisjre
■ton upon us all. It proved to be Gies?cke, once choraisaf'.
but now processor in the University at Dublin, who had »-7
come directly from Iceland and Laplaud to VicDaa rid »
collection of specimens of natural history from the ui«*
mineral, and vegetable kingdoms for the imperial &tart
Seyfried was the only one among ns who knew km. It',
delight of the old man iu Vienna, and at his rcceptiaa fen
the Emperor Francis— who had presented to tin a MB
splendid gold box, sparkhng with jewels, and filled ««i W
newest Kreranitz gold pieces— was a sufficient rsWW m9t
labours and necessities of many years. Here we had op«tmiit;
to learn many things in the past ; among them, th&t la hi*
saw the real author of the text to the Jf<i/;ic /7«/f (he ■» •
member at that time of tho persecuted order of the Freemsiou*-
afact which Seyfried indeed in some sort suspected. I relate ti-J
from his own assertions, which wo had no reason white W*
doubt. Ho made the statement to us in connection withsT
singing of the cavatina from the Mirror of Arcadia,*
was introduced into Mozart's work. Many have supposed W
Helmbock, the prompter, was Schickancder's assistant a
work. Oiesecke corrected us iu this, and moreover »at*3tE'.'.
nothing but tho parts of Papageno and his wife bcfon^i :
Schiekanedcr." ,
The character of Scliickaneder, as shown in his ti*ata>'=!
Mozart, is not such as to lend any unprejudiced person to i>''-J
his readiness to claim anythin;; in his pOWtr, which could w; r
the l>enefit of his establishment, or of his own reputation.
fc'ome additional light as well as doubt is thrown up*.
matter by Treitschke, the poet w ho, iu 1814, revised the tetl ;
Beethoven's Fidelia. Tie states that, just as 8chikauedtr«-
engaged niton tho text of the first finale, in 1701, tbeLecf—
stiidten Theatre nnr.ouncetl The Magic Cither, or, Cvpr ■
Fayottist, prepared by Isaclium Pcriuet (for thirty yean j J«f '
of that theatre), from the same Miirchcn of Wieland, and « *l;
main closely following the original story. Just this Ism****'1'
occurrence (for SchicKaneder) proved the salvation of the J'Jj"
Flute, for he was compelled to change the entire charscu11'
the opera. For instance, Sarastro, who was to have appear■,-
as a monster, took tho now character of a Priest of wm»'c-
Trckachke does not state it, but from other testimony is**'
MCiion with his, I infer that it was now that I'apagtw ■*
rapageua were introduced into tho play.
The splendid success of the Zauherflotc induced the maM^'
to prepare a second part under tho title of The Labyrinth ■>'■
• Der Spirgtl res Ark-adit; by MesmeTer.
December 18, 1858.]
THE MUSICAL WORLD.
805
the Strife of the Elements, and Winter was employed to compose
the music. It was a failure.
Oulibicheff can hardly find words to express his disgust nud
eonteiupt for tho text of the Magic Flutr. It has fouud but two
or three defeuders duriug the sixty-niue yearn of its existence
— but ouo of these was Goethe ! Perhaps dvfcudiin: U too
strong a term to use — but here is hu expression— " Kt gchorl
mehr liiklung da.it, den W'crth zit crienen, ah ihn alizti/cugnen"
n higher intellectual culture is necessary to appreciate its value
than to deny it.
This letter from Goethe to l'anl Wraniitky, Schickaucdcr's
Kapellmeister, dated Jan. 17^>, I think will be new to most,
if not all the readers of the Journal:
"The immense success of the Magic Flute, and the difficulty
of writing a piece to rival it, has awakened tho thought of
taking it as the fundamental idea of a new piece, both in order
to meet the public in tho lino of its taste and to lighten the task,
both for managers and actors, of producing a new and compli-
cated piece. I have to reach mv object most directly, by writing
a Second Part to the Magic flute; the characters are all well
known, the actors practised in thorn, and the author, having the
first part before him, is enabled to paint tho situations and
relations of the characters in stronger colours without overdoing
them, and thus give such a work much life and interest Iu
how far I have reached tny aim, the effect must show.
"That the piece may at once make its way throughout Ger-
many, 1 have so arranged it, that the dresses and scenery of tho
first Magic Flute, will nearly suffice for the production of the
second ; still if a manager should see fit to add expensive
decorations, the effect would be greater ! but, at tho same time,
it is my desire, that even in these, the first Magic Flute bo
constantly kept iu miud.
"J.W. V. Goethe."
No one at a performance of the Magic Flute can help feeling
tho utter insipidity of the verses, the woakuess of the plot-
hardly worthy the name— and the looseness, almost at times
incongruity of the succeision of scenes. But great things could
not be expected from a chorus singer in a minor theatre, even
though an expelled stud en', of Ilalle, whero tho grand aim was
to produce another "taking" Magic Spectacle for the delecta-
tion of by no means tho higher classes of society. It is clear,
however, that the writer had a lending practical idea in his
mind, however incapable be was of adequately reproducing that
idea either in plot or poetry ; and this is, tho triumph of light
over darkness — the certainty that the earnest, persevering effort
of a courageous, steadfast, unfaltering soul in the pursuit of
wisdom, shall not fail of obtaining its aim and receiving its re-
ward. Mozart perceived the idea, felt it, and to the priests'
music gave a nobleness and grandeur which places it among
even his grandest conceptions.
But what is tho Zaubertfotc, the Magic Flute or La Flute
Enchantie all about ? asks the reader : just as 1 asked in vain
from my childhood on, until I saw and heard it here in Berlia —
and that too more than once. I have never found in any book
or periodical any such account of this opera as a drama, as
enabled me to form any satisfactory conception of its plot, or
to follow its story. Although it forms one of the grand stages
in tho historic progress of the operatic drama, all who have
written upon it, so fur ns their writing have come under my
notice, have either taken it for granted, that the story was already
kuowu to their readers — or they did not have any clear con-
ception of it themselves. The various editions of the opera,
which have come under my notice, are -all printed without the
spokcu dialogue, and without st»ge directions ; this is also true
of the text books j it is then no easy matter to follow this opera
as a drama. My late friend, " Brown," seems to have felt thiB
difficulty, and to" have considered both the Magic Flute and Bon
Jnan as epoch-making works, worthy of a careful study not
onlv as musical but as dramatic works ; for among his papers
liolli are found written out as tales. A pretty poor tale the
former proves to be, but the poorer it be tho brighter shines tho
genius which could compos such music to it ! I send it to you
for the Journal, if you think proper to use it,
A. W, T.
THE OPERA OF LOHENGRIN.
(VoHchitMfroKi pagr 701.)
Howeveh paradoxical it luftv appear, it is, at bottom, a fact
that Wagner's music is, essentially, composed of declamation and
instrumentation. These two coiu|K>uent elements, hitherto
employed to adorn and sup|>ort tho musical part, properly so
called, of a work, rule, iu Wagners' case, the foreground, like
gnat emancipated jkiwci-s. W agner's skill iu declamation is
one of tho thiugs iu which ho most decidedly excels ; that he
fancies he can supply the place, of melody by a rising anil sink-
ing iu the recitation is at once the root anil the fruit of tho
error. The place of true song is occupied by agreeable recita-
tives. The question which now arises is, whether Wagner was
really led to adopt, this theory l>y independent conviction, or by
the limited nature of his capabilities ; I believe the latter was
t'le case, for, as long as there has been a history of music, con-
tempt for melody and deficiency in it have been identical.
Language, therefore, is predominant, and goes first, while music
follows it, through every turn, at the sacrifice of its own impor-
tance and dignity. It is the true characteristic of music, such
as we find it in the works of all great composers, not to
throw down the edifice of the musical connection, in order
to fit the words of tho text, one by one, with separate
little stones — it looks to the spirit of tho whole. There
is nothing moro lamentable than this characteristic in
duodecimo, suob as wo meet with every day in songs
composed by amateurs; at certain words, sueh as ** Horror"
aud " Dismay ," wo have a tremulo on the buss, while " forest " is
represented by a passage on the horn, aud " bird" by » shake
on the upper notes, by which course the connection of the piece
and the hearer's sympathy are simultaneously and completely
crushed. A great many lovers of music, both male aud female,
are passionately fond of this ; they sit with the book of the
words in their hand, ami at e delighted the libretto agrees so mag-
nificently lino for line, nav, word with word, with tho music.
We know from Uaydu's Creation, which first became popular
frotn the instances of tone-painting it contains, what a charm
there is for a largo audience iu such an employment of the un-
derstanding ; in such a compai ison of a characteristic series of
sounds with a definite object. The more Mosaic the relation
between the words and the music, the better pleased are a great
number of "accomplished dilettanti," while the musician keens
to the musical connection, which asserts itself independently
beneath the poetical one.
The despotic degradation of music to a mere means of ex-
pression produces in Lohengrin those spun-out scenes, in which
we do not hear much more than a continuous surging of shape-
less, and, as it were, fluid sounds, for that which forms the
body of music, properly so called, namely melody, independent
tune, is wanting. Let the reader call to miud Telramund's
scenes with Ortrud, and the finales of the second and third act.
Whatever real melody there is iu Lohengrin is partly quite
commonplace, and partly strikingly suggestive of reminiscences
ofC. M. von Weber. If we examine many of the passages for
Elsa, the trio in the marriage march, the procession to church
in the second act, the first boisterous liuale, conceived in Weber's
or Maiscbuer's worst style, etc., we do not feel so much inclined
to call Wuguer a pioneer of the "Future," as tho lost of the
romantic school. Yet these few melodies are most thankfully
welcomed, for what re.il tune could be so insignificant as not to
produce the effect of manna in the desert, after the declnmatory
exercises of the King aud his Herald I
Lei us see how Wagner employs the separate musical elements
for his dramatic end. In order to correspond to each turn in the
dialogue by an unexpected instance of colouring the music, he
has resource to the expedient of uninterrupted modulation. 1
know uo thing iu the world more fatiguing than the half recitative
songs iu Lohengrin, which do not remain for four bars, or close,
in (lie same key, but, restlessly changing, deceive, with one false
conclusion after tho other, the ear, until the latter, deadened and
resigned, submits to everything. Wagner is fondest of modulat-
ing on the basis of immediate pure trtades ; tho strange legen-
dary impression, which he at first produces by this plan, is
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THE MUSICAL WORLD.
[December 18, 1858
naturally soon lost by exaggeration. In this shower-bath of
harmonious surprises it quickly cornea to pass that the hearer ia
no longer surprised at anything.
The painful want of composure, combined with the preten-
tious character of the.se modulations, give Wagner'* music that
dilettante ami forced expression whinli was censured by Mendels-
sohn and Schumann. Harmony is developed in bis (fork* not
accordiug to its own laws ; ho arbitrarily subjects it in the service
of his unfettered melody " growing oui of the verbal verse."
It was one of Wagners partisans, who first asserted that
iheso pretended characteristic transition* were nothing more
than "hard attacks on our ears" (hartc Griffe in uusex Gchor
Hinrichs). We feci the accidental, capricious clement ; the
melody cannot possibly always serve as motive, by pregnant
turns, for the instances of harmonic harshness ; we soon
perceive the latter are caprices, and wc receive these knock-
down blows of the orchestra with silent submission ; without
any free exercise of our will, we allow things to take their
course, like Fate. We might say, shortly: Wagner ill-treats
music, in order to keep us in a state of nervous excitement.
But he is successful ; — ho surprises us at every bar, and speaks
in nothing but musical points. There is sotnethiug about this
plan which keeps the mind so on the stretch, that it really pre-
serves the declamatory pathos in l.vhenyria always up to a
certain level ; but on this level it moves forward with the hollow
nionotouv of certain preachers. TIaud-in-haud with the same-
ness of the wearyiug chase after tha modulations, we have the
sameness of a rhythmical poverty. No music is got out of the
trailing rhythmical periods of two and four bars. Now, more-
over, as contrapuntal rescource* and every tiling called "thematic
treatment," have, so to speak, no existence as far as Wagner ia
concerned, what has to bo put on the scale, as a counterbalance
to the depressing weight of thin monotony i
It is hU management of the onhcttra. In this particular,
Wagner is not only admirable, but partly new. Mendelssohn
and Berlioz (if we leave out of the question some few youthful
attempts speedily forgotten) have not written for the stage.
Thus Wagner, who has formed his instrumentation mostly after
their model, was the first person to avail himself of the magical
charm of new and bold orchestral effects, to their fullest extent,
for dramatic purposes. Ilia instrumentation, from the cleTcr
employment of the various kinds of instruments,* and its elastic
twining and clinging to the text, interests the musician and cap-
tivates the non-profeaaioual hearer. It is thit, principally, which
gives his music the dazzling appearance of novelty, strangeness,
ami legendary charm, and completely compensates so many
persons for the absence of real music.
The dramatic vivification of the orchestra, which Berlioz had
in view for the symphony, has been employed for the stage by
Wagner in quite a peculiar manner. The only material objection
to this is the far too glaring and deafening use of the brass in-
struments, aud the stereotyping of many effects, such as tho
tremulo of the distributed violins in the highest notes, etc.
To what a degree the orchestral brilliancy alone helps many
of the scenes in Lohengrin over tho poverty of the musical
thought, the reader may convince himself, with mathematical
certainty, by studying tho so-called " complete pianoforte odition,
with the words." He will be astonished to liud how small tho
hero looks in his dressing gown.
Despite its brilliant outwardness, the music of Lohengrin
leaves behind it a general impression of unedifying vacuity.
Excited at first by the charm of the instrumentation aud the
uncommon nature of the modulation; the hearer finds himself,
the longer he listens, more and mora fatigued by a composition
destitute of a musical backbone.. He never feels in a quiet and
certain frame of mind, but as if pluuged in the agitation caused
by the incessant working of a mill-wheel.
I have beeu spoken to very earnestly by several persons, but
I cannot rememl>er in Lolanyrin a single picco anything like
great, of which 1 feel bound to say that it seizes tho hearer with
irresistible power, aud moves tho inmost recesses of his heart.
Waguer's music affects tho toul less than the nerves ; it does
• — ■
• " Klangfarbea," literally, "lound colours."
not stagger us ; it is merely indescribably exciting, painfully
sharpened to a point, aud sensually aud poetically subtle. Tbt
last fact can escape the notice of only the roost credulous enthu-
siasts. This subtlety, which, in Tannhliater, frequently made war
for the original cry of the feelings, is, in Lohengrin, predomi-
nant. Wagner produces far less the impression of a Vulcan
nature, hurling away all its fetters, than that of a in.au with an
acute talent for combination, and who, with the secret cotuscioi!*-
ucss of his insipidity, is continually aud violently exalting
himself.
The most estimable and finest side of WagucrV exertion? u
their sincerity and power. Wagner can be accused of nothic;
as far as artistic morality is concerned. With uncommon zni
indomitable energy, he pursues the path, which, according to ha
conviction, is the only right one. This ethical warmth perwl«
also, Lohengrin. Everybody feels instinctively that he has be-
fore him a work of the greatest and most honest exertion. Sar
is there an absence of detailed passages, which, in tho midst .
tire deafening uniformity of the whole, produce an ••difying he-
pressiou. These are nearly all such as move in Wagner's m
especial sphere, namely: the fantastic; of this kind are Loh>i.
grin's first appearance, with tne beautiful choral movement in A
major, aud then a few other movements, treated simply and in 4
connected mauner, as, for instance, the Bridal song, etc. We no
not think the lover's duet in the third act so moving aud d««-!r
imagined as interesting, from the mysterious expression uf&
certain lurking excitement.
Consideration for our reader's ]>atieuce forbids our goisg, 01
the present occasion, any further into details. It has, for uk-
moment, been our aim to characterise our subject generally ><\
whole, and it the negative sides have come out prominently mUi
the foreground, this was not from any wish of ours to bJamr,
but because they struck us as being that which most needed
1, we will just make a few remarks upon the reJ*-
tion, which has been so much discussed, between Lohengrin and
TaiuUuiiuer. The latter appears to us decidedly more successful,
both in the words and music, than tho former. The Wad of
fannkauter, and that of the Wartburg wnr, so sVAtaUj YnUt-
wovcu with iL are nearer to us, historically and socially, tL-ia
the myth of the Holy Oral. The demoniacal principal u em-
ployed in Tunuhauicr not only with moderation, but, which in
decisive as an effective enntrast. Elizabeth on the one side,
and Frau Venus on the other — heie the
the Horselherg — are pitted against one 1
contrasts, each standing out the more strongly in
In Lohengrin, the demoniacal element is uot con
the human, but contained inseparably from it, in the person of
Lohengrin. As a rule, wherever wo cxiiect amorous feeling
and conduct from him, the hero wraps himself up in his se-
In a
raphic dignity, and thus prevents our sympathy,
point of view, also, the libretto of TamMiuter was much more
cleverly mapped out, the motives being more intelligible, toe
knot tighter, and the catastrophe more touching.
Although Wagner himself, aud all bis champions, assert that
Isohcngrin is a decided improvement on Tanniatuer, so much to,
indeed, tliat the heavenly reign of the " Future," property •>
called, first began with tho former, we do not hesitate rankii;
Tannhiiuur higher, even musically. We find in it incomparably
fresher life, terribly kept down, it is true, by wearisome declaciv
tion, but still ever and anon agreeably peeping through smefc
melodies as the chorus of syrens in the nVirsclberg, tlx
song of the " Evening star," kc We no moro find in Lohe*-
grin than concerted pieces of the musical symmetry as-4
effect ol the sextet for male voices. The miafortan'
which Wagner's disciples lament, that, dispite everything
some few me'odies esea|>od him in Titnnluiuecr, was at ae-
rate., uot very great. In Lohengrin, he is more ona-iul sal
consequent, but he has become a fanatic as far as all absent-
of melody is concerned. In addition to its " future- lab." inten-
tions, Tannfuimer contained so much musical Present, that
we were justified iu believing that the composer, progn»s
ing in all that was beautiful and important, would soon rule Use
German stage. The mimic and poetical tendency of
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December 18, 1858.] THE MUSICAL WOULD.
807
and all we Lave beard concerning Niebcltngen, have rather
diminished oar hopes of anything of the kind. Wagner will,
nevertheless, continue to shine as a star in the German operatic
firmament — as lung as every thing remains about him as dark as it
does now. What portion of the interest manifested hy the public
is to be separated as the pure gold of enthusiasm from the
dross of curiosity, is something which the next few years
must determine. Everything will turn upon tho question :
will a thorough knowledge of Wagner's music l>e more pre-
judicial than advantageous to it !* If wo may be allowed to
indulge in a conjecture, wo believe that tho public will grow
tired of these dainties, the moment three or four other composers
take it iuto their heads, to write in " Wagner's only truo "
manner.
NorrixoHAM Subscriitk.s Coxckht* ov Chamber Mlsic—
{From a CorrrspoiuleHt).— The programme of the fourth concert,
on Friday, December 3rd, was a* follows :—
Pabt I.
"Quartet, Xo. 1, iu O minor," pianoforte, violin, tenor, aud vio-
loncello, Messrs. While, If. Farmer, Frarger, and T. L. Selby— \V. A.
v. MoMrt. "Sonata, Op. 45, in It flat," violoncello and pianoforte,
Messrs. T. L. Selby and White— F. Mendclssohn-Barthuldv.
Past II.
" Quartet, Op. 41, in A minor," two violinj, tenor, and violonoollo,
Mcs*r*. H, Fanner, Myer*. Praeger, and T. I.. Selby — II. Muliqm-.
'' Orsnd Trio, in I)," (Op. 71), pianoforte, violin, and virtlonoello,
Messrs. Slielmcrdinr, II. Farmer, ana T. I*. Selby — h. v. Beethoven.
Tlx* Mo/art rjuartet was heartilv welcomed. The persuasive
slow movement, and the sp&rkiing' rondo especially pleased
Mendelssohn's violoncello sonata in B flat, a romance through-
out, was rendered with feeling and brilliancy. Molique's
quartet was heard for the first time. It is full of happy and
original points, which did not fail to be appreciated. The last
piece on the programme was Beethoven's trio in D. Although
one of the later works, it exhibits all the early vigour of tnc
great composer. The adagio is unique, and stands unrivalled
even by the author's own efforts.
Then- was a slight misprint in the Inst notice. For love and
comfort breaking andante, read comfort breaMiug.
Nkwcastlk oh Ttxe. — The Sacred Harmonic Society recently
gave Haydn's Citation in the Town Hall, under the conduct of
Mr. Wobbe. Mr. Redshaw presided at the organ, Mr. Ainsworth
was leader of the orchestra, Herr Hauatnann principal violoncel-
list, and Madame Euderssohu, Mr. Tennant, and Mr. Irving
principal vocalists. Tho choruses went well throughout. "A
new created world," and "The Heavens are telling," may be
specially mentioned as worthy praise. The last chorus was
repeated at the end of the oratorio. Madame Enderssoho
Bang, " With verdure clad " most charmingly ; as also " On
mighty pens." The duet, "Graceful Consort," of Madame
Enderasohn and Mr. Irviug was perhaps the most expres-
sive piece of the evening, though " In native worth, by
Mr. Tennant, was highly effective. Mr. Tcnnant has a good
voice, and Madame Enderssolm is too well known here to need
any recapitulation of her merits. The oratorio was completely
successful, and the audience large. Some little improvements
had been made in tho Hall, and the place was nioro endurable
than on the last occasion, but it is still not what a concert room
ought to bo on a winter's evening, and we suppose the fact must
be dinned a thousand times into the ears at the Town nail
Committee before they can be made aware of it.
Da. Mask and his young pupils havo been giving concerts In the
Com Exchange, Manchester, during which, • solo on the violin by
Master Joseph Sturgc, and a duct for two cornets, by Master* Crc*twell
and Stnrge, were among the attractions.
HsunrOKD. — The Bradford Choral Society have commenced a scries
of concert* la the Protestant Hall, under the patronage of the Buyer,
the viear, Ac. Mr. Scholey is the condaotor.
* It Its* struck us, as remarkable, that so many nicies beginning
enrtnuiastieally about ^Wner, should, as they went on, contain a
Leeds — (From our own Correspondent). — Last Monday the late
Festival Committee dined together at Fleishmann's Hotel, under
tho presidency of the mayor, and, I am informed on good autho-
rity, they decided to !jive the next festival as a triennial
gathering in 1801. Dr. Bennett's health was drank with great
enthusiasm, and there is uo doubt th.\t his services as conductor
will bo secured for the next festival. The Leeds Madrigal and
Motet Society have been presented with a complete set of Dr.
Bennett's May Queen, by John Piper, jun., E*u hon. see. to the
Society, and it is to be performed at the annual soiree on the iith
January, undor the direction of Mr. Spark, the Society's con-
ductor.
The cheap concert given on Saturday evening last in the
Town Hall was but thinly attended. The singers were Mad.
Enderssohn, Mrs. Tennant, Mr. Tennant, and Mr. A. Irving;
Signor Belletta accompanying the piano. If the operetta which
these artists perform so well had been given, instead of a mis-
cellaneous and a meagre programme, large numbers would havo
attended. I am iuformed that the Town Hall sub-committee
objected to anything like drama being enacted within " their"
building I
The members of the Harmonic Union gave a concert in tho
model infant school-room. Mrs. Fox presided at the pianoforte,
and Mr. Dodd was conductor. The principal vocalists were Miss
Cliff, Master Simpkins, and Mr. G. Leaf. A concert has also
been given for tho benefit of the Eye and Ear Infirmary, at
which ■ surplus profit of £100 was made. Mr. and Mrs. Wood
undertook the arrangement. The vocalists were Mies Dobson,
Miss Hirst, Miss Newbound, Miss Pilling (pupils of Mrs. Wood),
Mr. A. Mann, and Mr. Baraclongh. Various songs were en-
cored, aud the concert went off with spirit. Mrs. Wood pre-
sided at the pianoforte.
WoncKSTBR — (From a Correspondent). — The receipts of tho
Infirmary Concert amounted to £ Id < 6s. (including a douation
of 1'IU 10a. by Miss Goddard, in the shape of an abatement of
her terms to that amount), and the expenses to £137 4s. 10d.,
leaving a balance of profit of £28 Is. 2d. for the benefit of the
institution — certainly a very inconsiderable, and by no means
satisfactory, result. The cause of this failure does not appear
npon the surface. A correspondent of the Worcestershire
Chronicle hints that professional jealousy was infused into the
management from the outset, and that this marred tho arrange-
ments, by excluding the most eminent musical names in the city
from taking part in the performance, and causing the Worcester
Harmonic Society to bo treated with great lack of consideration,
if not want of courtesy. The total sum paid over to the secre-
tary, in connection with the late movement on behalf of the
Infirmary, is £373 3s. 4d., which is made up as follows : —
Collection at the Cathedral, £2~>2 15s. 2d.; donations since re-
ceived, £~ i 7s.; profits at the concert, including a donation of
£10 10s. from Miss Arabella Goddard, £28 Is. 2d.; E. Bickertou
Evans, Esq., life governor, £20. Two conceits by tho
Harmonic Society were given at the Music Hall, on the
7th instant. Tho artists were Madame Rudersdorff, Miss
Palmer. Mr. Montem Smith, Mr. Thomas, aud Mr. Briggs,
as vocalists, with Herr Molique as solo violin, Herr Randegger
as pianist and conductor of tho morning performance, Mr. Har-
I>er solo trumpet, Mr. D'Egville leader. Mr. W. Haynes organ
and harmonium, and the fall band of the society. In the brut
part, the princi|>al portions of Rossini's Stabiit Muter were given.
The most effective were, the duet, " Quis est homo," and the
" tnflaromatus," sung by Madame Rudersdorff. The second part
was made up of ballads, songs, trios, &>-., and a violin solo by
Herr Molique, whose performance was a marvel of perfection
in tho legitimate school of violin playing. A selection from
Handel's oratorio Samson, with full orchestral accompaniments,
formed tho programme for the evening. The principal parts
calling for notice wore, Madame RudersdorfTs •• Let inc bright
Seraphim," which met with an encore ; Miss Palmer's " Return,
0 God of hosts;" and Mr. Thomas's "Honour and arms." The
choruses were effective, and well supported by the band and
organ.
Ma. asd Mas. IIoward Paul have been giving their -Pa/cAstorA-
st the Pavilion, Brighton.
Digitized by Google
[Dbcembbr 18, 1858.
Aberdeen Festival. — A musical festival will, it is reported"
be instituted at Aberdeen in 1839.
Norwich Festival. — AH trie arrangements for tbe next
Norfolk nod Norwich Music-meeting, to take place in 1800, are,
we understand, completed. Of course we merely allude to the
preliminary steps.
Boston.— Mr. Buck's teoond subscription concert was siren in the
Com Kn-liauge. Tho Swedish National Singers, assisted by Msdlle.
Sophie Huailer, tho violinist, were tho attractions.
ROYAL ENGLISH OPERA, COVENT GARDEN.
Under the Sole Xsnagenuat of Kiss Louisa Pyne and Mr. W. Harrison.
THIS New and Elegant Theatre will be opened for its
FIRST ENGLISH OPEUA SEASON, on Mond.v cviulnr, Dec SCth. with a
New aud Original 0]«.r«, by II. W. Rilfe. tut tied. SATANELLA ; OH, THE
TOWER OF LOVE. Char.wtcrs b>- Mix Louisa Pyue. MU« Rebecca Isiacs, Muu
Huaan Pyuu. Mor imer, Mr. W^lae Mr QV. «r« Ilmcy, Mr. A St Albyn. Mr.
H. Cwri Mr. W. II. Payne, Mr BartiMrun, «iui Mr. W. Uarrlaoa. Conductor.
Mr. Altrcd Mtl'on The manager*, in making permanent arrangements lor the
cetibbehitKiit of Enjf lis i opera In Loudon, hire taken advantage of the improved
construction of tbe audience portion of tUo n«-w theatre, and bare made »ucb
arnnigcmcutaaalhoT trurt will materially contribute to the comfort and eon-
veakuca of their vie/tore. The pit tier »od (rand tier of Uoxea will he emvrrted
into two drvea cirdee, each chair will ha numbervd and every pcraon ou entering
will receive a ticket with a correspondinc; uum w, curing film a ap-cified acac ;
a neatly printed programme of the |» rformaocae will alao be presented gratis to
each petion i>n cnt ru»B ; fVca to box-keepers, «> ReneraJiy exacted, will thus he
avoided. Nor will there be any charge in »de for booking Mwta beforehand. Pri-
vate tola*, alalia, phirca iu the drcsa-clivloa. and amphitliealre-stalla, may he
swurvd at the box office fund retained th
that charged at the door
8 rclee. 6a. ; umpbitheatr
Doon open at Ualf-pavt Six. comminccat Sc'co.
... vu. uiuo9-vli\iu«, .uiu .tiupii i Hviiiro-sinii., may oe
and retained thn wh .la evening*) at tho i-am-- pricu as
re. Private boxea. Al Is to *j Ja. ; alalia. 7a. ; drcas-
re-sUlli. 3a and 2.. , pit, 2a. od. ; amp! lih^.tiv. la.
ROYAL PRINCESS'S THEATRE.
Farewell Season of Mr. CHARLES KEAK ss Manager
MONDAY, MACBETH; Tuesday, MUCH ADO
ABOUT NOTHINn, Wedncailay, MACBETH (being the last time before
Christmas) Preceded every evtnliijr by a FARCE. On Moodar, December 27th
(Boxing uigl.t). will be performed the Comedy of THE JEALOUS WIFE. M-
j"wed by a new grand CHRlMl M AS PANTOMIME, e itiiltd THE KINO OF
THE CASTLE; or, HAHI.F.OUIN PRINOF. DIAMOND AND THE PRINCESS
BltlliH l KVKK
ST. JAMES'S THEATRE— OPERA-COMIQUE.—
ThU tlieatro will on n on Wodi uvular. Unmh r'a iu-»r w.il, . i„inn.r.f
llop n on Wednesday. Deccrnl* i-tsi next, With a lioupeof
eminent ruti-ee on which occasion will be preeoiited Aubera celebrated opera,
entitled LA PART DC Dl ABLE, in w .leh Madame Kaur*-, Madlle C. line Mathau,
Mm,.. Fon^fcrc, and Mon.. Bmoulfr .m the Theatre Lyrniue a..ilOr-era-Comla,i.cdc
Paris, «c.)wlll maketheu- Ursta ixuronco In England. Full choma and complete
^rchc-etra, comprising ihe principal artUU from Her Majesty-. Theatre awl the
H <val Itnlbiu Open, iinder th - direction of Mous Remusat (cf the Ar-au«iuic
ImpOnaleaodOpira OMnlquo dc PaiisX Private B- xes. <4 4> , «33< aud *2 2a.
nightly ; SUUs. 10s. ftl ; Box seata (res rvedl. 4a ; Pit, dd. ; An phithealre
Walls, l-.od , Gall ry, la. Stlbacrintletia and tickets to be procured at Mdcheira
Roial Library. SJ, Old lioud^ireet. City Agent, Mr. J. Alrey Tiirucr, 10, Poultiy.
Box., .ffloe open dally, from HI. Ten till Fire, under the carr "
Acting Manager, Mr. B. Burnett.
cf Mr, a Nugent!
Jtr A'tre.1 Knyner, Mr. Join Young. Mr. II irrv ltlguald, M
Johu Hudapeth, Mr. Henry Du.iley ; Mm Edwin Varnold,
Mm. Alfred RAjner. Mra. W. Smith, Mrs. R Il^rnit.anc
MatV.owa, and their wondeiiu! dona Mr. Paul B dford u
GREAT NATIONAL STANDARD THEATRE
SnOREDITCU.— Proprietor, Mr. John DntiCLara.
Last Two Nights of Performing b*r<>ra Cliriatmav Change of entertainments,
anil powerful attraeUona. On Mouday, December 20, for the Benefit of Mr.
Ctrrk. wheu li e fdlowin? artists will apnrar, j>o«itiTcly for this night only —
Mr. A!fre.l Raynor. Mr. John Young. Mi. H irry Itlgnelil, Mr. Henry Butler, Mr.
>ld, Mrs. Hugh CiunpbeU.
.aiid Mcur>. Chsi^fl and
— .-. d and Miss Klloi Aitlen
will perform, on Tuva.liiy. iu t lie Buriiaipie of NORMA. — On Mon lay Dec 20 to
ooauntsv* with tllCUARD III. Richard. Mr. A. Itayner; IU hni ivd. Mr. John
Young. To condudo witli THE AVENGER; or, the IJOUS OK GHENT On
TuesoUy, to cmowicc with the STRvNttliR: Stiaiig.r. Mr. J inns Jouustunu
Mr., ilallar, Mia. It H. uuer ; with NORMA aud tho DOOH Or GHENT.
-?wKSS-.7i,"ni'PXIJ!S DAV- at ]2 "'t^1'. thi-' Urv.»t Natioual SUudard
PANTOMIME will be piMdueed.
A CASE OF REAL DISTRESS AND DESTITU-
TION, addrestd to the MUSICAL PROFESSION AND TRADE, and all
other benevolently dispoaed peraous —Tho ntddun d.'ath by rapid coi aumntion
of Clement UvetL aijed ti irty-our tear., mere than sixteen .-rwliicli were luaatd
^ , — — ,.„, etrt'et.
vioo C. L«>eit pawed twelve nan of his hie. or ol Mesxr*
land Hon, Cheltenham, In whrae soi rice lie died List October, titherofwhom
will alao be happy to receive subscript i .n» to it win the support of tbe poor wjd..w
alal her bttle family 1
lUtkSjmh U ' •ood ■''|W"W— s\ and will b. thankful for employ-
TO CORRESPONDENTS.
Constance. — Our fair corrtuponderu thotdd £«ok fAof
coiifains fourteen li%e»~exactly tht number of f
male up her own mime, by the way.
THE MUSICAL WORLD.
LONDON, SATURDAY, Dkcembba 18th, 1858.
A NEW nssociation of musiciaits has just apruug into
vigonma life. Rejecting nil big Greek wordiueaa, it colli
itaelf, aimply and intelligibly, "Tbe Musical Society of
Londou." There is that much of plain-spokoneaa in its
favour. It makes profession of large and liberal objects.
So have others ; but that is nothing tbe less to its credit
It began work in earnest on Wednesday evening with a «*.
vertasione ; and of what that amounted to and p
shall speak hereafter.
Seeing that this Society commenced its preparatory i
tions in May last ; that its executive council comprises many
of the best-known musicians and amateurs of London ; and
that tho inuster-roll of its members at this time number,
close on live hundred names, it is almost strange that its
existence and intentions should liave hitherto attracted sure
an infinitesimal amount of public comment. We s»v
" utmost," for anywhere else in the world such a state cV
things would be iuii>osaible. Here, however, the cry of
"wolf" has been so often raised in vain, that the new Societj
suffers with the shepherd in the fable. Musical iisarjctatkm
aud " National Opera" speculations are all but non-quotable
articles in the market of public opinion. They Jiare risen,
one after .mother, but to fall in similar succession, until at
length the play is played out and the audience is wearied.
Promises call forth no confidence, and prospectuses fish vainly
for guineas. Thus it has hitherto been, and by this fact
only can wo account for the slight notice bestowed on the
new Society by that portion of the press which usually deals
with musical matters. Its formation has been announced,
the stereotyped hopes and fears have been expressed, tbe
usual morsels of advice tendered, — and there the subject hv
dropped.
But is the " Musical Society of London " to share the too
common fate I Is it to struggle through its first year, merely
then to fall in pieces out of its own sheer rottenness, or front
tho envies and dissnnsions of its members, or in utter despair
of public sympathy 1 Is this new association, with all its
wise and healthy proposals, to live but just long enough to
show us what might be done, and then, expiring according
to pattern, leave all music among us to the commercial
mercies of one certain Italian Opera (perhaps two), one uncer-
tain National Opera, a select Society in Hanover-square where
|>eople do congregate to fiddle the same symphouice of Maawt
and Beethoven they were wont to fiddle full thirty years ago,
aud a large Society in the Strand, where, so long as the
McMxah, Elijah, anil the Creation can be counted on fix
gain, the shopman will never be found to suggest the " next
article" to an anxious customer J We hope not. W*e should
be sadly wanting to our conviction of how much yet remains
to be done if we did not hope earnestly for the success of
this, and every other, honestly-planned" Society. But, also,
we believe not. The constitution of the now Society unfold*
certain original elements of combination which seem <
mise stability to an extent but seldom indicated in i
Digitized by Google
December 18, 1858.] THE MUSICAL WORLD.
809
attempt.-,. At all events wo have faith. Any scheme, however
admirably devised, may fail; but, in this case, we cannot resist
a very unusual sensation of confidence that if the announced
plans of the Musical Society of Londou are honestly and
zealously wovkwdout, tlterois nothing t<» forbid iU permanent
existence as lite great musical institution of England.
Of course the new Society has already its enemies. The
chief crime charged against it is, as we hear, that it. is an
" cmpoajtiop," and " intended to destroy" the Philharmonic
Society. For the sake of argument, let as suppose this
cliarge substantiated. Let us suppose the new Society was
intended to, and does, oppose the Philharmonic. What then I
What has the Philharmonic Society dono and deserved that
it should not be opjxwed if needful ? Have its objects been
so all-embracing, and their application so hypcr-energetic,
that nothing remains unaccomplished .' Has its patronage
of musicians and their music bcon so open-armed that not
ono worthy specimen of cither genus, homo or ojjus, remains
unrepresented in its councils and performances ' Is its
legislation the ablest, are its concerts the finest, that the times
con afford I Can no spot of clique, jobbery, malice, be pointed
at in a course of action that should have been pure, generous,
artistic, guileless ? Even had it been all that its partisans
assert, without believing, is this metropolis just of the precise
bigness to accommodate one great musical Society, and
necessarily to exclude a second i Above all, is not com-
petition a good healthy stimulant, seldom complained of,
except by the garrulous and disabled in anticipation of
defeat ?
Tins cry of " opposition to the Philharmonic" is, however,
we are convinced, suggested rather by the fears thau the
reason of its promoters. The council of the new Society
openly disavow rivalry with "any existing institution ;" and
although t he announcements of a pros|iectus must generally
be received - with caution, a very slight examination of the
proposals of the new Society shows its objects, constitution,
and modes of operation to be so entirely different to those
of the Philharmonic, that no antagonism, in the proper sense
of the term, can be contemplated. What these differences
are, and in what manner we conceive them to promise fairly
for the permanence of the new Society, we propose to discuss
in a future article.
At present we have only 8|«ace to add that the conversa-
zione with which, on Wednesday evening, the Society
formally commenced its labours was, in the novelty and
interest of its arrangements, a complete and deserved
success. A large collection of important and interesting
items connected with the history and present state of music —
consisting of rare portraits, engravings, manuscripts, auto-
graphs, old English instruments, instruments from every
quarter of the world, drawings and models of modern inven-
tions— was tastefullyarmnged in the rooms, and afforded much
gratification. In the course of the evening an address explan-
atory of the Society's objects was delivered by the Rev. Sir
William Cope, one of the council, and some delightful music
was contributed by members of the Society, among whom we
must s|iecify, as professors, Misses Stabbach, Hughes, and
Loftier, and Messrs. Osborne, Slojier, Salaman, Silos, Jausa,
Pollitzer, Blagrove, Lidel, Lazarus, and Herr Mengis. The
rooms were inconveniently crowded — above four hundred
ladies and gentlemen being present, and the evening passed
oft" as brilliantly as the warmest friends of the new Society
could have desired.
We don't mean to say, that when two gentlemen meet
each other on the stage, the one on the right is to remark
on the fineness of the day , and that the one on the left is to
object that it is rather cloudy; — that the one on the right is
to comment on the changeable, character of English weather
in general, with an aeeomiwnitueutof afnrtnatory ejaculations
by the ono on the left; that the one on the right is t<> ask if
there is any thing stirring, to be answered by the one
on the left by an unequivocal negative. We don't mean, we
say, to insist on all this, seeing that a conversation so ultra-
natural would bo the reverse of tunusing. But wo liave a
right to expect that when a play is called a comedy, it shall
be a picture, in some sort, of life as it is, or was The
common-places of conversation tliat belong to all personages
alike, and bear no reference to any definite course of action,
should, of course, be omitted; the wits should utter their
pleasantries more uninterruptedly than they would in an
actual drawing-room; the fools likewise should narrow the
intervals between their follies; and the same economy should
be observed with respect to the succession of incideuts.
An improbable compactness of wit, of folly, of adventure,
is therefore conceded ; else our comedy would lost ten years,
instead of terminating at the end of two hours and a -half ;
and few would care to s>ee the last act. Hut having made
this concession in the interest of art, and for the sake of our
own personal comfort, we will not concede any more ; but
protest strongly against impossible wit, impossible folly, im-
]>ossible wisdom, impossible adventures, in the thing called a
comedy. Tbo dialogues and incidents upon the hoards need
not, nay, ought not, photographically to depict real life ; but
they ought to be deduced therefrom, not distilled from a
heterogeneous mash, compiunded of antiquated conventions,
moral dissertations, cosinogonical treatises, pantomimic
tricks, and worn-out farces. Human nature has a right to
revolt against the exhibition, and to exclaim : " I did not
contribute towards this mash ; it is a fantastic mash and an
untrue. Wherefore, then, shouldst thou say, that it means
me, or anything belonging to me (" Those who would push
to the extreme the demand that the stage should be a
mirror, go too far in their requisition for prosaic accuracy,
and, as fitting punishment, should bo condemned to see ten
pieces of the sort which their theory would elicit. But, in
good sooth, there is a difference between the looking-glass
that encumbers us with an oppressive exhibition of weari-
some trivialities, and the phantasmagoria that makes us crow
with puerile delight, because it shows us nought hut gro-
tesque caricatures ; and this difference ought to be hit upon
by the dramatic genius.
Also, we demand, that the scenes, situations, and dialogues
that occur in the course of a comedy, shall be connected to-
gether in accordance with some fixed design, the departure
from nature in this respect being most laudable. For it is
the very essence of art to be regulated by a more obviously
ideological principle than nature, showing causes final as
well as cfhvient. More obviously apparent, we say, for our
own view is that of Pope : —
" Ke*pecting men, whatever wrong we call,
Mny, must be right, u» relative to all.
In human work», tho* labor*d o'er with pain,
A thousand niOTetuent* scarce one purpose gain ;
In iJoaV, one siuRle can it* end produce |
Yet serves a second to nomo other nse.
So man, who here teems principal alone,
Perhapa acts second to some sphere unknown,
Touches some wheel, or rerges to some goal ;
•Tia but a part we see, and not the whole."
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[December 18, 1858.
Now tho true artist aeoommodatM our finite perception ;
and (/« cxLilit U> us a whole, wherein we clearly see tlie
Coherence <»f the ]«irta. And lure, what wo expressed above,
in the form of a concession, we again repeat as the substance
of u law.
The theatrical season h now fairly netting in, and we
learn from certain horracopes that many pieces, termed
comedies, will be produced. Wo therefore appeal to
dramatic authors in general, and beg of them, that if they
Oio about to present the public with a piece, in which all
the personages are essayist* or caricatures, in which the inci-
dents are purely farcical, and in which the aetiou is
altogether incoherent, they will refrain from putting the
word comedy in the bills. Let the dramatic genius affix the
term ':h<.idge-i*>doe,*' or " niisb-niash," or " Snlumguiidy,"
or " piccalilli/' to his work, and thou we will not go to see it.
Thr Mkssiaii. — The usual Christmas performances of this
immortal master-piece by the members of the Sacred Harmonic
Society have both taken place— the first on Friday se'nnight,
the second yeaterdsy evening. At the first the principal singers
were Mrs. Sunderland, Miss Dolby, Mr. Sims Reeves, and Sir.
Ueilotti ; at the last, Miss Louisa Vinuing was substituted for
Mrs. Sunderland, and Mr. Weiss fur Sig. BtlttttL Mr. Costa
conducted. On both occasions dense multitudes assembled, and
Exeter Hall was literally " crammed." Mr. Uullah gives hi*
Christmas McuiaA on Monday.
M. It km i s a r having completed all preliminary arrangements,
the St. James's Theatre will op<«n on the 28th inst. with a
French oporatic company (comic).
Rossi si has been composing music for the pianoforte, with
which all who have bean I it (played by the master himself) are
enchanted. Braviutimo !
Saint James's Hall. — Tho pomilarity of the new hall
increases, notwithstanding that the directors exhibit no intention
of making the alterations, which tho universal voico of London
cries out are neeesaary for the proper conveyance of sound On
Thursday, Mr. \V. Chalmers Masters gave a Soirfe AfuticaU, for
whiob, he engaged the sorvices of Misses Stabbach, Mahlah
Homer, K. Armstrong, GiSrard, ltosa Evelyn, and Upton ;
Messrs. George Crozicr aud Wallworlh, as vocalists ; and
Madame Rosalie Themar, pianoforte, M. Hezeth, violin, and
Mr. W. Qraeff Nicholls, flute, as instrumentalists. Beethoven's
Sonata in O, for pianoforte and violin, was well executed by
M. Bezeth and Mr. Masters. Mr. Masters also played in
two compositions of bis own — " Duo ( 'oncertante," for
pianoforte and flute, in which he enjoyed tho co-operation
of Mr. Qraeff Nicholls, and duet on two pianofortes, with
Madame Rosalie Themar. The lady pianist performed
Dohler's fantasia on Ouillaum* Tell, and a composition of her
own, in both of which she exhibited a good deal of talent, and
was loudly applauded. There was but one encore, and that was
awarded to Mis. St abbach, in Linley's " Bonnie new Moon," ex-
tremely well sung. The other vocal performances were too
many and unimportant to demand special notice. Mr. O. ( 'rosier,
who, we believe, mado his first oppearaucc in public, showed
decided promise in Beethoven's "Adelaida." He has an
agreeable tenor voice, seems to have been taught well, and
with time, may become an acquisition to the concert room. He
was very nervous, and should have commenced with something
less trying tlian Beethoven's aria.
TnK Crtstat. Palace Company have made a donation of
£50 towards the erection of the statue of Handel in his native
town of Hallo. This gift haa been received by Sir George Smart,
chairman of the London committee for carrying out the object,
having been transmitted to Mr. KJingemann, secretary of the
committee. Some months ago a donation of the same amount
was received by Sir George Smart from the Sacred Harmonic
Society. The statue (which is said to be a fine work of art) is
nearly completed, and its erection will form a part of the cen-
tenary commemoration, at Halle, of the death of the great
M. JULLIEN'S CONCERTS.
Tub "Mozart Night" came off on Saturday, before an enor-
mous audience, and with triumphant success. Two symphonies
were played— the E flat and the Jupiter— besides the overture
to Die Zaubtrflote, and the incomparable pianoforte concerto in
D minor, performed from end to end in a style worthy of the
music (than which higher praise cannot be given) try oar young
and gifted pianist, Mis* Arabella Goddard, who, In the first and
last movements, introduced tho masterly " cadenzas" of Hummel,
executing them as Hummel might have executed them himaelf.
The impression created by this admirable exhibition was, as
might liave been anticipated, immense. Miss Goddard was
recalled to the orohestra at the end, amid volleys of applause,
from boxes, gallerv and promenade. The sensation, in short,
was as unanimous as it was trnly enthusiastic, and better atill,
it was legitimate.
To night brings the series of concerts to a close. Mad. Anna
Bishop (who, with M. Wieniawski, accompanies M. Jnllicn on
his provincial tour) has been the prima donna since Tuesday —
the night after the Bal Masqut — creating the ntmost enthusiasm,
both by her "bravum" and ballad-singing. She was nightlv
encored in Guglielmi's " Gratias agiinus tibi," and in * Oft in
the stilly night," or " Come again to-morrow," when she sub-
stituted " Home, sweet home," which created a furor.
Next week we shall offer some general remarks on the season,
Of tho Jial Masque on Monday night, wc have nothing new to
say. Tho theatre was handsomely decorated and brilliantly
lighted, and although the size of the theatre was no less
opposed to the convenience of the lovers of dancing at the Ball
than to the lovers of music at the Concerts, as ranch accommo-
dation was obtained from the stago and pit as ingenuity could
devise. Dancing commenced at about a quarter past ten, and
at that time there were hardly one hundred persons in the
house. Towards eleven, they came in by flocks aud herds, and at
supper time the crowd was so immense as greatly to impede
tho pleasures of the dancers. The separation of the pit ami stage
was a happy thought, as by these means the pressure of the
mass was divided into two channels. The characters aud cos-
tumes were hardly up to (he average of former ytars, and we
missed sundry familiar faces who were wont to enliven theaa ex-
citing scenes br their vivacity and droll personifications. M.
Julien presided in the orchestra until long past supper, and
gave most of the favorite dance-pieces of the season, including
the "Indian" quadrille, the "Trab Trab" quadrille, - the
•' Fern Leaves." the " Campbells are Coming" quadrille, the
" Frikell" polka, the " Kiss" polka, 4c.
CRYSTAL PALACE CONCERTS.
Tint last (the fifth) Saturday concert was again a good one,
and again well attendod. The symphony was Mctnlel— ohn't
in A minor ; tho overtures were Bencenuto Cellini (Bcrlioaj
and Oberon. M. Sainton played the first movement of Beetho-
ven's violin concerto (why only the first movement we are at a
loss to guess), and his own cunctrl-tolo magnificently ; and Mist
Louisa Vinuing gave the same master's, " Ah ! perfido," beside*
two ballads, "Scenes that are fairest " (Benedict), and " Whin
the bee sucks," in tho last of which, she was onconsd. Hsrr
Manns conducted.
Madame Persian! a Music Mistress.— Madame Persiani, fc>
long a brilliant ornament of the Opera If alien, has lately fixed
her residence in Paris, with a view to devote herself wholly to
tnition in the art of which she is so eminent a mistress.
BiuuiiTox— {From a Corre»i>oiident).— Madlle. Finoli'a concert
was very numerously and fashionably attended. The fair
artist sang "Non piii mo3ta," the brindisi from Lmrtiia RorjU.
and the duet from Rossini's Barbiere, " Dunque io aon," with
Signor Lorenzo. In tho brindin Madlle. Finoll was honoured
with an encore. Mr. Horace Vernon, a new tenor, sang " Come
into tho garden, Maud," with taste. Herr Kuhe, M. ae Paris,
aud Miss Sophie Wright, were the instrumentalists.
SwiXiKi. — Mils Julia itlcsdon has been giring tier musical enter-
tainment, in conjunction with Messrs. Alfred and Henry Nicholson,
with great success.
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811
RT. MARTIN'S HALL.
Mr. Hcllah's eecoud concert (on Wednesday night) was ono
of the very best he bos ever givou. The programme included
the "Lauda Sion" of Mendelssohn, the second symphony of
Beethoveu, and Professor Stcrndale Bennett's Mm/ Qaten, which
was no less triuinphautly successful than at the Leeds Festival
iu the autumn. Of this chariuiug |»storal we shall shortly have
to speak in detail, * printed copy having reaobed us from
Messrs. leader aud Cock, the publishers. At present it is enough
to say that tho performance, though not irreproachable, was
highly creditable for a tin* at tempi; that the overture aud
orchestral accompaniments were, on the whole, well played
(allowing for the absence of what the Italians term " chiar-
o*c«ro;") that the lighter choruses were more fortunate for
Intonation and precision than thoM of a graver character; and
that the iirinc(]MtI singers— Miss Banks, Mdlle. Behrens, Mr.
Wilbye Cooper and Mr. Weiss— were all careful, if not all
perfect. Mr. Wilhyc Cooper, who was engaged to till tho place
of Mr. Sims Reeves iu tho " Lauda Sion," undertook, with
friendly readiness, aud in a thoroughly artistic spirit, the
same difficult task in the cantata of Professor Bennett,
at only ono hour's notice. The audience appreciated this
conduct, aud, much as the absence of our great English
tenor was regretted, were most kind and considerate
to his substitute, whom they encored unanimously in the
air, " O meadow clad in early green." Miss Banks was simi-
larly honored iu the charming roundelay of the May Queen,
" \\ ith the carol iu the tree," in which the chorus is allotted so
conspicuous a part ; and Mr. Weiss, in the very characteristic
song of Robiu Hood, " ' Tis jolly to hunt in the bright moon-
light," the gentleman deserving tho compliment fully, the lady
(who made us regret Mad. Novello) in n lesser degree.
Applause of the warmest kind awarded every piece ; and at
the end, the composer, being in the hall, was summoned by the
whole audience, aud brought forwarJ into the orchestra by Mr.
Hulhth, amid enthusiastic cheering. No success oould have
been more complete.
" Professor Bennett," says an excellent writer in the Daily
Tiitijraph'' was not'summouedniid re summoned seventeen times
like an Italian composer of operas, but the applaiue with which
he was met, when ho dUl appear, was givou not merely with the
hands, but also from the heart. Professor Bennett favours the
public but rarely with a new work, and we believe the May
Queen is the only important composition for voices that he has
written. Of course we do not imagine that popular success
alone can, or ought to have, any effect on the intentions of a
great composer. He produces what he feels to be good, and
does not aim merely at plcasiug the public taste. Never-
theless, as he means his music to convey certain impres-
sions to those who listen to it, be must rejoice when he
has before him the palpablo proof that the desired end
has been gloriously attained. Therefore, Professor Bennett
cannot be indifferent either to the high appreciation of musi-
cians, or to the enthusiastic applause of the general public
Those who have studied music profoundly— those who possess
musical sensibility without any deep knowledge of the art— and,
in short, all who have ears to hear— arc delighted with the May
QMtn We consider, then, that, if only from a feeling of beue-
volence, our cleverest composer— who is, at the same time, ono of
the greatest composers of Europe — should produce another can-
tata. We say a cantata, because compositions for the orchestra
alone cau never give the same universal ple:isure which is derived
from those in which tho voices are also employed. .Symphonies
arc seldom appreciated by persons who have not made music a
special study ; but among the audience last night at St. Martin's
Hall there were numbers who might have felt the beauty of
Professor Bennett's melodies, just ns a child is pleased and
affected by the charm of a simple nursery tune. Nothing cau
be more refreshing, after a long course of emphatic and exag-
gerated opera music, than to hear such sweet strains as those of
tho May Queen. It lasts about as long^ aa one act of a modern
opera, and contain* no twite. But it will be listened to long and
long after the matitri of the spasmodic school shall have ceased
to bray. Their trumpets and trombones will, one day, be
silent ; ami lovers of music, after hearing the May Queen, will
say of Professor Bennet what Horace, in a celebrated line, has
said of himself : 4 Ho has raised a monument more lasting thau
b, a*>: "
DRURY LANE.
Tiie operatic season was brought to a termination with an
Euglish version of 1m Figlia del Reggimcnto, which Miss Louisa
Pyne selected for her benefit, playing Maria for tho first time in
London. Unfortuuatoly for tlio completeness of the per-
formance, Mr. Harrison was taken ill, and conld not appear as
Tonio, aud the part in consequence was allotted to Mr. St.
Albyu, who not being up in the music, and knowing nothing of
the dialogue, was compelled to omit nearly the entiro of one
and read the other from hook. At which a part of tho audience
were by uo means pleased. There was no help, however, and
no one was to blame.
Miss Pyne sang the music of the " Vivaud it-re" with exceeding
brilliaucy aud admirable taste. The cadence in the lesson scene
could hardly have been surpassed in facility, ease, and brilliancy.
The trio of the "Rataplan" was no less excellent, and was
cucorod with acclamations. In her acting, Mies Louis* Pyne
was natural and uuaffectcd throughout, and, occasionally, even
earnest.
At the end of the opera, Miss Louisa Pyne was called before
the curtain, and received with boisterous enthusiasm. Mr.
Harrison was then summoned, and after soiuo delay, appeared in
plain clothes. He, too, obtained an uproarious welcome.
When he could obtain silence, he addressed tho audience,
and thanked them for the patronage shown him at Drury Lane,
which ho trusted would bo extended to him in his future home
at tho Royal Italian Opera.
'' To be doing," seems the motto of the Pyne and Harrison
Company. On Saturday, Drury Lane was evacuated ; on Mon-
day, the prospectus for the new campaign, at Coveut Garden,
was issued. The prospectus certainly contains nothing that
asks for serious consideration. Little is said about music,
beyond the fact, that Balfe's new opera, SatwuUa ; or the
I'otcci' of /-ore, will be produced on tho opening night. No
reference occurs to any other composer, or any other work.
Liberal promises are made resecting the internal arrangements
of the theatre, nil of which will linn favour in the eyes of the
public ; but wo should like to have obtaiued a little information
regarding what tho management intends doing up to April,
when Mr. Qyc wants tho house.
Monday night is to be tho opening night, and what with tho
curiosity to see the now homo of the English Opera, the eager-
to hear Balfe's new work, and the desire to
" national" company in so magnificent a theatre, tho
is nt the highest. Let us entertain tho hope that Miss
Pyne aud Mr. Harrison will do all iu their power to
their administration worthy of public approval.
COMMON
SENSE AND JUSTICE.
(From I he Era.)
Ok tho first night of the popular concerto In St. James's Hall
Mr. Sims Beeves was unfortunately unable to appear, owing to
a severe cold and hoarseness, and though ou the following evening
ho gavu tho beautiful soug, " Come into the garden, Maud," with
a sweetness and power of voice worthy of his high and deserved
reputation, traces of rocent indisposition were strongly visible in
his features. The absurd notion entertained by some unthinking
people, that these diaappoiutiuonU of tho public ore only due to
the caprice of the singer, would hardly require refutation if those
who entertained such an opinion would only reflect upon the
serious pecuniary loss our popular English tenor thus sustains.
There are few who appear so often before tho public, aud none
who work harder, and the high value set upon his exertions
would show at once that the sacrifice of all remuneration could
only be made when tho vocalist was physically incompetent to
fulfil his engagement.
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THE MUSICAL WORLD.
[December 18, 1858.
DRAMATIC INTELLIGENCE.
Hatmarket. — The end of comedy is to amuse ; instruction
should bo convoyed by implication. Better far that indoctrina-
tion should be dispensed with altogether in a comic drauia, than
nut be made subservient to entertainment. Nobody goes to a
theatre to be taught ; pleasure and relaxation are what are
specially looked for and expected. If a comedy fail in pleasing
nod unbending the mind, no amount of tine writing, no profound
iusight into humanity, no subtle knowledge of character will
suffice. The author had belter take his piece to the Literary
Institution, in Edward-street, and read it to a select public, than
have it performed on the stage. The most perfect acting cannot
compensate for the absence of humour, when humour is antici-
pated. A comedy is no comedy, if, instead of amusing and
interesting, it bores from beginning to end. Of all our
modern writers of comic pieces, none lias proved more auccesful
than Mr. Baylo Bernard, most of whose dramas, particularly
those written for poor Power — such as The Nen-o\u Han ami
Han of Sana, Hi* L-ut Leg*, Hie Golicuy Attorney, &e.,— some
of them of old date, still support a respectable standing ou the
lies was to keep up ft
ty, and never deviate
" er. In his new
work, The Tide of Time, he not only preaches and moralises,
but attempts to philosophise. Now, abstractedly considered,
Mr. Bernard exhibits a dee|>er train of thought in this play, aud
BIRMINGHAM MUSICAL UNION.
(t>om the Binai»gK<iM Daily Porf.)
Tub second concert, which took place at Dtt't Hotel L-
' evening, was, if possible, more successful than Uts fermrr ott
The weather had decidedly set its face agaiust tike euerUuntr
with edifying earnestness of purpose, and Invested the ion i
general, aud the vicinity of Dee's Hotel in particular, run ,
thick Loudon fog, sufficient to damp the spirits of a hmplij'iu:
but the attractive powers of Mossrs. Dacheiu'ui sail Co. »•;
weather proof, and at an early hour of the proceeding «w
corner ot the saloon was crowded with a brilliant sad
ciative company. The programme presented one of tire rait.
musical treats that it is possible to compress into the ifnn « i
couple of hours' performance, as wilt be seen by tbi wn>m
sketch : —
Qusrtct in K-No. 1, Op. IB
&jng— Mi»s Amelia f
I oi oni date, sua supj
rd's^ain
the slow tract* of the moralist or
may be pronounced a sermon rather than a comedy. When
Spalding, the hero of the piece, is on the sta»e, we hear nothing
from his lips but moral disquisitions on social progress, the uu-
distiuctions of rauk, or the affections of the heart,
and, e very tim<- he speaks, we. ire tempted touxclaim with Sir Peter
Teazle, " Damn your sentiment, Joseph." None of the characters
possesses the slightest vitality, nor stands out prominently from
the canvas, if wo except hir Dormer do Brazenby, played by
Mr. Comptou. who lives on one idea, aud that more strange
than funny, of desiring to establish his thoory of the curvilinear
line to the utter annihilation of straight lines and angles. The
character sustained by Mr. Buckstone lias no individuality what-
ever. He is just what the bills describe him — "A neighbour"
—no more. Pendarvis, the aristocrat, does not exhibit one
single trait, good, bad, or indifferent, of high life ; while
Grainger, the solicitor, shows as little of the lawyer in feeling,
Instinct, or manner, as Spalding, the manufacturer, or Quillett
and Griffiths, whose avocations are not even hinted at. The
comedy, brought out on Monday night, achieved a meets d'estime
--that was all. No one could be indifferent to the merits of the
writing and the excellence of the acting. These insured the
piece a favourable reception ; wanting them The Tide of Time
could hardly have flowed calmly into the harbour of popular
estimation. Sir William Don has given up playing John Small
in Whitebait at Greenieic/i, and has taken to Mr. Timothy
Toodles, in the farce of 77m Toodlei. The baronet will be due
shortly at some metropolitan or provincial theatre, so that his
services are nearly run out at the Haymarket. Siguora Pcrea
Nona is also about to leave. Mr. Buckstone, doubtless, will
experience no difficulty in filling the places of the popular
Spanish tlameuee and the longitudinons knight-baronet.
Dec. IBtk, lHSa — (/Vom a Corre*)K>ndent). — The
fifth annual concert, given by the young gentlemen at Mr. West's
Grammar School, took place on Thursday, the 9th iustant. Mr.
W. H. Birch conducted. Several of that gentleman's vocal
miscellany, viz. : — " The gondolier's serenade," " In de woods
ob Carolina," "The British Army aud Navy" new national
anthem, were sung with great effect. The band performed
Mozart's overture to Cori fan Tutti, aud to Beethoven's
Prometltexu. Beethoven's trio in D was performed by three
concertinas. Some songs aud piano solos were rendered by
Messrs. F. and A. West, Beaumont, Rodforn, Glover, and Hurn-
dale. The concert was throughout successful
Solo"— Pianoforte— Op. 27, No. 1
Sonata iu U flat— Pianoforte and Violin
Bill .
Wrier
I.ii A:.
Quartet
Bong— Miss .
Solo— Violin
Quintet — C major
Beethoven's Quartet, written for stringed instruirati ru
entrusted to Messrs. Wallerstein, Hay ward, Battens, aid LI
and, with thu exception of a litlo unsteadiness in the opax:
movement — Allegro con brio — was admirably executed. Sir
Amelia ITill, the' solo vocalist of the evening, is an oMnrtx*
with Birmingham audiences, and her sweet and paetft .
livery of tho two solids by Hi use It and Mondelsiokn, t:»is
sensible impression and fully vindicated her title t» tbs ki»,
local position which she enjoys. The pianoforte woats— li«il-
oven, Op. 27 — to which Mr. Ducheniiu rendered ua\\* jwwr.
is better known as the Moonlight Sonata. Iu eneotnti
nothing to bo desired, and it may be set ilo»u u mif «' ti
finest performances of the evening. Mozart's Sonata, ttiwi ii
his diary to have been composed ou tho 21st of ApriL 17-1 —
some eight years prior to his decease, was listened to ttla ail tt
interest which its merits, no less than the aswtiatioi* iwa;
out of its performance at this period, are sore to huairc
Messrs. Flavell and I lay ward performed their parti sdminUi
and tho audience were by no means backward in their ijijkri*
Weber's quartet for piano and stringed instruBietUvisab:
performance, and Lipinski's violin solo, in the kindi of Er
Wallerstein, raised tho audieneo to enthusiasm. On the wi-
the entertaiument was most creditable to sa ysog it
association.
The arrangements for the comfort of the audience wens
exceptionable. The fog, of course, persisted in Ursu? i
every time a door was opened, and iu the early pwtif'i:
evening produced a good deal of dry coughing, iugie*'U
the reflecting mind of tho advantages derivable frpjahtWK
lozenges, Christian's pates de lichen, aud other ncstrom »
allaying pulmonic irritation, but this stato of thingi *><•«'
off, and Uie audience abandoned themselves, without ram-. '
the enjoyment of the musical banquet prepared for thera-
Oratowos is Dkrbv.— All lovers of the higher clssi of »u
will learn with pleasuie that Mr. T. A. Johnson, MtuiM"
and Concert Agent of this town is making arraiig«sK» *
the performance, iu Derby, of the oratorios of Handil, *f
dclasohn, and other great masters. Mr. Johnson hu wr^7
on many occasions, proved himself entitled to the thittki «>-
support of the public, for his spirited conduct in catena? '
j their atnusciueuU But none of his previous efforts given**
good a claim as this ; and we are glad to perceive, froes a >*>
subscribers who have already promised their patronngs, tnit*
has reason to anticipate a successful issue to his nndwtM'^
We are told that eminent solo singers will be engaged, ,mi j»
tho baud and ehorus will be thoroughly efficient. Tm ■
oratorio will bo Handel's Mettiali. — Derby Jlfertrtry.
hovis. — Tbe post of organist has been filled op by tat *r1Kint£\
of Dr. Dixon, of Magdalen College, Oxford, and orpaiit ■ w
Ketfurd,
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December 18, 1858.] THE MUSICAL WORLD.
813
Bristol.— The Concert given by Mr. P. J. Smith, in the Vic-
toria Rooms, Attracted a numerous audience. The vocalists
were Madame Ruderodorff, Mrs. P. J. Smith, Miss Palmer, Mr.
Sims Reeves, Mr. Montem Smith, and Mr. Thomas : the instru-
mentalists, Horr Molique, Signor Rondeggcr, Messrs. Waite,
Nicholson, Waetzeg, T. Harper, Brooke, Man, and Priest. The
orchestra and chorus were principally members of the Harmonic
Union. The chief features in tho concert were a symphony of
Beethoven, (minus the first movement), Bach's " Chnconnc" for
violin, played by Herr Molique, a Violoncello Solo by Mr.
Waite, and the/>'We to Mendelssohn's LoreUi/, which concluded
the first t«art. The overture to OuUUtume Tc/l, Mendelssohn's
Ktna, " Infelice," "O'tis a glorious sight," (Oberon,) by Mr.
Sims Reeves, and Mendelssohn's "Wedding March," brought the
concert to a conclusion.
Belfast. — The second concert of tho Classic Harmonists'
Society was very successful. The first part of the programme
consisted of Flandel's Ads and Galntea, in which Mrs. Sunder-
land and Mr. Wynu bore away the palm. Tho second part was
miscellaneous, Mrs. Suudcrland, Miss Crosland, Mr. Cooper, and
Mr. Winn, assisting as vocalists, and Mr. George B. Allen as
pianist. A four-part song, by Mr. Allen, "I love my love in
the morning," was well sung and greatly applauded. Mr. Allen
played a solo on the pianoforte, by Thnlberg, with great
applause, and the concert gave general satisfaction..
As Overture to Verdi — (Rejected by Mr. Punch). — Signor !
Verdi, who, from disinclination or incapability, seldom writes an
orchestral prelude to his operas, has had an overture mode to
him hy Mr. Lutuley, to come to London and superintend tho pro-
duction of Let Veprtt Siciliemiet next season at Her Majesty's
Tin aire. Should this work of the Italian ma&tro be brought
out here, it is to be hoped that tho public will not bo visited
with a fit of the vapours.
Mr. Uaxsfohd's Amtu.il Concert took place on Tuesday evening in
St. James's Hull. A programme of "monster" proportion* w»* pro-
vided, sod n crowded room the result. The vocalists vitro eo numerous
tlmt we cannot Gnd space to particularise. Mr. Sims Reeves was the
" stur," and managed to get through his labours admirably, although
evidently *ufli ring under liooriei.es", iudood anything but in a condition
to come before the public ; tho audieuco applauded everything he sung,
and insisted on n repetition of " Phnbo dearest." Miss Katuford was
in excellent voice, ami was obliged to repeat "Peace inviting" (Bishop)
with trumpet nbbligoto plated by Mr. Distitt. Mr. Hansford, among
other pieces, gave Dibdin's btllad " Hie Token," and a comic duet with
his daughter. Other " vocalismt" were contributed by Misses Wells,
I.ascellcs, Mcfsenf, Pool, Rebecco Isaac, Laura Baxter, George
l'crren, Gcngo (enrorrd in "Sally in our alley"), Ferdinand Glover,
Winn, and Miss Teresa Jeflerys. The last mentioned, a young
aspirant, bids fair to attain a high position in her profession. She sang
Piseer" in a stylo that would liavo douo honour to a mueli more
experienced vocalist, and the applause Ehe received was richly merited.
of the Coldatresu Guards, under the direction of Mr. C. Godfrey, one
of which was to well played as to be unaiiinioualy rcrieinanded. A violin
solo, the "Carnival dc Vcnise," was played by Mr. Viotti Collins, who
was recalled after his performance, ar.d a pianoforte solo, "Venation*
on Weber's Last Wall/," Capitally ployed by UM cumpofcr, Mr. ltrinley
Richards, who was loudly applauded at tho toiulu: iou. The programme,
which altogether appeared to ptcavc Sir. Hansford's patron*, also
included the music of Macbeth, with new words by Mr. Hareourt
Kasscll. With regard to the Macbeth music, tho mu»ieal critic of the
Jjaily Telegraph observes : — "The Cantata which had teen attuuuneed
■t 0110 of the special attractions of the evening, was simply Locke'*
celebrated music to Macbeth, with new words by Harcourt Russcil,
Esq.' We confess we prefer tho original poetry by Willi .m Shak-
tperc, K»q., and it U almost superfluous to remark that if Matthew
Locke had had Mr. Russell'*, instead of Mr. Shaksper.'i, imes to write
to he would not have wedded them to the immortal muiic, which Lb so
perfectly appropriate, 1o the incantation scenes of our great dramatic
tragedy . Sir. ktu sell's subject is Spring, and we admit that his vorscs
art} not without grit-.e. But if he really believes that a poem on Spring
is suited to the music composed for JAlc6< t/'i, we ndviso him to try hi*
baud next at adopting Milton's Allegro to Mozart's Jiequiem." These
remarks would have still greater weight if "Mr. Shak*|>cre" had
really been guilty of all the doggrel to which Locke's music it set.
But, unfortunately or fortunate ly, he was guiltless of most of it.
MAMcnsSTin.— Mil* Louisa Keeley has mado her tebut st tho
Monday Evening Concert*, in the Free Trade Hall. Notwithstanding
n severe cold, she contrived to aehieve a decided sucoets. Mis*
Armstrong and Mrs. Brooke, Mr. G. Perren, and Mr. Ferry, were the
At M. Halle'* Orchestral Conceit on Wednesday work, we bsd the
Overtures to Leonora, L'KUiU du Sord, and the Pri aux Cteret I the
Andsnto from Spohr's Pouer of Sound, one of Haydn'* symphonies in
D, and the ballet music from the Prophite. M. Halle played tho
second concerto of Mendelssohn, and a lolo by Lists. The vocalists
were Miss Helen Walker and Mr. George Cooper.
Ofkxiso of *. Nbw Oroak at St. Mary's Cucucit, Lincoln. —
The Right Rev. the Lord I'.shop of Lincoln preached in the morning
at St. Mary'* Church, on tho occasion of the opening of a new organ in
that place of worship. His lordship took for bis text the 74 IB and
?5lh verse* of tho first chapter of the Goipcl of St. Luke—" That He
would grant unto us, that wc, being delivered out of tho hand of our
enemies, might serve Him without fear, in holiness and righteousness
beforo Him all the day* of our life." The Rev. J. Thorold, the vicar,
preached in the afternoon anil evening, taking for hi* text in the after-
noon tho 1st to the 10th verses of the 8rd cliapter of the Gospel of St.
John, and in tho evening, tho 7th and 14th verses of the 6th chapter of
tho II. Book of Kings. The congregation* were very Urge. The
collection* amounted to £14 10s. The organ, which is from the well-
known mauufoctory of For*ter and Andrew*, of Hull, consists of two
rows of keys and a pedal organ. Tho Great Organ, compos* CC to G,
contains: — 1, open diapason, all metal j 2, viols di gamba; 3, stopped
dispsson, bass ; 4, claribel ; 5, principal ; 0, fifteenth j 7, *e*quialtra
of three ranks; 8, wald flute. The Swelling Organ, torn pass tenor C
to G. contains I — 1, double diapason ; 2, open dinposon j 3, principal;
4, oboe. The Pedal Organ, compitss CCC to E, 29 note*, coutaiu* a
bourdon from the lfi feet note. The Couplet are— 1, twcll to great j
2, great to pcdaL. There are three composition pedals lOr the in»t»n-
laocous shifting of the stop* without employing tho hands. The
bellow* are double feeding, with internal wa«te valve*. The key
machinery work* in cloth hushes for silence, and every modern improve-
ment of value it adopted in the construction of the initrumcnt. It is
enclosed in n stained case of very neat and appropriate design, having
gilded pipes in front, forming not only a very useful but an exceedingly
ornamental addition to the church. The full organ i* powerful, and
wo believe tho instrument, under the hsud* of Mr. F. M. Ward, the
clever organist, will be productive of great assittsDoe to the congregation.
The " Hallelujah Chorus " at the conclusion of the morning's tervieo
was very effective. The idea of having an organ at St. Mary'* church
originated with the vicar lomc two or three year* ago, and ho sot hiut-
tell to work to obtain it with a seal which has at last proved luecessfui.
He personally contributed £50 on tho condition that tho remaining
£200 be raised, the cost of the organ being 200 guineas, and the
necessary alterations beforo fixing it, £-10. 'The rev. gentleman has
actively canvassed his own parish by himself, but has not asked the
parishioners of any other parish for a farthing, in consequence of the
claims made, and about to be made, upon them for improvements in
their own churches.
Moklky. — A concert and tea meeting wss held in the Zion Inde-
pendent Chapel, for the purpose of getting funds for the improvement
of tho organ. Selections from the Creatton, Mtniak, *r., were sung
by Mrs. Sunderland, M.»s Newell, Mr. Barnes, and Mr. Bykes. Mr.
Bowling was the conductor, and Mr. Naylor presided st tho organ. A
handsome surplus i» expected.
Worckstbu.— The Choristers' annual concert, at the Musical Hall,
was successful. The young singers wore applauded in several pieces.
Mossm. Meson, Berkley, Briggs, Brooks, and Simui*, lent their assist-
ance, and gave the glee, "Come, bounteous May." The Recreation
Band's concert programme had tho names of Mr*. Evans, Me**rs.
l'ugh, Wood, Parker, and Comb*, in it. Mrs. Evan* and Mr. l'ugh
were several time* encored. Sir. Langdon was conductor.
AlTuiNCHAM.— The Choral Society gave their third concert for this
season in the Town Hall, on Monday evening, the 6th instant, to n
large audience. These meeting* havo gradually increased ainoe their
commencement, which shows how they are appreciated by the inhabi-
tants of the town. The music lor the evening was selected from the
works of Hatton, C.dcott, Webbe, Shield, Festa, and other popular
author". A variety of song* were sang by member-" of the choir, each
being warmly rneorcd. In the interval of the concert, the members of
tho xociety adjourned to the commercial room in the Unicorn note!,
ami presented their conducter with a silver-mounted baton, inolosed in
a box, with s tdver plsle inlaid in tho centre of the lid, bearing a suit-
sble inscription. At tho close of the presentstion, the meeting gavo
threo cheers for the t
Digitized by Google
814
THE MUSICAL WORLD.
[December 18,
ADDITIONAL REM1NLSCENCES OF BEETHOVEN.
(From tho W. r. Ifutical Xtvkw)
A Germa* paprr, Hie GrtatM**, hi» recently published some com-
mnuicetions on the l»tu»r rears nf Beethoven's life, from t!io diary of a
lady, which we deem so highly interesting lint we translate them for
(lie benefit of our render*. The author of them was it thnt time a
young girl, daughter of a Mr. del Kio, who, in the yenr 1816, wa* the
head of a large school at Vienna. The observations were written down
evidently with ao thought uf their ever being published t
" Aa early ai the year 1315, during the Vienna Congress, we made
the acquaintance of Beethoven. At that time the private counsellor of
the King of Prussia, Mr. Huneker, lived in our hott«e. Mr. Duneker wss
very fond of music, and a great admirer oi BeethoTrn. He hail written
a tragedy, ItfaW JVeAoVrtS, for which Beethoven composed a few
pieces— a short but most bonuliful hunting chorus, ■ romance, and s >rae
mu'ic with an accompaniment for the harmonica, in tho atyle of the
melodrama, Beside? tlirse, the poet got Beethoven to score for him
his grand Funeral Mareh from hit Pianoforte Sonata. Op. 26.
Sitter and I naked Mr. Duneker why lie had not begged for a new
march; but ho thought a better ono eauld not be composed.
All the piece*, with the exception of the Funeral March, are atill
in our possession. We had even the permission to publish theni
with the name of 1 Friedrioh Duneker,' but it never came to
that. The splendid Mareh, I believe, ha* been performed once a year
in a private musical circle in IlerliD. The tragedy has never been
performed. Duneker had a great many consultation!) with lleethoren
about it. Beethoven was not satisfied with the words to the ' Hunting
chorus,' and even after they were altered, and altered again, he wanted
the accent npon the first syllable.
*' When Beclhoven was appuinted guardian of his brother'* son a
new life seemed to come npon him. He wa< extremely fond of tho
boy, then about nine years old, and it seemed almost that the latter
had the key to his humour tocompc.se, or to be silent. It was in 1815,
when he brought his beloved Ciiarle* to our school, which my father
had conducted since the year 17SW. Already at that lime, it was
nocetsary to be quite close to him in order to be understood by him.
From this time we saw him Tory often i and later, when my father
removed the school to the suburb, Lamlrass Glacis, he also took lodg-
ings in our neighbourhood; and the next following winter ho waa
nhnoat every night in our family circle. Howcrer, we could seldom
profit by his presence, for very often he wee vexed with tho affaire of
his guardianship, or he was unwell. Then he would sit the whole even-
ing at our family table, apparently lost in thought, occasionally smiling,
and throwing a word in, at the same time spitting eoustanlly in hi*
pocket-handkerchief, and looking at it. I could not help thinking,
sometime*, that he feared to find traces of blood.
"One night, when he brought up his aong, 'To the Beloved far oil','
words by Jeitele*, and father wanted me to accompany my sister, 1 got
rid of it with the fright ; for Beethoven told me to get up, and accom-
panied himself. I must aay here, that to our great surprise, he often
struck wrong note*: bnt then again, when my sister asked whether she
was right or not, he *aid, ' It we* good, but here,' putting his finger
upon a note where the sign of o tie was placed, 'vou must draw over.'
lie had missed that.
"At another time, I remember that he played with us like a child ;
and that he took rernge from onr attack* behind the chairs, Ac.
"I very often wandered that Beethoven cared so mnrh for the
opinions of people! and once exclaimed, with regnrd to his nephew :
' What will people say! they will consider me a tyrant!' But this
nobody could have believed, who had ever seen him for on v with his
dear hoy, who waa frequently allowed to clamber over him, and pull
him almost from his chair.
" At (me time, in ipring, he brought us violets, saying - ' I brlnr I
you Spring.' Ho had been unwell for some time; he had sulferrd a
good deal from colic, and sard * That will be onr-e my end ! ' When I |
tol l him that we could put it off for a lonsr time, be answered : ' He is
a poor fellow who does not know how to die ; 1 liare known it since
a boy of fifteen years. It is true, for my art I have aa yet done but
little.' ' Oa! a* for tliat, you oat. die with ease.' I Mid. upon which
ho murmured: ' There arc quite different thing* floating before roe.'
At the aame time, he brought us a beautiful composition, ' To Hope,'
from Tieiige'a Urania, whom he always called Tiedsehe, and not in fun
either. Borthoren got easily vexed, and this is the reason why hi*
friends often thought ho had something against them, even when it
was not the case. But he was in his innuners ao different, and seemed
sometimes so unfriendly and eold, that one waa obliged to think so,
and to keep away from him. It frequently happened that he did not
trust hi* beat friends, and really grieved them. Sometime* he com-
plained aUo about hi* pecuniary matter*, which was bit hobby."
EPITAPHS.
(TO UK BUT TO MUSIC.)
To the Editor of the X**iml World.
Sin, — I have been a gleaner in epigrams and epitaphs. Among
the epitaphs there Arc two that wore deemed tho kapptcat of the
post age. The first was on a lady whose name has escaped tuy
memory, hut the object of the inscription was to deascribc the
greatest degree of beauty and tho highest virtue which cou!-i
exiat in the human form of a female (said to be written by Bea
Jonaon): —
ruderncnth this alone doth lie
As much beauty a* could die.
Which, when alive, did vigour five)
To a* much virtue as could live.
Tho next relates to two noblo families: -
Oh the Drcitxss Dowaoeb or Pbvbbokz.
Underneath this sable hearse
Lies the subject of all verse,—
Sydney's sister, Pembroke's mother.
Death, ere thou hast slain another,
Half so good and fair to see,
Time shall throw his dart at thee.
Old
But thou
Ov k Bid FiDDLUi.
d ao well he moved Old Kick,
'ef nothing but thy fiddle-stick.
Os a DOOFM wno scrtbbt.f.i> Vs
Thou essence of dock, valerian, end sage,
At once the disgrace and the pest of the age,
The worst that we wish thee for all thy bad crime*,
Is to take thy own physic and read thy owi
AnDtxnrJt.
Tho wish must be in form reversed
To suit the doctor's crimes,
For if ho take bis physic I
He'll never read his ihs
Ov a Doctor who wbotk bad Farces tok rut
For physic and farces
His equal there scarce is :
Hi* farces are physic,
His physic a farce is.
Ax lniaiiMAs's Kpttapk ox his Wife.
() Death, how could you be so otlkind
As to take her before an' lave roe behind ?
Whs did'nt vou take both of us, if either.
Which would hare been bctther for the surviror ?
Exgush A RTtsTs tx thkTJxittsd Status.— Tho Canadian papers
report that Mr. II. C. Cooper and his opera troupe are doing ex-
ceedingly well in the colonv. We make an extract or two at
random. Tho Daily Briti*h Whig, published at Ktiigwtan, says
— " The City Hall was crowded "to excess, and the opera (tV
Troralore) a great success. Miss Annie Milncr sang cliamuinglr
from first to last. Sho is really a first-cUse prima don*a~
Another writer speaks of Miss Milner as possessing a> voice as-l
abilities " beyond what most professional ladies posssrvisi." Tt<
D<-iiltf Cotonitt, published at Toronto, says . — "Mian Milner is as
ssrtjfJl of the first water." The Canadian critics are even mm
loud in their praise of Mr. Cooper's violin playing. One aaya,—
'• He is one of the most magnificent violinists that ever delightf'
tho citizens of Toronto." Another,—" His conception of every
movement is such aa to satisfy every educated musician that a
great performer'!* moving the multitude." And a third, — " Wr
cannot describe the effect lie produceJ. Those who did not
know that Mr. Cooper was one of the greatest violinists of tk-:
age, found it out last night to their heart's content."
OiiAPKi-TOWtf.— Mr. J. M. Roberts gave a concert in the Ckorci
School-r.M>ra. The principal vocalists were Mi*»es Cbsrleatrorti.
Speak, Mary Clark (pupils of Mr. Roberts), sud Me-ssra. Psrksr.
Beddyhoff, and Nsylor. The concert went off well, aim" **veTiu
Digitized by Goog
Dkcbmber 18, 1868.]
THE MUSICAL WORLD.
815
SONO.
(fob music.)
The countries that like niav their mai
In symphony grand and in song j
Orim la the God, the Apollo we toint,
In this land of thu rough and strong.
Hark to the voices of Kngland'i load quire,
In forge and in foundry singing ;
Harsh are their tone?, English hearts ther inspire
In clangorous concert ringing.
Richest of tenors, our hammer* beat fait,
Whilst the ponderous beam marks time ;
The hisi of the steam, and the furnace blast,
A good treble and bass do chime.
No soft hunting horn, over h.ll and dell,
Shall with duket echoes luro us;
From lone convent height, no deep drowsy 1x11
Shall in dismal thought immure us.
And our tally-ho ! henceforward shall be,
But the screeching shrill of the train j
Nor trumpet nor drum for summons need we,
Our freedom and rights to maintain ;
For each window pnne, in the squire's old hall
Shall bo red with the furnace glare,
From smoke of the mil! a shadow shall fall
O ar the glitter of State and War.
J. O.
ClVPAClt. — The Choral Society have given a concert of sacred music.
Selections from the works of ll.mdcl, Mozart, Haydn, Ac,, were well
snng. The principal vocalists were, Miss Hughes, Miss Dunlop.
Messrs. Orim th and Duties. The instrumcnUli-ts wore, Mr. Frickcr
(harmonium), and the conductor was Mr. J. Itccs. Mr. Trevor A.
Williams ami Mr. J. J. Strict addressed the meeting on the advantages
of joining the society.
ADVERTISEMENTS.
.....
IRRITATION of the BRONCHIAL TCBK3, cured, and a perfectly Clear
HOARSENESS, SORE THROAT, LOSS OF VOICE
irritation of the 1
piodiiced by the use
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which Dr. Locoek's Wafers have. Ac. \V*i.ti n Ettnixorns, late Grenadier Guard."
(Witness, Mr. J 0 R.-lnhardt, •Iruggl't, Market PI**-. Hull.)
DR. LO (JOCK'S PDLMOMC WAFERS giro insCmi relief and a rapid cans of
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rpHE UfPROVED HARMONIUM, — Mr. W. E.
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' •
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ftl, Norfolk-street, Bin (Held.
Tour* very tn.,yf_FRKDMRu<oy_
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The celebratt'd ACK1BELES. now uuiveratlly adopted l y all Violinist*, eanr.ot
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ROMAN AND NAPLES SI RINi.Sfnot to U surpassed) are sold by Mo<
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Manchester: Hltne and Addison.
CHRISTMAS PRESENTS. — BRIN LEY RICHARDS'
BJSCDTjUSCTIONS of WALES, tor the pianoforte, cot
Preface, irwd beautiful Frontispiece after Ixvithertsrtirg, Id
Note.— Tho same tn 13 No* each as. Brii.ley Richards' I
The cheapcet nud beat work for prraciitaUun extant.
OUR PET QUADRILLES.— By LEDUC, finely
illustrstod. 3a " Our Pet qumlriiles will surely u .t belie tbc name ; they
possess all the rcjuisltes of dance mns!c, belli; <asr of execution snd the time
well maiketl.'"— Vide Brighton Herald, Aug. H. Ixindon. Robert Oocks sud Co.,
New Burlington-street.
ATUSTCAL CHRISTMAS PRESENTS. — THE OPE-
lv-L RATIC ALBUM FOR IStf, eoctvlnlng one hundn-.! rems from eighteen
popular operas for the pianoforte. Splendidly boun-l, and illustrated in colours.
Price One Guinea. M endelBschn's " Bougs without Words," edited by J. IV',
IMvison. Esq, ; in one volume, with portrait, xety h.iiidsomcly bound, price 7*. Cd.
"The Verdi Album,'' containing twenty-nve soti«^ from Verdi's operas. In
English and Italian, splendidly bound, i 'rice 7s Ad. " Iawtrenl's Album of Dance
Music." eontsirdng sixteen new and popular quadrilles, raleoa, polkas, galops, Ac.
with cover and illustration lu colours, by Brandard, ia Any one of the shove nost
free, on receipt of Peat Office order, by the publisher", Uoos-y nnd Rons, Holies,
street, London,
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-
16
THE MUSICAL
WORLD.
—
—
[December 18, 1858.
MESSRS. DUNCAN DAVISON & CO.'S
PUBLICATIONS.
PIANOFORTE.
"DACRIANA : SELECT PIECES FROM THE
JJ Pianoforte Work- or JOHN SKI1AMTAX BACH, not included lu the
•r(..tJ-cii,iit
a. d.
S o
•j n
S 0
No. 1. Fugn rithrrxaido In A minor
J. Prelude and Fugue on the name IUcli,<in II flat)
*. F.ititn.-rs con Ftujbctta(in D major)
Loudon : Imuran Davison tt Co , 244, Hegt nt strut.
"Tho tbtrkr oiei. ttmpiif comprise* all tbo pra'udc* and fugues of tho cider
Bach (hU organ cnm|<o«a|ohs cxevptolk with which the majority of amateurs
■rod professor, in this country arc familiar, lint it l* notorious tl**t Ik* c^mpovi.l
a via', number mora, between the period of 1.1a reaideneo at Weimar mid hit
appointment a* Cantor at Letnaiz. Home of these, too, are a* ingenious and boun-
tiful a* any of tbo famous * Farty-oieht.' Of those, Unm. Duncan D.tUoii aod
C'->. are publishing * selocUon, "which, to judge by the two numbers before ns,
promises to be bbrbly attrsctive. Tbo • Fusa 8o!ier/arido'(ln A minor) la one of
tbo meat characteristic and charming of the muter* leaser wi rk«.
•■The Fugue lu B ll.it. en the letter* oomrsariog M* uumo— D A C. H— which
represent (our musical note* (' H, ' in German. Handum for our own B ualitr»l!,
altbfUch it cannot prr-ow I? bo traced to Borh, ii nevertheless well worth pre-
serving, and te br.tli valuable and interesting aa a test of rr.mpsrt.on between
good aud bad orjciuUrpoint, whrn viewed In conjunction «ilb tho wry Interior
fugue on the same themo ontni««d by John Christian Bach, tlio patriarch".
>g*st and least-accomplished son. At t
nplea uf cumn.on.plar* ' sequence " that
■« to adult that it i» eonuine Bach.
us to aide with those who
refute to admit that it is genuine Bach.
" Now that Mia* Arabella Goddard la mnkliv.- fnffuts popu'ar In playing them
before large au«rU-ncce, iho pubtiahcra of 'lincMaua' (who. wc presume, arc rc-
tpontible lor the ioTrntion o[ that dsrlvatlv.) bare n<it done nnwiae'y In com-
rr.encing their nerval with specimen* already introduced in public b; "
lady, what* dauntless f dlh in claaeie model* la one ol the secrets of
— iwrmrjr (VojcHf
TDKLLA FIGL1A, (Itigoletto), by JULES BRISSAC,
■mJ 2n. C*l. "AmoUii; tltc many fiijivofartc aJTllIl^^cmr^iUo^^iK^.oT Vtrdi'irery fcpn-
lux q-mrtct. we bare not nccn ouc m>re .ixiprt-tcmiliiff, and nt the i^mc time morr
I'Otu.iUile. Ihiui tbi*. TLo uoiripneoi'i* idc** firo rttprlal, while the disphiy and
tins o-tJYcnici c<r or tUc pfctnle! atv con tutted ; nud itic r««ult in apiece o4 modciatc
ditficiUtj-, attr.i*rtlv« tn tueno mn»o* than on*'," — MvAtml lYnrM. L«Hid- u: Tub
liahod only by Uunenn Davb-oa. 241, !Ui^cutntre*t. wli«t« " Mterie, oti La yr'fiav
Ml 1 -, i
A SUMMER'S DAY: Romance for the Pianoforte. By
EUGENE MONIOT Pri« 8.. •Among I he graceful bogaUJlc* of II.
Monlot. tbi.m U not one more attractire : it nowaaca the twofi ld advanlace of
• melc-lioua and expreaurc."— iltu-cat (lorW. London : Duucau Oneiaon'*
foreign mutlc warel»>u.e, 241. Regcntatreet, where "A Snmmcr'* Etc,"
Met. oy Eugene Moniot, may alxo be obtained. 'J. 0d
MEYERBEER'S ROYAL WEDDING MARCH —
(Qualrieme March* aox Flatnueaux) Composed in houour of the Marrbtc
of the Priuocat K..ral of Ewiland with Prince Frederick William i.f Prwia t».
London : Duncan DavUon, JH, Rcvi nt-sticet.
BRINLEY RICHARDS' New Romance for the Pinno
f urtc, "ETUEI," price J«. " Ethel Newromo wnn al«ut to give up her
Indeiienilcuce. her inclination perhaps, Mid to bestow her life <>n jonder younjf
boblcinan Looking at her as a girl deroting licrtelf to her f.imil\\ her Kicrilicc
fure hrra rnelnncl oly iuieroat In our eyes. My wife and I watched her, graro
and beautiful, moving through the roaniii, receiving and returidug a Immlrcd
greetings, landing to rora|>liimnta talking with this Iricnd and thut, with my
lord'* lordly teuulous. with himself, to whom she listened deferentially ; family
\ .is he spoke uow .md njf iln, doing the honours of Ler inothvr'a hoorc "
»««>ui«, »'o(. 1, (»«/.. 1«. London : Iru
TU, ,Vtl
Duncan Davison and Co., iu.
" COUVENIR
far the l'Uitofi
DE gluck:
By CHAKLKH
(Armitlt;). — Arranged
McKORKELL. Duncan l>aTlson
obtained -Iw> Joreu»e•• (8,«.ven'r
and Co., 241, Regoiit-street, wHre may lm
doe Chamm Elya?:aL by C McKorkrl), price fis.
"Mr McKorkell mnat be pi sited for hie taeto iu seeking material, for mi en»y
tcaching-uiuce at one of the fountain -hend* of molo ly — the o:.cias of Glovk.
■'Arm dc' ia full of flowing exquisite tuue, from which t'lc .kilful adapter haa
selected wmie of the n;cel capliTnling: ]<as*agea. employing ;hem for his on b pui-
po«as without in any way ilamnging their Intrinsic beautv. Some mora "Soave-
•of OlitOk Would be w«lc.iuie. Such hesd hy music auu-ot b« too widely
nilnnled. in every possible shape — provided alwaj s the original finds such
.•.ympa;h*t>c and congenial treatment a- in theprcrcnt instance."- .Vor.r.,1 Wml.l.
nlrs"
VOCAL.
rrUOV ART SO NEAR AND YET 80 FAR <l>u
1 l ist mlr nali- und doch to frrn) Lltd. rSnng by Hcrr Reiclurdt at Vr
Howard IJIovei a Concert, at Drury Lane Tlieatr*. awl at Ut* Crystal Tal*.-* Cm
cert', and entliusiaatlcally ■ iicoied. is published, price M., by D Davitxn aodCe,
211, BaVTUt-strett Depot Gi'iafrul de la Mali'ii Braudus dc Paiia.
I'M NOT IN LOVE, REMEMBER. — Uulfe's New Song,
J- s-ins \y Madllc Virtnire nalfe and Mis* I/mlxi Tinning, ia pnl.li.hed. r.r-i-r
2a. ul . hy Duncan Dav|i< n and Co . "44. Rcgcuit-aticet, where Keichardl*. pop. j
I^od, "Thou art eo near and yet 10 far." J*., and Balfo't "Oh, take met*-1;
heart ag.ilu." it . may be olHainod.
MERRILY, MERRILY SHINES THE MORN
flho Skylark's Song), hy A ice Footer. Bun£ by MiuLune Budersd.r'
and invanahlr cne-ond. is published, priojUa, hy Duncan Davison, 214, Ucgesil-
•irve'.
GA. MACFARRENS NEW SONG. — "THh
• THOUGHTS OF YOL'TII." Poetry by U itghUow. 2a L
IMrlsoi-. :i4. lkg iit-s ro t -Tho whole of f eiisfclfow's bcauiiful
N
de la
for Ik
EW GALOP. — " SANS SOUCI GALOP," ,
ru.io, by J. C»erk>ski. price IK PUyod every nigh', nt M. i
LmiJoii : ImiiCTn Darlsou and Ci> , ;44, Rcsent-etreot, d<[At ffc^
SKW TOCAI, Ml SIC.
"Ytterol seeic a.li-tnit shore." baltitd, by I mils Diel l
" To-morrow, '* laliad, by C J. Hargitt
"The Troubadour's Lament." bv UniLaa Tarnold
" Quick r ri» . maiden mine." Air St;
"Tlic thought, of yrm^h. "
" Now tho thsdts ytow
J. Benedict
" vTeed. and Flowirs,-' by Dr Jamea Peeb
•Go.it by ti e sumnuir .ca," by Dr K 0 Monk
• Tie Cuckoo '"
c." Air Htj rim, by J . De*Mi»er
' hy G. A. MaeCrren (poetry by Loliglellow)
deeper" ( Nun die Erbatteu dun kern \
("H ill. l*auteoi.s etranu.i i f U e grove"), by Ado
('• 1 lore the stutshine "— ilsrr llowilt), bv AdelaUt*
Ijindon ; Daman Darlaon and Co
ttkl
S14, Regent street.
i. ■!.
.. » «
.. i 4
.. * «
.. i •
. r g
.. i »
.. i •
.. i »
TO CHORA 1, SOCIETIES.— MEYERBEER'S SEBK-
NADi; "THIS HOUSE TO LOVE 19 HOLY." twig at the opening of <e
James-a Hall, by Mr Benedict's Vocal Aasociati™ of SOit voicea. is pnblished r
vr«\l score, 4s . and s«|»ar»to t.<a! \^xtl*. r-i each, by Duncan I>avi* u aa* i^
(Depot Uifueral de la Maiscn Rroudus, de ParisX ?44, liegent-street, London.
THE LORD'S PRAYER for four voices (soprano, ah-r
-L tenor, and boa^) and organ, ad lib , rv th Knghsh and I.iUn tcx' Br '-
Meyeilx'er, Price, in vocal score. S». ; scjurate vocaliwuts 0-L each. ?onel;
Mr. Hencdiet's Vical Ataoclatiou. &c , Ac. London • Duncan Davtsou aud it
214. Ikgcbt-strcc.
■This la one of Hie few mmmt*s of rclii:ious music, especially competed fcr i>
Chtmh, th .1 wc h.-.vc s. cu from the )>*li of 111* illustrious author •,( th* PmjJc
But III thv f.K. ssttil.)! of the •l.,r,f« Prayer* w.i ha.o pr.s.f lint, were Ur
Uonb.it. M.Me>orl.«ruo.,ldex "
1 excel equally iu the conpoeaai .
devote his allenUou b. 'it. M. Mevorhser v
teligiouanaof urcular mus'c The 'Prayer' is written for four •tJinary tstrrra
Villhotit aee.iiupnulni*ut An ori;au |«ut, howcicr. l as Isen added, ' ia •» ^
any time the voices lave a tendency tu lowtr." Tl.c melody, a* is proper ^ i
eomiXMitlou of this nature, is simple ; yet it Is so elegantly bainiouiaad tasl 'u>
luurcat ucVtr flo^s f r a morrcnt, and hence the monotony and cohlne*^ so or"«
complained ol in religious pieces witliout aocomjaniuient rue tutire'j asotda^
Wc no not rcuiemlKir any coinposlUou lu which tho n>ounlaliorjs arc more bewaui-
tliau In this work of M Meyerbeer, 'ihc rairreof the parta, iu inilt-stion. wtKi
occ irs tow.n.ls the nild llo of Ihc prayer, e-aild not hare bocu cfloctcd in a *».■■■
masterly
harm rub
-Kra.
-of a«
Indeed, throtuhont
npo-er rich In all the
N
EW MUSIC FOR THE ORGAN.—
and fugue dedicated to bis frirn l the Rev Frederic Parry H<
Lvmo Hog s. Iiorset,
Fell
w of Winchester College), by
Pech- Pr.ce Us. London : Duncan Davison and Co., 244, Ho^cnt-at
NEW MUSICAL TOY. — The Scale
Notes —A mrat iiijreuloiis invention, com
competition and amusement. Price M&, lnclui
London : Daiican Davison and Co., 244, Regent-*!
«-ith Movciv
(D R P O T
Dl
G B N F. R A L
LONDON :
NCAN DAVISON AND CO.,
D E LA M A I S O N B R A N D U S D E PARIS),
244, REGEN T-ST KEET.
rubllal.ed by Joint Uonsrv, ol CasCebar hill, in the palish of Ealing, in the County of Middlesex, at the office of Booerr it Sox*, Ss, Hdl«*-«trwa*.
by ll«i>. 11. Joha-atroet, Great Portland-street; Ai.leh. Warwick-lane ; Virxeiw, Holywcll-strect ; Krrrn. 1'nowsir, £ Co , 48 Chcapcide ; D Da'
244, Bogcnt-stieet; Jonn Hntriiaxn. N«wvaie-street ; Ilaaar Mar, 11. Holboni-bais. Atonu for Scotland, Parutwiit & .V.nv fciinbure*
for IreUnd, 1L Kcssklu Dublin ; and all Music-sellers
Printed by Wiut»» Bnifoaa Joiixton. " Hsasau Steam Press, " 80, Bt. MarUn'a-lanc, in the Pariah of HU 1
•d by Wiu.iAM BPKMcaa Joiixsoir,
i-in-tba-FiaWa, is Hi*
•Till WORTH Of AllT AN-EASS MOST EM 15 ETC I5» MUSIC, SINCE IT HKjPIBEB SO MATHBIAI, HO SCBJICTv
BE DBDCCTM). It IB WHOLLT FORM AND POWBB, AND II RAISES AND ENNOBLES WHATEVER IT
II'KECT MUSI
I." — Gdelhe.
SUBSCRIPTION.- Stamped for Pottage, 20s. per annum-Payable in advance, by Ca&hor Post Office Order,
to BOOSEY & SONS, 28, Hollos Street, Cavendisb Square.
~1
VOL. 36.— No. 52. SATURDAY, DECEMBER 25, 1858.
, FBICE 4d.
i STAMPED fid.
fTO BE DISPOSED OF, an Old-catablishcd Piaiiuforte
JL and. Music Warehouse, in ono of the pnn.ipftl biwni in the North or
Kuglimil, including n good tuning connection and several agenci-ii, affording n very
eligible opportunity for a professorial gentleman, the present propneior fa pro-
rc*wvr i f noi'lc) removing (o l/mdou. For particulars, apply lo Ileasra. Booty
and Sous Hoilee-strect, London.
AS GOVERNESS. — A lady of considerable experience
rc^ulroa a dally tnsfureioeut. Acquirements: English. French, Musle, md
Drawing. Yintiig children preferred. Ad.lrce*. M. A. B., Miiwrs. Jfoo»cy nsi I
Son a, 24 and J», tlolka-atrevt, Caveud.ih-«jU.ire, W.
MR. AGUILAR HAS REMOVED from 131, Albany
street, to 17, We»am1rnc *utaro. W.
MR. T. BRANDON, Vocalist (Baw).— Cummunicatioiu
rarectlng Oratorio* and Conn rts, to be be addressed. 1 1, Nicboll Wiuarv.
London, E C.
mE WELLINGTON
HALL, LEEDS. — The most
Letda fin- Clnmler Concert!, Drawing
tho Wellington Hull, In cuiiu.eiluo
Mr. r icischwanu. the proprietor.
X. appropriate and vkgaot room in
IU«oi LtitertnimncnU, Rcaiilug/t, A , it
with the Soarboio' Hotel. Kor terui* appl
ST. JAMES S HALL. — Monday Popular Concerts. — In
o . u p nice of the great «»!«■< *• of the lata Mn.rU under tho d>ree' Ion of
Mr. Bcnedlet. the Entrepreneur* begs f ,m«t. tbnt FODK more POPUI AH
CONCERTS will be givo... in tl.ia magnificent Hill, on the evening, of Momlav.
Jan. 3. Monday, Jan in. Monday. Jan 17, Monday, J ,u 24 Vocalist* ■ Ma-
diune Vianlot Garcia, Miaa I'note. Miaa atsMucn. M.lllo. 11- hum, Mdllo do Viilar,
Mm Uncoil- » Mis* Moucnt. Mi*» Hansford. Mix Kyle*; Signor.i Loche*. and
Lnagonr, Mr. Sautley, Mr. Wilbic Cooper an! Mr. Sum Rrecra, tin- Swedish
alugm-s. Violoncello, Big. Piatti; harmonium, llerr Kngel : concertina, Slg. Ik-
pmdi; piallofoit, Miae Arabella God' lard, Conductor, Mr. Benedict. Sola Idla,
Oa. : rcaerTcd stati (balcony), J*. ; unreserved M»l>. la. may be oUnlnea at the
llafl. Piccadilly; K.ili, Pr. w»e, and Co. 'a. 4S, Claaphlc; Cramor and Co.>.
•JJ1. Regent Sml; Cuaj pell and Co.*. No. W. New hojd-atrcct.
fPHE SWEDISH SINGERS will appear at the Monday
A Popular Concerts, in the St James's Hall, on the Evening* ol Mouilny.
Jarniarv ir.l ami loth .Sif* Stalls, S*.. ; Reserve l Seats ( Malctmy >. 3s ; Unrequired
Ha,t«. is. May lu obtained at live Hall. 'J8, Pictadi ly ; K'.itn. Prow*e, and V« '»,
as. Clieapsnle; Cra-i.i > and Co >, ioi. Regent street ; Cliappell and Co. "a, so. New
• Vxid^trcet.
MR. RIMS REEVES and MISS GODDARD will
api-car lo tho St. James's Hall, on Mon.Lsy evening, January 3rd, at the
M.'Udny ropnlar Conccrta. in connincilnn wltli the ifa'.dlalt &ng'cn*, ie.. Ac.
Stalls, is. ; Itcscrv. d finla (U.ilcony), Sa. ; Ourenurrrd Sea'a. Is.; n.ny tie
ohtaimd :.t the Hall, JS, Iicen.iiliy ; Keith, l'mwae, ami Co."». 48, Cli«i|<»idc;
Cramer and Co.'a, Ml, Re^cot «lic.t , Cliappell anil Oo.'i, So, New Bond .street.
MISS ARABELLA GODDARD begs to announce that
si o will give a MATINEE Ml'SICALE of CLASSICAL , MUSIC at tho St.
JameVa Hull, ou Snturday, January l.Mli. nrcvioos to her depart uio for al'rjiiue si
Tour. To cotDrocnce at llatf-pist Two o'clock.
SATAN KLLA. — Miss L.
"Tloi PowtT of Lovo 'ln Balft
Booecy and Son's Mnsaeal Library, St :
uisii Pyuc'fi
'a now 0|ier.i, ia Just
nd '.'S, Hollcsxtrett.
«lobratod
Brtlkul
2a.
SATAN ELLA, — Mr. Harmon's Three Popular Songs in
Diilfc'aNewOperaarcnow ready. " Tbcgloriousviutage orcuampogu*. -Js. fJl.
"An angel lorni," m manor, la Cd "N't priro on fate on man bestow.'
ballavl, ■>. Bouaey and Hons Musical Library, it nnd SS, H"ll«*-atr*vt.
PRIZE GLEES FOR CHILDREN'S VOICES.— The
X Committee of the Tonic Sol-la Aasociation oOer a Priae at Ten Onlnesu for
tho U»t. and Five Oulueua for the second -beet Ulce or Part 8..ng. auitablc for |>er-
forrnanee at their next Juvenile Concert, to be held at the Crystal Palace in the
course of the ccuuiii —
VaUf Hon.
52
MAPLESON AND CO., Mimical Agents, 12, Hayruarket,
hnve recently ueg c at d the following eigageaicnta:— Mad. Anna Rial-op,
fi.r M. J iilllcn's tour ; Sl«f Picco for Leicester. Liverpool, MeviscbesteT. NewcaaUe-on-
Tyne, Dundee, Liverpool. Linc'lu. Wakcfi. Id, A*c., ate; air Allan Irving and Mr.
George Pcrri-n, Ore. nwieh ; M - - liol 1 v. Nottingham ; M Rrmein I, Mm.!. - ■ ;
Shi.tllelk'.ii. Lxeter U .11 . Mr. ,iud Ma'J. tVcisa, M. Wietiiawaki and Mis* AnMla
fi. «iiiard, Kxe-<rll»ll; Marl nu lersdortf. Miaa Palmer, Mr. George Perreu. Mr.
Tliouiaa. Hcrr M ilitpie, Sigunr Hauittw r. with lull Orchestra ai d Cliotua, for
Oxford; Miss U .lb;,-, Oxlo d ; Mr. Grioalutb Oxfor.1; Mr. Moutcm Smith, Mr.
VVUbjfl t.'<io|«r, M ia» Marian Mi»n, Mr Winn. 4c . Ilath ; Mr. Allan Irving Wool-
wich; Madame I'oui.v Mr. Charlo Braiiani. Glasgow ; Madllc Vamri. Mi. Horsco
Vernon, (il-isifow ; Mr Gcivc Tedder, Miaa Gr>iei: AHeyne. Dundee; Msdile,
Finch, Hmnor IV :ix, Manebetter; Pull Orci'Cht'a. txet-r Hall ; Manenio • lie
K Oircia. SI Jnlliei.'s Conoerta ; Madame Anna lis op, Brighton; al»a Mr K.
Reeve*. Mr. C.o ^o Uslcr. M. R Iclntt. Brighton ; M. WMii|.iw«k«, Brighton ;
hipi,.r Delict:!. Manchester; Mr. Montem 8ml!h. Mstuhi.'er; Miss Louisa
Vlnniug. MlM L»*e»;le», Mane! eater ; Mad. V. Garcia, Myddeltou-liail ; Mad.
"' llci ri Iveiritnt,
Amadoi. Mr. K. ltccvca, Mr. AHan Irviog. Madlle Solla/ek. M.
Llveriwol. Mad K. Gar, la, M P.qne. ai d S gnor Belletti, Bath; Madlle. Ferro,
Thentro Royal. Drnry L me; also Pull Blind f»r Drnry Iaiio Tlu-atr-; M.
Rome il l, Dubliu ; Mad. Amu Bishop, Middcltun Hall, l lfogton ; Herr Pauer
Dublin"; M~dlle. Am*tei, Ma llle r> dl-itaek. Mi. K Reeve*, Mr Allan Irving,
M. Henri Laurent, Blandfoid, Po lo, *c.. *c.. 4Vc, etc. Mjidlle. E. Garcia,
Liverpool; Miss Brow,,. Theatre RotiJ, Drury U.n* ; also numerous important
Thcatro. ate., tic. He.
V
\:..
HEIl MOST GRACIOUS MAJESTY THE QUEKN.
U.n II THE PIHNCE CONSORT.
aHD
THE ROYAL FAMILY,
and makv oi mi: aonturv xxo nnnxnrisnen rauum or int gisrint
DR. MARK'S
GREAT NATIONAL INSTITUTION,
THE ROY A L COLLEGE OF MUSIC
BKIIMiEMREKT, MANCURSTE1.,
.aU.»hi.fci..M oxi-roiftly by him for the «dut*:.tU'ii «>J GcUrinm, »1m will revive
:t{i|K>lu(iULiila, us *o 'U as pimpctciit, m kliitttcra a( Cuiim:rrAtvir< * ->r M'-ntf, to <>o
t'stiibl inbtyt in everjr town aud city tliro*j^*i.o>ut tUu Uuiu<l Ktu^lotn. uJko ftttr
Oovcn.O»V*»ts nw\ Profeftftota at Music t*> .vr^uirc lu t- ncli on ]>r >h»i k% highly
apjnovcrt Mstcm uf luiuicoJ cducttluii, or to t*« lirou^iit uui iui ..r»ifcLa», U now
uj cii ft>r tho iulun-moti ul p<i|nt«,
riMpuctusn nuij* be lLaul either ou iktwwU ap|ilU»'iou or by fctfwYftdttllf »
»t ^infcl riiTclop?.
Dn. Mark bc^" alftuinnrt rc*i«e«tAilly tn anuatmcfl ihat he it opco to ti
jucuis with tiU highly ;.|'|'i-ivi..|, LutcrcBUiig, I'kttstnt:, aw I l^ructivt
M L'SICAL ENTERTAIN M ENT,
DR. MARK AND HIS LITTLE MEN,
Numbering np'Tiirda thfrty It.BlrutucnhilUU. a m<*t cfiwiivc Cl»orjj,
the whole forrolD'f .1 t\toai coniplcti aud <U)tQ,uo
JUVENILE ORCHESTRA,
or
marL'i.oar S.rl'J. ,
irlfe
and
i'.th.i IsrflUy i'C^rpy
Sa c*tti "
rbdi.t
tUtk^9
oey t«
alje.l ssu
Little Etiglish. Iriali, aud SontcJi bay*, fr mi iivi» t.- h|x(«co ymn^Lstgg^ wi o | lav
ojiemtk select tons. ,oloa, ducts, quart. t«. qiiadrile- ■
sing s 'iigi. choruses, Ac. in a m at effective m .in
gra'iiltoua gnictal and musical c.|ue?»tiou in order lo
system of rnttaieal eduea/ion. and with whnm he
excite an interest for and help to establish mua
bcm itoirea of Muaic" for littio children in every t
great ern pin-
All Itftall must be addressed to Dr. Mark, R- .s^l Lt
ittc't, Manchtstcr.
t|, ^d,s^3lgf «^tiU*
oogle
818
THE MUSICAL WOULD.
[December 25, 1858.
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Urva S.B.-I hvve much plcnvnro In Hvhw yo« my ryinlejn
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Digitized by Google
Decbmder 25, 1858.]
THE MUSICAL WOULD.
819
ROYAL ENGLISH OPERA. C'OVENT GAKDKN.
Ox leaving Drury Lauu Theatre, Mis* Louisa Pyne and Mr.
Harrison abandoned the " National English Opera "—that is,
relinquished the title to Mr. E. T. Smith, or any other specu-
lator who might choo:vj to wnmc it. The nltciation of the
name into " Royal English Optra " woul.l seem to imply that
the manager* InteuJ carrying on their present campaign under
royal in preference to popiuar banners. We cannot perceive
the necessity for any change in the nomenclature. The original
title hoil been acknowledge*!, ami would have answered every
reqnisite purpose.
The English Operatic Company, under the direction of Mi 43
Louisa Pyne and Mr. Harrison, opened the new theatre in
Covent Garden, on Monday night, with Mr. Balfc'o new opera,
Sutundla; or the 1'oietr of Live. The interior lias undergone
sonic necessary alterations to adapt it to the convenience of
the general public now admitted at play-houso prices. Th?
number of rows in the stalls is reduced to four, and the pit
and grand tiers, with the exception of n few boxes reserved
on each side approxinating to the stage, aro converted into
dress circles. In other respects, the theatre is untouched, and
looks still the magnificent home of the Royal Italian Opera.
Everything on Monday night conspirod to draw a large
audience. A new opera by Mr. Balfe ; the opening of the
Jloyal Italian Opera to the play-going multitude, whom high
prices had heretofore kept out ; the natural curiosity to hear
an English lyric work executed by English artists in an Italian
house ; and an anxious desire to lend a helping baud to a
national establishment on its first starting, were all powerful
sources of attraction. The theatre, iu fact, was crammed from
gallery to pit, and included ono of the most numerous assem-
blages that havo been witnessed in any Loudon theatre for a
long time.
Mr. Balfe is proverbial for his indifference to the merits or
demerits of a libretto. To poets he is the moat obliging and
condescending of composers. Having undergone a severe
coarse of Bonn, he might naturally be sup|ioscd to have
qualified himself for overlooking any amount of librcttoriat
inefficiency.
With all his amount of poetical apathy, nevertheless, it was to
be wondered at that he did not shrink from the task of setting
Satanella when it was presented to him. The new libretto, by
Messrs. A. Harris and E. Falconer — poets of the Ilote of Cattilh
— is said to be taken from the once highly popular ballet of /.«
Diable Boiteux — produced many years ago at Her Majesty's
Theatre, for Fanny Elaaler— written by M. Burot de Gurgy.
There is no similarity whatever between the two works, beyond
the iucidenU of the devil attending on the hero, and the latter
being implicated with three ladies. Tn U Diable lioite^r
the hero, Cloofas, after encountering the three doniinos at the
Opera ball, gots into a row, aDd, in making his escape from his
pursuers, clambers into nn attic studio belonging to a necro-
mancer. Ho overhears some strauge noise in the room, and
fhucying it proceeds from the interior of a l>ottle, breaks it,
whereupon out jumps Asmodeus, who has Ik>cu imprisoned
therein for over so long a time by the arts of the magician.
Aamodcua accompanies Cleofas through all his adventures with
the three ladies, and finally persuades him to choose the most
deserving. Here is a plain tale, and, allowing for the super-
natural element, a perfectly consistent one. In Satanella there
ia no " concatenation accordingly." The primum mobile ia not
only supernatural, but every consequence arising from it is unna-
tural.
When the devil is evoked by Rupert, there ia no logic in his
being accompanied by a female fiend. Why does he e»nie double T
Could he not transact his own business single-handed ? It was
n shrewd thought of the poets, however, while everything eLe
iu the opera betrays the purely comic element, to make the
arch-licnd, the prince of darkness, the, the —
" Oil, thou, whatcrcrtille mil tliee,
Auld Hornie, Sstsn, Nick, or Clootie"—
tbe only serious personage in the plot j a real hideous Apollyon,
yelling, anathematising enough to fright the soul oat of Chris-
tian himself. Why did not the poets of the Rom of Caui/le
transfer to their adaptation the fiend Asmodeus, a jolly, harm-
leas, good-natured devil, full of fun and frolic, and with no
more mischief or evil in him than Incomes a born enemy of
man ? The crowning extravagance of the piece is the fact that,
the arch fiVudess who is employed by the arch fiend to ensnare
the soul of Rupert, repents at the end, liccsmes virtuous, and ia
taken up to heaven. It is duo. however, to the poets of the
Hot* of fautille, to acknowledge that, although the dialogue is
strangely diffuse, the versification awl style in ,Vi' •• show s
an improvement on their tint production.
With such materials, what could Mr. llalfo dot Fortunately,
he possesses his own abstract notions of the poetical, aud doea
not too closely examine the details. Ho was, therefore, but little
trammelled by incongruities, inconsistencies and impossibilities.
He caught the leading idea, or, in lieu thereof, conceived ono
for himself, and sprinkled hU gold-dust over the doubtful matter.
The mnsic, indeed, is worthy of the name of Mr. Balfe, although
here and there ho has found himself unable to grapple with tho
story or iu treatment, and has failed to do his talent complete
justice. The exceptions to the gent-ral excellence, nevertheless,
are few and fur between, and, taking it altogether, the opera
may be pronounced one of the most successful of the composer.
Tho opening chorus, "Donor of this lordly /Ste," with dance,
is animated and taking, and was admirably sung throughout.
The first ballad, " Our hearts are not our own to give — sung by
Miss Rebecca Isaacs iu the character of Lelia — is after the old-
fashioned pattern — almost stereotyped by Mr. Balfe— in which
sentiment, putting on a melodious dress, assumes the form most
likely to captivate the public. The gambling scene, in which
Rupert is ruined by his betrothed, the Princess Stella — a start-
ling incident, by the way — ia bustling, but lacks variety and
dramatic colouring. Moreover, it is strongly reminiscent of the
famous play-scene iu Robert le Diable, where Robert loses his
whole fortune. The first encore w.-u bestowed on the ballad
by Karl (Mr. St. Albyn), "Oh would she but name the
day,'* which is tuneful, and without the slighest pretension.
The duet following between Arimancs (Mr. Weiss) and Sa-
tanella (Mi*s Louisa Pyne), may be dismissed with tbe observa-
tion that Mr. Balfe does not seem to shine conspicuously in
supernatural music, and, if he did, that the scene ia hardly
capable of being moulded to tuneful purpose*. Mr. Harrison a
first song, "The glorious vintage of Champagne," is certain to
become popular, being exceedingly bold and catching, and writ-
ten in the true bacchanalian vein. It was sung with immense
spirit and energy, and unanimously encored. The next song—
"The power of Love," sung by Satanella to Rupert iu a
dream — is the gem of the opera and cannot fail to obtain an
eqnal celehrity with " When other line" in tbe Bohemian Girl,
"The Convent Cell" in tho Rote of Coat Me, or, indeed, with tho
most popular compositions of Mr. Bslfe. It is eminently
graceful and melodious, and, being snug to perfection by Miss
Louisa Pyne, excited the enthusiasm of the audience to the
highest' pitch, and was redemanded by the whole house.
The second net opens with what, we may suppose, was intended
to bo the grand coup of the opera, namely, a scena of tbe re-
quisite form and proportions for Miss I<onisa Pyne, containing a
recitative, and andante and allerfro movements. As this scena baa
been withdrawn, being too onerous f_T Miss Pyne, we may simply
state, that it indicated Mr. Balfe's thorough kuowledge of the
Italian method of writing for the voices, and that tho atulunte
was given with great expression, and the allegro with almost
unsurpassed brilliancy. The next ballad for Rupert, « An angel
form in dreams beheld," ol the ultra-sentimental kind, is charac-
terised by much sweetness ami simplicity, and was awarded the
fourth encore. Thiawilllwnnotherspecialfavouritc. The concerted
morftav in this scene, " Behold she's here," in which Satanella
discloses to Lupcrl a menus by which he may discover the troth
or falsehood of Stella's protestations— namely, by using hia
" beaver" baud wise or headwise — is highly draruaticaudeti'ective,
and obtained a success similar to the "Ha, ha" scene in the
Rote of CaUille — to which, no doubt ,t he poets had an eager eye
when thoy concocted it. Its extreme length and repetitious,
however, were rather inimical to iU thorough appreciation tht
Digitized by Google
820
THE MUSICAL WORLD.
[December 25, 1858.
first night The scene lias «ineo been considerably abridged,
and now goes infinitely nmoother and better. The next
scene opens with a chorus of pirates, "Rovers, rulers of
the »ea," which, though pleasing, is somewhat common-
place. The solo with chorus, which immediately follows,
sung by Mr. II. Corri, as chief of the pirates "My braTe
companions," is felicitous both in idea and treatment, and may be
reckoned aiuon-,' the choice things in the opera. The ballad
with recitative, " Let not the world disdaining" another gem
for the prima donna, and nn undeniable candidate for popular
favour, was given by Miss Louisa Pyne, with inimitable taste
and the most refined delicacy. A slow cadence at the end, after
the manner of that introduced into "The Convent Coll," was
delioiously rendered. A chorus of male peasants, introductory
to the nuptial* of ltupert and Ixdia (how that hax been brought
about the poets do not inform us) "Smile, oh! heaven,"
constituting a part song, as it were, is melodious and striking,
and extremely well written for the voices. The accompani-
ment, however, is perhaps hardly iu keeping with a gentle
invocation. This was encored with acclamations. The brides-
maids' chorus and dance " to Hymen's love-crowned altar now,"
is pastoral in character, and very pretty, and leads to the
finale, which is worked out with spirit, if not with power.
Act the third opens with a diablerie scene in the hall or
cavern of Arimanes, containing an invisible chorus, " Upward
from the nether world," and duet for Arimanes and Satanella,
'■Tho' the angry bolt baa sped." As we have said above,
Mr. Balfe has not entire command of his resources, when
ho is in the world of spirits. Give him only ttrra jirma,
or a well-built brig at sea, and no composer can go to his work
with greater zeal and determination. This infernal music, in fact,
•leouM never have been written — never composed — never
Viiowed to bo sung. Miss Louisa Pyne and Mr. Weiss
<lid their utmost to render it effective ; but the devil
himself, aud his imp, could do nothing for it. From
ih« lower regions to Tunis is but a short step. The
vuaiic scene, in which llorteusius (Mr. George Honey),
Rupert's tutor, and Carl (Mr. St. Albyn), the old lover
of Leila, are about to cudgel each other at the iuatigatiou
of tho pirate, dramatically speaking, is better suited for a
burlesque thou an opera, but, musically considered, is exceed-
ingly clever. A chorus and dance, " Merry Tunis," a merry
tune is, and leads to the best concerted moreen* in Ilia oiiera,
The bustle and stir of the slave market is capitally exemplified
and skilfully treated. A quintet, " Oh, woe! despair," was so
attractive and so admirably sung by Miss Louisa Pyne, Miss
Rebecca Isaacs, Mr. Harrison, Mr. St. Albyn, and Mr. Corri, ns
narrowly to escape anencore. The air which Satanella sings, " Sul-
tana Zulema," iu order to fascinate the Vizier, is full of character
and simple beauty. Still more attractive is the air, " Wonld'at
thou win roe," with tenor accompaniment, with which Satanella
brings tho Vi*icr to her feet. Both were delightfully warbled by
Mi«M I/onisa Pyne, who, up to this moment, it will bo acknow-
ledged, had executed considerably more than a prima Sauna's
average share of the music. Nothing daunted, however, and
apparently not in the least fatigued, the fair artist attacked
the bravura, with which the act terminates, "Old man. thy-
self deeriving," and brought down the drop scene amid a hur-
ricane nf applause.
The fourth act is the weakest. With the exception of a sere-
nade for chorus, " Haste, lovers, haste," aud a ballad for Itupt rt
— another effusion of sentiment for Mr. Harrison, but extremely
taking withal — the act is devoted to a lOBff and not particularly
interesting trio, which forcibly recals the last situations in
Hoh'rtlc DinUt ami the lT>u/»eno!.', in which tho multiplicity
of tho incidents is only surpassed by the impossibility of the
raotiv< s, Suffice it, that Satanella repents of being a doomed
sojourner in Hades, and accepts a rosary from I#lia, with which
she keeps at bny "aold t'lootio"' and his minions, who come to
take her home, and is straight wafted up to the skies, to the
utter discomfiture of thu father of all evil.
A few words must serve to chronicle the success of the opera,
which was triumphant from first to last. At the end of the first
act, Mies l'yoe, Mr. Harrison, and Mr. llalfe were recalled. A
similar compliment was paid them at the cad of the thiri »•■.
and the fall of the curtain. On the last occasion Ute cuthsiusi,
of the audience knew no bounds.
The performance went from the beginning to the end witt ■;•
a hitch or falter, thanks to the admirable su|JcritiUiiuliin.>
Mr. Alfred Mcllou, and the energy and good will of «»':»:
Such a result, indeed, wc can hardly call to mind on the fcr?
night of a new opera ; and both Mr. Lumley and Mr. Gje sift:
take a leaf from the book of Miss I,ouUa Pme ni>i .'•
Harrison, In this respect at all events.
tktl>.t)<e(la has been played every night to crowded B0«»t«,»s
is greatly improved by several judicious curtailntfiiu. b
success seems to increase with each representation.
ROYAL ENGLISH" OPERA, COVENT OA HDD'
Under the Bole Hanagemsnt of Miss Louisa Pyne and Mr. W. H*Ras
GREAT SUCCESS "K llAl.KES SEW OPERA,
Which will be repeated crery Erculm/, wi.h Uu> SEW l'A.NTCd£tfl
ON MONDAY, DecemU'r 27tli, 1S58, sail rmj
evening until further noticf, the perfermaneea will eoniieoe » '
highly laiivufiil m-w ana original romantic Opera, .x^piucdfirrsaiT . :
prcaont managymeiit, by M. W. Dalfc, entitle!, SATANELLA '1. !
POWER. OF COVE Count Hup rt, Mr W. Harriaon ; H»rt««li»
llnney ; Ear.. Mr. A St. Albyu ; Iiraavecki, Mr. II Corri; The Yi«r. Kr « k
Payne; Piraie, Mr. Rartlenun; Koulca, Mi-jur*. T<rn*t ui<i Kirdj; l3v
Mr. Wetoe; Loll*. Miae iUbecca b«; Stella. MLm Bumh V/m. hau>, U-
M.>r»imer: Lade, Mn. Martin; nnd 3»tiinolln, MU< Loiiitn Pme OscIvtt V
Allied Mil oil. After which will be prwJutftd A NEW LliTLK l'JM 1
for littloiKonle.c-.Uled LITTLE RED RIDING HOOD; or, IURLivrW J
Till? WOLr'ltf GRANNY* CLOTHING, with new ecaaan tw Xrt, Sewn
and Mr. Doniaou aud Soua. Character* in tlie Prol>„Tle: Mute. Im aV»-.ti
Italian Opera. Mi* Cecilia Ranoe; Engliali Opera, Mia* Emlfy »M, Im
mime. Miss CiankcIL
CHARACTERS IN" THE STORY
Tho Very Wicked Baron (afterwards Wnlfk Mr. W. H. rapt I I
heal ntanX Mr. Frederick Tayne . Cot In (lu lovo with Link SUai^ii
afWrwurde U irleq.-ln) Mr. Henry Payne ; little Red Kkfcj l»!»:n.
Columhinel, Mis* riarn Morgan ; Old (irannv | aftcrwrir.le Pameloaii Mr &v>'
The Wolf, by a Grant mute (aftorwanli Clo'wu). Mr. KleimoR ; »«is,
Footmen. Ac , Ac ; Qicen Mne»-Roi>c fProteetrcae of Little FWI bfcw tt».
Mi» Llunvorthy ; Fairy H-eo-llitd, Mlea Kranelu: Cupid. Vat *>1*
Wo JtMana(Ui« E»il Geuiua r.lding tho Wicked Barn), Una Jhrf; Fu-«
Sylphidca. <rc, by tlie t'nrp. .le Billet FW.. Sprites by Mr iiwoswafc
Doors e|*n at Bnlf p:\it Six, curutiunoeat Hercn.
Pnrate boiea, £1 hj tr, aft 3a; alalia, 7a; drew* relea, le. n»|tu! v
•t.lK 3i and Se. : fit, 2a, 0.L ; amp' ithwUe, 1». Bix-oRet <v« Ui
Klercn t.ll ri««,utt<ter the u.rc tioi. oi Mr J P.a.Mis wber.- ;iaw = -
e«ciim1 r t ai.y Charge fnr lSookiiio;.
ROYAL PRINCESS'S TflEATRR
Farewell Season of Mr. CHABLES KEAJ? u Mnapf
jy JON DAY, December 27th
I.OUS WIFK. After wh'eh "III
Pantomime, tatittad, THE KINO OF 1 HE CA.-TLE ; or, HAHLh*jll-N
DIAMOND AND THE PRINCMS* DRIOinKYEs. "
i (Boxing Night) THE JU
111 be i.roduc--l a iir» trawl ttr*-
H'DlsTIr ■„ ItAHLhuCI.N
Cl"iri). Mr. HnHu-; Piv tiOon, Mr Paulo;
Hailc^iui, »r C"
awl CnlMtrtitoe, Mia'. i'1
Tuomlay and Friday. MUCH ADO A ROUT n'.iTIHXO. Therrf./, Kt'Bf
Wedo»~lay and .Sxturday. THE CORSICA N IJIiOTDBRS. ahil tit r«l«>
eve y enuln^.
n il»>; :.rh.|i.i«u'iinohin, «ltli««n ofliu^htcr ; the co.UyJi»«,rT,'> '
.ithcrto ; and the frand m. cli.inle.il « ff. novel iu 1 1 c rtlwroe, Wi « ,
...4 *hr *tir*. ^ ■ ■
pttEAT NATIONAL STANDARD THEATF^
vJ SHORKDITCH- — Pr^irictiT, Mr Job* DotdUB.
Cl.r.ntinan will liim»t upon entnu g. Tiic tanof P.intoniltM I?'*' '
ol iihort Mayi n d 1o<ik leg'ite ii al ool lo rioe at tlm r.ir»t Kxlauij* -F-
m vrr yet » vu, or im »gliie.l All pa-t loincn will |«lo I'fore it, wr .
I» Hera the order. ThooKoln* in Ita miiuWoroej will U winaete'^
II it!. »; :.rk-ll» J KCU'liUO fun
1
will euri'i'ii aaytliiti- th.t lw* yU hceii repreaented iiiicti the i
mar.-em Ca t!-., when tho .hole ,t*gc \m .i^ld-iily ClWl with » "«»■
c ine, .ni.l 1 1 h-niue f.i.m a l.lll |«-tln(teintl«n to tbo u.-abn^ct
niin iUd by tiiy il. Tom the Clow
riowiic.l Tom,— the favcurite pupil
new typo ;iud eoouteriurt of lil< U).mno.in maam. ... »-»•.■— -
i.ir,,e were the Jay. .f Grin.al 11: th.«c d.y. will he this meaea ,rr-T'L,
<lrv.it National Two Grand Mettil»x P.tfornuuicoi on RixmfMinxl '
17, and Tuesday Manuag, DccemUr SS. On Mmiaiy aud darin*^ ™
1>. rforco-iti "e* will c>'mlnl■Tl.■*' with Oie NViv Coat
gUERN ANN'S FARTHING AND TUH THREE
SILVER AND GOI.Il ; OR. HARLEgCIN Ol.t) kuw v»»_--t-..-, ^- .
»n. be it ol^rnd, U T.n ^J^Z
I and only meow of the i»"°»™ J
laatrloai m»«tcT. The hakjia •
th .ie ,! .y. will he this «e-» «v* .
le Chrietmae IJfl'Sri
OLD KING WlCN'nWt. ^
I IIP, fiDOD FAIRY OF THE MAGIC MINT The Pr-nceat FaMi • ,
Mm R. Terry ; Truth (tho F.Uryl Miv. A Do««mt ; Sir M »Wy(«"*T_-
G II. Rigw «»l ; lla,|«)utu, Mr W. Smith (one of the beit «_l£°f%
bine, Jhi. Anno Cuiluu ; Spritea, by Ftllx and JuanCirto ;
Mr. W. Uvooy; Pantaloon. Mr. Martin: und Clown, by
Matthews. To o u-ludc with the WLDIER'B WIFE.
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821
ST. JAMES'S THEATRE.— OPERA-COMIQUK.— I
Openirw Nfcbt We.luu.Iav. btamkr ». Aubere ofwn, LA l'AKT DO
UIAIILK. Carlo JJiwUi. Madame Faiir.'; Cwlkfct. Madllc C\lu<c M.nlii. 11 ;
Mario Unit- .11 1 tl i). Hi .!tt« Moral: ttifriel d'Eatinojra. M.-na. Fmi.^rw; Ftnli
iiaul VI , Muu» lliyvu O'Oijitval ; Fray Antonio. Mon*. Iloiitelar; Oil Vtugar.
Mona. Oeoriftt. 4c. thtlr lUut at Intranet' lu England. C'uudticU.r, lieu*.
R« in ns 4. i*riv.i(u D- aw. jfl to , tt3 3*., ami 5a., lightly; StalK ton. N ;
Dot arats (rc * i-vcd), 4a ; Fit, ta ed. : A>n|>uilliculn; alalia, UCd : Oalhry, la.
BWrTllnH «m uud I Mull to ba unwind »t Milch- H'« ltnml Uhrary, S3, Old
ttoaid-alrrut. City Agent, Mr. J. AWoy Tumor, I", I'oidny. UuX'otSc: u(k.-.i ilaily,
fioni t'I'V. ii till Five, under the tarn rlntcivlciice «.( Mr. C Ninxnt- IV..j-
open at half puat Svreti, cnuinieuexi at r.iirht. Acting Mauap r, Mr. 11. Burnett.
A CASK OF REAL DISTRESS AND DESTITU-
TION. (Mklr»o.«l to the MIMICAL FHOFESSioN AND TBADK. and all
other beucroJunUy di-unacd |nr»cii» — The sudden d ath by rapid ioi auui|.lion
ol Clement I-rveU. ,vod thirty-oil" jenrs, more than sixteen < Twl ich worr ima'i d
in Liu Nu-kTiude (In the e*aMl«Buitnta at Meaata IWey and Son.. 11:1. and
Son, UreajKi. T, Kmlih, :u..l It Mii:»). l.uajms i.|.«cd liU widow (no* near her
roiir,ui innit>. nnd three amsill children, two of whom are Mentally and bodily
.iiilktid. m n alaic or vrvat dcatltuti»i>. Any further |>'itU-nUr« najiectiti^ tl.ia
dutnswai i; tsuie may I -j odlainol ot Means Booacy and fiou«, vs. Ih.llca jiti.-i r,
ijnn lOB, iii who*c aerviee C- Fiomt piaacri twst*fl venn nt Ida life, urof Meaara.
Hale and Son, Cliiltculiaiit, in wli' <o aervlce be dk'l List October, l ithtr of uhnrn
will alao be I im>y to rcociva auherrii'U im towarte the auplwrt ofllie j-oor widow
and h«.i little turiily.
N.ll-Mra. t*v«.tt ia a B«,l needlewoman, an I «■ I. i bo thankful for eoij-loy.
uient in that Imc
—a—
THE MUSICAL WORLD.
LONDON', SaTUHDAY, DBCEVinntt 25tu, 1S08.
We cannot bold with tbOM who insist that not only is the
system of musical instruction nlmost uncxceptionnbly wrong
in tin- present (lay, but that everything is wrong in con-
sequence, nu<l, nlaovo all, the taste of the public generally, in
whatever relate* to art and itn juvfessori. Wo are persuaded,
on the contrary, that experience encourages a wholly o|>]xisito
dtjcltine. TheaHt' who inaiul.-tiu the po's-iiuist view of the
ijuestion ovcrhxjk the fact that in this country theieisit
sjMitHdl niviHiciU public, uo lew than a Hpociol public far the
lino arts, literature, and the drama. This sjxcial public must
not 1>C confonntled with the public that attends Evans su|i|kt-
rooiiis, tlocks lo what a morning contcmjioRiiy hn* Rtylctl
the " Cattle show Concerts" (where artists arc exhibited
DMIcb in the same light aa kine and beeves), or ajijilauds
Mr. Henry Russell in those rare editions to whidt be is in-
debted for fame and furtuno ; any more than the public that
upholds Shakspcrc and the rciined drama must be confounded
with the public that prefers burles<|ucaud pantomime, or, last,
not best, weak translations from the French Vatulevilh.
True in the special sphere to which this journal is dedicated,
we have a good deal of burlesque ami pantomime, and weak
translations from the French VauricvUlc — or, at leit-st, their
equivalent" in kind — pretty nearly all the year round ; but
a real musical public exists, ncvertheh.ss,— a public, not
by any means favourable lo the huckst« riiig width dtyiades
music, aoe indeed dispoeed to admit that such huckstering
can have anything to do with art.
Such a public is attracted to the Kalian oper.vbuu.-es
by Fidelio and the works of Mozart, and knows the vaitt
sujH'riority of Rossini, Meyerbeer, and Aubcr over the jict
composers of the "Omnibus" exquisites. It uttends the
concerts of the Sacred Harmonic nnd Philharmonic Societies ;
flocks to M. Jollieo, when that popular cntre/ireif ur devotes
half of his programme exclusively to one of the great masters ;
may be .scon at the pianoforte soirics of Mi:<s Araltella God-
dard, rrofessor Sterndule Bennett, antl Mr. Halle ; likes
quartets and ali forms of chamber-music ; is found at St.
MartinVhall when Mr. Uullah gives the Ninth Symphony,
or Mr. Henry Leslie some of the music of Bach—
I goes here, there, aud everywhere, in iibort, where good
I music may be heard.
Art, like religion, admits of proselytiam. Why, then,
should we not try all in our power to convert the
scoffer, to lbnn true aiuateura aa well aa true believers?
The nucleus exists, and lias of late years been increasing as
rapidly and as visibly as the head of Donoti's comet in the
heavens. The nucleus is represented by the many true and
uncompromising artists, most of whom are, at the same time
(contrary to the seeming belief of the Rev. Mr. Skeflington,
author of an engaging little work but recently noticed in
our lending columns"), teachers, The tail, too, is becoming
both brighter and more extcuded— a symbol of the lovers of
genuine art, who, while not professors of music, are still
among the most enthusiastic advocates of its purity.
On the other hand, there never was, and there probably
never will be, a time when the ta-stc for art is universally
pure, or when, for one honest and enthusiastic artist, there
are not fifty shallow mediocrities and at least half as many
downright impostors. To make laws for the regulation of
such matters in of course out of the question. We can no
more abolish frco trade in art than we can abolish free trade
in anything else. They who hold art in veneration must be
satisfied with doing their utmost, each in his particular
sphere — whether as composers, porformers. teachers, or simply
amateurs. Every one who is sincere, no matter how modest
his |M>sition. can effect something ; and upon those who
rank highest devolves the highest responsibility. Meanwhile
in opposition to the pessimists— wc entertain a strong con-
viction that, instead of having passed ''the zenith of our
greatness" (to cite a phraso from the R« v. Mr. SkelEngton)
ns a musical nation, we have yet to attain it ; that at no
period of our history were there so many earnest Insurers
in the cause ; that never, in short, was a genuiue love of
music so prevalent in this country. Certainly, of recent
years, the music-niaster has been abroad ; and this we owe,
in a large measure, to the repeated visits of Felix Mendels-
sohn Bartholdy, who exorcised a greater and a happier per-
sonal influence among us than any foreign musician siuce
the immortal composer of The AfttsiaJt made England his
home.
Let not honest musician-, then, despair ; but let them
rather look around, and view with satisfaction the progress
their beloved art is making.
Albeut Smith hits a fine new house, whither he invites as
many of his friends as are pleased to crowd chiefly into his
area and gallery or to luxuriate expensively in his stalk He
has rubbed out everything like Helvetian simplicity from his
walls, and all that surrounds him is pure Chinese. Pagodas,
pavilion*, bells, junks, feet-compressing shoes, josses and
tea-cups dazzle the eye nnd impregnate the atmosphere
in w hich he moves. Slanderers whisper tliat he has turned
Buddhist, and worships tliat singularly large golden joss,
which shines on the spectator from the left-hand
corner. Slanderers an- wrong. Albert Smith docs not
worship the joss, but the British public worships Albert
Smith ; and such a mob of devotees as crowded into his hall
on Wednesday last, will not ofleii be seen elsewhere.
Great store of trinkets and toys docs Mr. Albert Smith
bring from the celestial empire, and the pencil of Beverley
has largely illustrated his narrative. So we pass over two
Heady 13 jok of the Muiical Art."
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THE MUSICAL WORLD. [December 25, 1858.
hours and a half In a strange new region, iu which, however,
we gladly recognise many old faces, such as Mr. Brown, and
the pipe-smoking engineer, and in which our ear* are regaled
by those epico-lyricol composition*, incorrectly termed
" patter-songs," by modern professor* of argot.
Let us hasten to declare that we highly approve the tone
of Mr. Alliert Smith's new entertainment. He went into
the East to see John Chinaman, aud he would not allow the
snobbish John Bulls, who reside at Canton, aud who know
nothing of the country, save it* commercial utility, to divert
him from his purpose. Everybody bored him to seeShnng-hai,
because it was the place most distinguish*! by British im-
provement, but go thither he would not, for why should he
study so many thousand mile* from home, what he might as
well have studied at Liverpool I The mauiuion-worshippcrs
of the place could not make out what ho wax driving at,
when they BMW him poking about the nooks and comers of
the old city, taking more interest in the trumpery that
records the presence of a stagnant civilisation, than iu the
l>est hotel or the most populous quay. But he went his
own way.
We observe that the disgust with which the worldly-
minded British settlers of t Thin naturally inspired a man
so thoroughly artistic ha.* had a lieuoficial effect. He quizzed
the Sphinx a little as he passed by the pyramids, but it was
not with the derisive scan of former years. He has felt that
Chinese antiquities are wort h studying for their own sake, and
a conviction that the relics of ancient Greece, Rome aud
Egypt are worth a similar cxfienditurc of time and trouble,
has doubtless taken possession of his mind.
In Albert Smith, considered as a thinker, there is this
great virtue, that lus theories are the residt of his own obser-
vations and inferences, and that he never wants to humbug
his auditors. He knows well enough, that out of even-
hundred jtcrsous, there are ninety-nine who, merely to seem
fashiouable, or learned, or refined, or sentimental, pretend to
like things that afford them no pleasure whatever, and he is
so determined not to follow in the wake of these self-
tormenting pretenders, that he would be an iconoclast rather
t han an idolater. When he first visited the East, he had an
honest contempt for archaRological fanaticism, and no one
cotdd bully him into an admiration of the Sphinx ; an equally
honest veneration for the monuments of the old world is now
gradually taking hold of him, and wc arc so butc tliat he will
not be laughed out of his humour, by tho tag-rag and bobtail
of the fast school, who swear by his name, but who cannot
appreciate him in spirit, that we should not wonder if he
ended by becoming nn antiquary iu the Itest, largest,
highest sense of the word. He would be no mere potterer
over old stones, but they would, in his eyes, be so many
symbols of life, to which his quick fancy would readily supply
an interpretation.
As for those vituperators of Mr. Albert Smith, who
depreciate his talents, and hint that ho is but a " lucky
charlatan, ' we cannot too strongly express our abhorencc of
their petty attempts to tarnish an honestly and hardly-earned
reputation. If there is in the world one man, who is less a
cliarlatan than his brethren, it is Albert Smith, whose fault
hitherto has rather consisted in forcing his genuine convic-
tions upon tho public, than iu feigning any sentiment or
vaunting acquisitions not fairly his own. The things that
he describes with his own lips, he has seen with his own
eyes ; no wish to dazzle tempts him to wander beyond the
sphere of his own personal olflervation, and his promises in the
programme arc fulfilled to the letter in the entertainment.
His only fault Is a success far beyond any that has hitherto
been achieved in a similar line ; and of that fault, though it
has brought him many enennV, we sincerely hope he may
never be cured.
AMATEUR MUHKALSOCIETY.
The second concert of the season was given at tho Hanover-
Btiuare Rooms, on Monday evening, the 13th ultimo, but want
ot space in our last impressiou compelled us to '
account of it. The programme was as subjoined :—
Past I.
Symphony iu O
l'art-»o»g», " Song to Muy morning"
,. " Avo Mafia"
Overture (Dou (iiovjnui)
March, " Victoria"
r*«T ii.
Mr<iitation >ur unf Prelude do Sari, Mr. S.
W. WbIcj-. Mr. J. D. Pawle, sad Mr. John
C. Ward Gounod.
Overture (La O-iiia Ladra) ... ... Kojiini.
Part<»OKg<, " Orpheus with hi» lute" ... ti. A. Macntrren.
„ " Tho dawn of day" 8. Reay.
Overture (Masanniello)
Conductor, Mr. Henry Leslie.
The performance was in all respects a better one than ot the
first concert, and we may particularly commend the manner in
which the "andante" and "minuet" of the symphony were
The vocal music was sung with great effect by some thirty
ladies and gentlemen, and was received with enthusiasm by a
Beethoven.
Hcnrv LtaUa,
II. Smart.
Mozart.
Val. Morris.
ROYAL ACADEMY OF MUSIC.
The nomination for the two Kings* Scholarship raesrit at
this t ime of the year, took place on Monday the 20th \tv*Aax\\,
Tho Board of Examiners consisted of Mr. Cipriani Potter,
chairman, Mr. John Goas, Mr. Charles Lucas, Mr. t!. A. M.-vc-
farren, Mr. Henry Blagrove, Mr. W. Dorrcll, and Mr. W. Lorell
Phillips. Tlie number of candidates examined was thirty-six.
Thirteen young gentlemen and twenty-three young ladies.
The following were elected scholars — Miss Charlotte Tasker
and Master George Hale Thomas.
The following candidates were specially commended — ilisses
L. A. Liudlcy, G. Bailcv, C. M. Wallace. M. A. Walsh, H. (Tint,
and ('. Fitzpatrick ; Messrs. F.- J. Amor, P. Waddell, J. T. Hill,
L. Lee, H. C. Allison, B. Mullatralt, E. EL T. Terry, and ft. T.
Jclf'eries.
The following was commended— Miss H. Coudrow.
EPIGRAM.
•• TlitrJIy— 1 like Haydn Wilsons poetry."
BTUKiurntwiu akd no Us
My bellow* full, and large box charg'd,
W ith palate opening* enlarg'd,
Pre wind enough within my elicit
To fill my pipe* that on it rest,
In hundred*, rang'd both large and *m*l!,
For tone* their »iics *hort and tall.
Mr icale tho uttcrmott extent
Ot mutio note*, when I give vent
From (tnallcst tone, — harmonic sound
To roar tremendous pealing round.
Stops my voire aubduc keep under
i 'hango my sound* from soft to thunder !
When filling tho vast fabric wide
Frame vibrating on cv'ry «idc.
I can all mu*ie imitate
When I my lube* with air inflate.
A* king of instrument* I'm known,
Now tell my name, or p»y a crown.
• Sec Xuikal H'orUl-" onto" page b03.
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by Googldj
December 25, 1858.1
THE MUSICAL WORLD.
823
Her. Ma i esty'hjTh eatre. — Thia theatre remains yet without a
tenant. Tho noble lessee, who has £ |;U,U<)0 at stake, is in Paris,
and although several jtcrsous have publicly stated Mr. Lumley
lias settled, we have positive information such is not yet the fact.
The ideas of the agent and proprietor for rent far exceed what
ought to he a fair rental for the premises— heneo tho want of
competition, when we consider that £9,000 is asked for rental
aud iia.OOO for properties. It would be curtain ruin for a man
to launch into a concern unless he bad artistes that would play
for nothing, which is Hoi the case with foreigners in this country,
and more especially when we know that the expanses of last
season amounted for foreign artistes to .£30,000.
Reunion dks Arts. — Tho last Soirie Musimle of the season
took place on Moudav The attractions offered to the subscribers
were, a quartet by Mendelssohn (in D), and Beethoven's quartet
No. 7 (in F). The artists were If. Wieniawski, Herr Goffrie,
nnd M. Paque. Mr. Silas also played an impromptu of his own
composition fur tho piano. The vocalists were Mdlle. Thelen
aud Ucrr Mengie. The rooms were well attended. M. Wieni-
awski created a furore by his splendid performance in the
quartets.
Islivqtok MtrmcAi. Uxiox — (Front a Correspondent). — Tho
second or Christmas concert of this Society took place on
Wednesday, the :22nd iust., at Myddleton Hall, the principal
vocy lists being Madame Anna Bishop, the Misses Brougham,
and Mr. Winn, with Miss Arabella Goddard, Mr. Henry
Blagrove, and M. Paque, as instrumentalists. Madame Bishop
was announced to sing the " Gratiaa agimns tibi," of Guglielmi,
with flute oblligalo by M. Iteicherdt, but iu consequence of the
absence of that gentleman, substituted " Robert, toi que
j'aime," and in the second part gave "Oft in the stilly night,"
which, being vociferously encored, she re-appeared aud sang
" Home, sweet home," with touching expression. The years
which have elapsed siuco she lett England have greatly
increased tho voluuio of her voice, while the coldness and
apparent want of feeling which were so great a drawback to her
former efforts, have entirely disappeared. MlSs Arabella
Goddard (who is a great fnvourito with the Islingtonians) waa
warmly received and enthusiastically "hissed" in Wallace's
fantasia on " Robin Adair," upon which she delighted her
audience with Thalberg's Don Pasquale, and in the "Duo
Concertante," from the Huguenots, with Mr. H. Blagrove, left
nothing to be desired. Tho conductors were Herr Wilhelm
Gnnz, and Mr. George Lodcr. Tho concert began with a
quartet by Mayseder, in which Miss Goddard (at the piano) was
associated with Messrs. H. and R. Blagrove (violin and viola),
nnd M. Paque (violoncellist), who also played a solo with great
applause. Another solo on tho violin, an admirable piece of
execution, was contributed by Mr. Blngrove.
Violins. — M. Otto, of Weimar, in a treatise on tho construc-
tion of the violin, gives rules for the proper preservation of that
instrument It should be put in a wooden case, lined with
lluniicl or cloth, to preserve it from extreme heat or cold, and
especially from sudden changes of temperature. Heat either
cracks the dry wood or produces a disagreeable tone. Flies
should also be guarded against, and dust kept from the instru-
ment ; tho inside should be cleaned every six months with a
little barley warmed, aud iutrodueed into the interior, to which
the dust will adhere. ,
Mb. nwrnr Leslie's Judith. — A performance of Mr. Henry
Leslie's Judith is to take place at St Martin's Hall, under the
direction of its composer, with Madamo Viardot Garcia, Madam o
Lemmeus Sherrington, Mr. Sims Reeves, Mr. Montem Smith,
and Signor Belletti as principals. Judith will occupy the first j»art
of the concert. The second part will consist of a miscellaneous
selection, in which Miss Arabella Goddard will play the Coneert-
Ktikk of Weber.
Madrid. — The Spanish journals are in raptures with Signor
Giugliui, who has lately commenced his engagement at the
Italian Opera in the capital. They declare his success to be
" strepitoso," and pronounce him tho most gifted tenor ever
heard in Madrid:
Dbadioud. — Mrs. Wood hoi giren a concert »in St. George's, Hall,
assisted by Miss Sara Dobton, Mis* Horst, Mice Pillon, aud Mi;* Filtom
Halifax — (From a Correspondent). — The Halifax Glee and
Madrigal Society gave its third concert in the Odd FcIIowb'
Hall, on Wednesday evening, before a Yery crowded audience,
Mr. Burton, of Leeds, using the baton. The programme in-
cluded the following pieces : —
Madrigal, " O, who will o'er the downs to frco " — Peartall. l'art
Song, " Arc Maria "—Smart. Choral Glee, " Are the white bonis fur
ever fled" — Calcott. Part Song, " Good Morrow" — Jackson. Chorus
and Solo, " Now Tramp " — Bishop. Ctioral Glee, " The Fisherman'*
Good Night "—Bishop. Choral Glee, " By Celia's Arbour "—Horsier.
Choral Glee, " In the lourly rale of stream* " — Calcott.
After these came a selection from Dr. Bennett's ifau Queen.
The soloists were Miss Witham (Huddersfield), Mr. Inkersall
(Sheffield), and Mr. Hinchcliffe (Halifax). The singing of tho
Society was the object of general remark and admiration. Miss
Witham gave Mozart's " Non tcniar," Mr. Burton playing
tho pianoforte part with great ability. The audience waa
also much pleased with Beethoven's Sonata, No. .'1, for piano
and violin : Mr. Burton pianist, aud Mr. W. H. Whclako, a
tradesman, violinist. The singing, too, of Mr. Inkersall and
Mr. Hinchcliffe gave every satisfaction. The concert reflected
equal credit upon the committee and the members of the town
at large.
Nottingham Subscription Concerts or Chamber Mrsic —
(From a Correspondent). — The fifth subscription concert for
chamber music took place on Friday, December 17th. The
programme was as follows : —
Part I.
" Quartet, Op. 18, No. 5, in A," for two violin*, tenor, and riolou-
cello, Messrs. B. Farmer, Myers, Praegcr, and T. L. Seibj— L. ran
Bccthoren. " Trio, Op. 2fi, in A," for pianoforte, riolin, and '
cello, Messrs. Shelmerdinc, H. Farmer, and T. L. Selby— St
Dennett.
Part II.
* Quartet, Op. to, No. 2, in E minor," for two violins, tenor, and
violoncello. Messrs. H. Farmer, Mycr*. Pr*>e*«r, and X. J.. Sslbr—
Loni* r. Spohr. " Quartet, Op. 2, in F minor," for piauofortc, riolin,
tenor, and riolonecllo, Mc**r». White, B. Farmer, Prncgcr, and T. L.
Selby F. Mendcl**ohn-Dartholdy.
Professor Bennet's graceful trio nnd Mendelssohn's second
quartet, interesting as one of tho earliest works of the great
master, were the two pinnoforte pieces selected for the evening.
Beethoven's well-known fifth qonrtet, with variations upon one
of the most simple subjects, never fails to delight, but the great
achievement was tho Spohr quartet, in tho most creditable
style.
At the conclusion of the first series of our <
it is but just to express the high satisfaction felt at the untiring,
real and hearty goodwill with which nil the gentlemen enjrnpcd
in the performance of tho music liavu worked together. . The
first concert of the next series is fixed for January 14, I860.
AbmI.IT.— A concert hat been giren iu the Town School-room, in
aid of tho fund* of tho Youth'* Guardian Society. Tlic pianist was
Miss Rhodes, and the vocalists Mcjsi-s. Griec, Kirk, Piekersgill, Ontes.
Muster Swithonbank, Av., Ac. Messrs. Porrolt and Wlutham's band
played tercral piece* during the crcnitig.
Bbauiiam. — A concert ha* been given in the Cliorch School-room,
with Mrs. Sunderland, Miss Shaw, Messrs. Westmoreland, Dodsun,
and Radcliff, a* vocalist* | Mr. J. Bolt, as violinitt j and Mr. J. Shaw,
a* pianist A glee party from theChurrh Choir, also assisted.
TosQl AT.— Mr. Fowler V fir*t Recital of Pianoforte Music took placo
in tho Hath Saloon. Mr. Fowler deserres every encouragement, a* he
wa» the flr*t to introduce classics; pianoforte work* in our towu. On
the present occasion Lo played Bccthoren'* " Moonlight " *onnU with
a delicacy and finish that were duly appreciated, and a sonata for piano
and riolin of Mozart (with Mr. Rice). Mr. Fowler'* pupil. Mis* Isabel
Gedge, made s rcry snccr.'sful dt'hnt as a pianist, aud did credit lo
her instructor. Tho vocalitt was Mi»* Ueane, formerly, wo believe,
well known in London.
Worcestkb. — Mr. snd Mr*. Penny'* concert took place at the
Music Hall, in the presence of the Karl of Dartmouth, Lord Sandys, Ae.
The vocalist* were — Mis* Julia Smith, Signor Almanni, Signor N'appi
Mr. Mason, and the benffieiairts. Mr. Disprove (rave a riolin solo on
Scotch airs, and the concert afforded great satisfaction.
Digitized by Google
834
THE MUSICAL WORLD.
[December 25, 185*.
SlttiXD TltmArt».~A new couiediolU, eiU.tled TMe Hule s/r.Vee,
«j« iiw1uct.n1 on Monday oening with success. The stori to soon
toll. An eld gentleman married lo a young anil pretty wiic i*. ns a
matter of course, jealous, ami adopt* the plan, whenever a "young
follow" comes Jangling ahcr licr, to send f >r a second, 10 »• to prevent
any chmec of the lady being h-lt titc-a-ISlr, iJlu, tr.it uif; "tacrulcof
three," as it were. Aflcr a tmto, however, a third " yoang Wkw"
makes liii appearance, and by representing himself a* a married man,
and tliu father of a family, deceives tho old gentleman, an J thus h«
the opportunity of apparently I'irtmg with hi* wife. Sonic amusing
scene* occur anions S lio throe bachelors, which cxciicil the risible tunf-
lid of the audience 10 a high degree. The character* mere well played
by Mr. Turner, at thejeahta* husband, Mi«« Tenia u as the young wife,
Air. Swaiiborongh, Mr. Parso'de an I Mr. Mowbray, as the three "young
gentlemen." There is a certain Miss Arabella, whose goo 1 graces the
y-Jitng gentlemen arc desirous of obtaining. Hence the court paid lo the
old goiitlemsn's wife, who is supposed lo hire ssrne influence over the
young lady. Mr. Mow bra v, who has tho principal weight of the piece
on his shoulders, MmitttOU himself admirably.
Newt Musical Toy. — (Duncan Davison and Co.). — \ clever
invention, entitled "The Scale for Beginners,'* hat btvn for-
warded to us for inspection. A few words from the preface of
tin- book, which accompanied it, will sufficiently «-xplainitiuts<: : —
"The box contain!"'; the apparatus is divided into dree compart-
ments. la tliu first, two stare-" mi le of wire arc fixed in relief upo:i
a cushion. The iccjii 1 contains a hundred moveable notes and other
»ign$ n-ed in writing nude. In the third is a small model of too
OCWfM from the keyboard of a pianoforte, the keys marked with the
namct of the note each MpNKn's. With tho help of tlii« model tho
manner of writing the notes in every octave, and the lingering of cvli
scale, can be learned with very little trouble. To make use of the
moveable notes, the pupil should begin by placing upon the st aft" tho
clef, the necessary sl-arps and flats, a id the sign« to indicate time. He
cm then copy an rvn-upl*, the ».-alo of C for I alt MM*, selecting tha
nates one by ono frjm the second compartment, and fixing thcin into
their proper place* on the stall' in the first. After scTcr.il repetitions
of this process he can easily reproduce the scale from memory, and
having thus become intimately acquainted with the several notes and
ilieir relativa relae, ha will bo prepared to derive from professional
instruction la tussie all the advantages it can confer in the shortest
possible time."
Bbistol. - A concert was gtien in the Lecture Hall, last we«-k, by
Mr. George I.islrr, HMMmI by Mi-s«< Illiugworth, Pickle*, Now bound j
Messrs. Fcaridy, Bclavanlo and l'orrctt. Mr. Hogg presided at tho
A WREATH FOR CHRISTMAS.
Br John Ellison.
Sing wc, while twining
A coronet shiiiinpr,
Gay on the old man's w hite locks to repeat,
Songs fraught with gla lness,
Banidiing sadness,
Round as tho wiuc-cnp cxaltii gly goes!
>"ot from a far land
(inthcr the garland,
Hut of mist let M weave H, and holly so green ;
iVht'o eparklins so merry,
Koch bright n.ingling berry,
Like coral or pearl 'mid the verdure is seen.
Fill him a meastiro
Brimming with pleasure ;
On hia dear forehead no wrinkle we trace ;
•Toj'e mocie wiling,
Dull care beguiling,
Cheerily nnilir g, shall beam in each face.
Sing then, while twining,
A coronet iMnfaf,
Gay on the old wail's white locks to repo«e,
tkmgs fraught with gladness,
Banishing eaduc*»,
the wioe-eup
etulling!* goes!
ADVERTISEMENTS.
AT
HOARSKN'KSS, SORE THROAT, LOSS OF VOICK,
IMITATION of l'i BltiiN'cHtAI. enrod. and » ncfferMtCiv
V.i 00 prolm-cd 1-y the 11*0 of W.Ik
UttON'CltIO • tUOilACtC LOZWOKS, prapnjM Urn a receipt of a;
M emmanl I'hjT oi.iu» of tbc Aiy.
Ttiey an eapo ;i;dl jr nsefnl lo V.ei i«ti, M mhers «if ParlUiceiii, CVt»ibm.
Ilirristcrt, ru'-li.- dioikcra, itc . an*l aa a genenfts1 tU*»"\i laaaaln iiar,[>«4U.'l
t^-fl-w.-.l o ily nn I awMtaji ■xem at ia. iuJ Ss. «1.; mm 'ntaM, *l 4. U.lts.t'
an*! 2ik eaeH, ic" m
nUl.mtct Sai» i
L*wi ton, W
y.inmiuiup'v^w i* iu« l. ; ,n»" >n i w«, *n * - T*I ,
i'tTI«i«< WitWiai i. lit* ll-Uto ntiJ C.n.. t:h« at
unrll^i, a'-, <iia>v aul t'siaiwlh lkj^t, S", tkve
KK ATI NO'S C)U(.:il LOZKNOKS— A good sp.^1.
i>r nn aaheUvs Muccann.it srlrun If the v.<eal erfj«e« tn aauu»nl
li..». or :»»,. « I wlin bo,ra<aiea. or liautMi. i'u re , cly Ua= UiV. ^.1 .
HO#|M indoH Jis eaiiiicivlon, e>ory puhlk- ch»R«c'<r. wbctiicr of '»c Ikr t.
Beiiatr. fir tb« I*nl jut. .luKil.t huro at La i I Kcit ng's Coiiiji, I. <«wjra«, w it , i-i
v«ii"»ts I bf tlio iu»j"r ty of ol < tie |ai|>erui Pirl auimt, «lia tlsii h. iu-1 ju.'.
ii>u meiui'crt nf tho Uuar <Uo Ouri « I ■« nT. , U «n or Hit tl.W. • t'jt.% i I
fhr Wtsi'ar Cruii. Ui *y ar- uuf.ijlio': m I ins I sold lis i«m l«. 1|L«sai
tlni. Js W. m», by T i-jrins Kuitlug. c^int»». St., 7», K«. Pan'. . Cbuc) „t,
LoiiJ ai. IH i|li> al|.lnig(lat».
lMfOrtTASr to sin-';e:w. te.
Sir,— I have m ieh plc.va ire in rue ■mnmi I uf your Lor.niTCJ It l>«i*i-
mny bo •Itstmu^l with )>.<.uani«se. Tk^y line i»rr."ialu-l mo is ui oasssai
ooeuisoua wIimu sca'Cdy ablo t • smjf from tlie iff «•« . f cvairti. I IMak tt«;
wuuM Lo very us ful to c'.or0'yitiou, biiliater*. mot public "ritooL
1 am. Sir, mm Ciitbfu ly.
T'j Mr Kcaflnx. TUOMA* PIUKGUli "
MR. HOWARD, Ktirgcon-Dontist, ,12, Flcct-rtwt, i <
liilioluced an eutlrctr i%«w dew rlpiloh 01 AWIPtCtAt TfETH. !'
w I i ■ 'ii ' ,<t iti'r wir ■ v fltfAtiireo i y so ] i l- 1 1 > i Kiiil.t ■ '
tootb iu not to Im tll^tioguistict fivin iusoriaii»alsl,y tbc ctt*^tolmT>sr IW
ncvor o<ir<ogo colour or de- ay, m l wi t it- foim.1 sii| • rtor lo any Ktb ma*
usid. TtiU nicth .1 does not iv<iuirn tho latiinctkm of roots, or sny r"i»*","T
ti.'n, wilt support an I |imcrvo tosth that are 1-wso. aaid l» yviseauUajttoto; -^
artkuUtlxii aud ~*-11lllllT IX-.-.\ycd !■ via atoppeil and nnlet.il ssaal s>l
u*.fio in inastluali y. ij, t'l.it-slroit At home Ir.'tn ■ •> till *.
CHRISTMAS PRESENTS.
Toe roouaniropriatc .ftVrliiits are tlax* which tend to tl.c prosmtnw « Te" 1
Uciulj la tlui fun and yositlilul. wbo at tlnsl.wlv^ aww m ure ivore I'iaa ™ '
d- «wom to aiiins t" advantage wnilcr tho caac of tliclr friondi . ixaK esc t< :i r.
aeweptabU; tlian
KOWLANCI' MACASSAR OIL,
A delightful fragrant and ti .nspamit preparation f.-r tliu- Il.dr ; aTidaia-.n^-
tor and boautlntr Uyoi«I all piirvilvnt. Prii-j a «ct , 7s . HamHy IVjttVs |<qaJ
to loor smalll, I0». nd, ai^t douU« that mUr, «l«. \. r bottl-.
HOW LAN US' KAbYUOR,
I'm an.il'cl for its rue and imnttiu iWu qqal'.tics In i<n|MttiisR a raJVud
tin 00an|>SMJon. and a »'ft»cMian ld<s leaoj tothe II .u in and Anu«- 1'rml' '•-
an-t M. td- ]■ r bo; lie. And
ROWLANDS' ODONTO,
Or IV-art tVnttfrie-. which l^atowsoiilhoTeethapcari-Ukc ■aliiUaKsssSKii^'e4
lli>- Uunis. and nawtors tuo llrcatli »woot ai«| isuw. 1'ilec t«. M i»r Im«.
Thu PatnM.'go of ttoyally, and lUuk and F..a: imi, tlitwugbout Kui^»
tin Ir uul*craally*l&iiowu citiCAcy, giro tlicsc pio)«in,ti..na a odubriiy ungual
and retidvr tbcm | «cu'Korly otTtsut and sew*ocaMe pr tswuta. tv*l 1 y A. RO» UW
A SONtt, SO, Hat [on Oardcu, London, and by Chcsaiau and I*arfuinsc>
OLENFIELD PATENT STARCH,
USED IX THK BOYAL LkVSVKY,
Am. nv (It'll MAJKSTTH tAUSHRFJW. tebe
THK riNKsr .^rAFtCII SHI'. F-VT.R T8ED.
t old by alt CTtindJers, Oroeora, Ac.. »o.
-DEW RANCE'S COMPENSATIN
«i at tbc dc|*t, Jt. aoltn-sojuare. By th. atipHcJ*'
PIANOFORTKS.
PIAKO may now be
of tbis ptlneiplo a licnvier ailing ran bo ttac
power r.| a triad l« ol.tan«d irorn a .•ottaR, Ii;
wire* and tho franu on which tbey am -tr nig t\
of toaip'Taturu cipi.dly arid togethi i'. s ■ that tl»-- t
in the or unary nullum lit. Is entirely obtlded
tone, wtth eatnwrdntvT poi tr. <,f n' .Int . t ion. ti. .
•qailled. al II a a mi : liiiu tiio price U w> l lglior Him that of aa ordia-rj
,tt-j ^
tmincnt, at l'-« «*«n* lib"*
aavl an-1 o>«>tiait with J -
ie-«il v f. r fn.sp-.efct nni ": -
V< r nilueaw sad roan ['<a<
ONE 0? THE FINEST 0KOAN3 IS TtiE WWU
TO BE SOLD,
n( i ta iill ron a
CHURCH, CATHEDRAL, OR ORANl> MUSIC HAU
Digitized by Google
Dscimbkr 25, 1858] THE MUSICAL WORLD. 825
CHAPPELL & CO.'S NEW PUBLICATIONS.
ENGEL'S HARMONIUM ALBUM,
Containing full Inductions how to play the Harmonium with Effect, and a Selection of Fifty of the most popular Airs, ami Pieces
arranged for this charming Instrument. No Amateur should bo without this Album, it will at ouce prove how full t.t variety
the Harmonium is, and how admirably adapted to all expressive Melodies, whether Sacred or Secular. Elegantly bound
price 7s. CJ.
FIFTH EDITION OF
BRINLEY RICHARDS' COMPLETE TUTOlt EOIl THE
PIANOFORTE,
The best, the newest, and cheapest of all Instruction-Books, containing Eleinontiry Instructions, Scales, Exercises, and a great
variety of the iiiobI popular Themes as progressive Ussona. Sixty pages, full music size, price 4s., post-free.
RIMBAULT'S NEW SINGING TUTOR,
Comprising Directions for tho Formation and Cultivation of tho Voice after tho methods of the best Italian masters ; also a series
of progressive lessons, Solfeggios, &c, chiefly selected from the CELEBRATED TUTOK OF LABLACHK. Price as.
RIMBAULT'S FIFTY VOLUNTARIES FOR THE
HARMONIUM.
Selected from the works of eminent Composers, and expressly suited to small Churches and Chapels. Prico Is.
Chappell's 100 Dances for the Cornet, containing the nioet celebn
Oed Quadrilles, IN
ukaH,
•.
d.
Waltses, &c, by Charles D'Albert
1
6
Chappell's 100 ditto for the Flute
Mt
1
6
Chappell's 100 ditto for the Violin
• ••
• *•
1
fl
Chap pell's 100 ditto for tho English Concertina
•
1
6
Chappell's 100 Popular Songs, Natioual Airs, &c, for the Violin
Ml
1
6
Chappell's 100 Operatic Melodies for the Violin
• ••
Ml
1
6
Chappell's 100 ditto for tho Flu to
1
6
Chappell's 100 ditto for the English Concertina ...
Mt
1
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Chappell's 100 Christy Minstrel, American and Nogro Melodies, for the Violin, Flute, Comet,
Clarionet or Concertina ...
1
6
( "happcH's 100 Popular Songs, National Airs, &c, for the Flute
• • •
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Chappell's Popular Instruction Book for the Violin
...
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Chappell's ditto ditto English Concertina
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Chappell's ditto ditto German Concertina
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CHAPPELL & CO., 49 & 50, NEW BOND STREET.
Digitized by Google
82G
THE MUSICAL WORLD.
[Decembbr 25, 1858.
MESSRS. DUNCAN DAVISON & CO.'S
PUBLICATIONS.
B
PIANOFORTE.
ACM AN A: SELECT PIECES FROM THE
Plat .ofurto Work!, of JOHN fKBASTIAN BACH, not Included In the
• Korty -eight Preludes and Funics,"
No 1. Fuga KhrrrJirido in A minor
?. Prelude Mid Fugue on the unmc Bach,<in B flat)
3. Fantasia con Fiiidic'I a (In D major)
London : iHincti I'l' ^.-i. t Co., it:, Itcteut Hticet.
"Tho Wn.hr fruni tempirf comprisis all the pre tides and fugues of tho elder
' (liu orKnn com |osn ions txe-ptoi), with which the majority of anisteurs
.. d.
3 t>
2 0
I 0
>rs in this country are familiar. But it is notorious thai ho composed
n vail number mure, between the period of 1 la residence at Weimar and bis
appoinliocot ss Cintor at Loti.slc. Home of the>e. too. are as
titu) a. any of the famous • Forty-eight. ' Of those, Messrs Duncan Dsvteou and
C-'. are publishing a Mlectioii, which, to Judge by the t»o numbers before us.
promises to be highly sttractive. The • Fu.n Scherxando' (In A minor) U one of
the moat ehaiacterimlc aud charming of the m istcr '« leaser works.
"Tho Fugue in B 11 it, on the loiters roni|XMi»K lita name — B A C It —which
represent four musical uotea (' II, ' In German, staudiug for our own B natural \
although It cannot precis, ly be traced to Bath, Is nnverth less well worth pre-
serving, and la b- th valuable ruid intt resting as a test of couipansou between
go,.l and lud counterpoint, wlnn viewed in conjunctiou with the eery Interior
(turtle on the »ime theme cumr^ed by John Christian Bach, the patriarch's
youngest and Iraat-accumpllshcd sou. At tlic same time the former contain*
rxnmpl** of cuminon-placc sequence' tint indue; us to side with those wl.o
refuse to admit that It Is genuine Bot h.
' Now that Mi-B Arabella (ioddarl is making fugues |*>pular by playing them
' • It . •
bef ro large audiences, cho publishers of
laua' (» : •» pre-m. .• r
sponsible for tho invention o: that derivative) lisve not done unwisely i-.i cum-
tr.eociiig their Serial with specimen, already intr-slneed In public by that your.g
lady, whose dsuntUsj f.uth in classic models is one or the sccieta of her success.-'
— Ut'rajy Gazette,
"MEW POLKA by
1H down Polk.-*,*' for I'Uno, 1*. ; DMfW
jmj*ct at tho Southdown and o.h«r bill*.-— ..otuloj.
street.
ALBERT DAWES. — TW "Sontli-
1% ; played with immense Bactxsn by the com-
In.ncan D*vi&on, 744, Rortnt-
DR. E. G. MONK'S Now CUoml Song, " Tlio IiatU.>
the Baltic," for lour voles (two sopranos, tenor and bast* In Yoeal score,
Onposod by Ur. E. (I. Moult. London : Duncan Davison, 214. Rcgent*trret.
ol
A SUMMER'S DAY: Ronmnw for the Pmnoforto. By
LUOKNF. MONIOT Prlw s. •'Among (be grscrful bswatellc* of M.
Monlot, th'.TC is not one more attrsctiTe : It pmstsses tho twofold advantage of
beitnt melodious and cxprvsaWe Mtuu-al Horfd. bmdon : Duncan Davison's
new Iniclgn music wurelvuw. Clt, Ws-gent-street, where "A Summer's F.ve,"
llomauce, by Eugene Moniot, may also he obtained. *.'« W
MEYERBEER'S ROYAL WEDDING MARCH. —
NhMMtaa Marche sux KUmUaux). 0.jm]X)»Lil in honour of tho Marri irc
of the Prinecss H..val of Knsl*nd with Prlaee Frtdcriek William of Fltuu .**.
IxMidou : Duncan Davison, L'tt, ne^-iil-a'.reet.
BR1NLEY RICHARDS' Ntiw Romance for the Piano
forte, "HI'HKIV price Si. " Etbsl Xewcmio was atraut to give up her
IU'le|t«odence, her inclination pcrb«i«s, ami to bestow her llfeou jonder yoinii;
Sotib inan Israkin^ at birr u * tfirl devoting herK'lf hi her fniolly, bir Kicrlfice
gave h- r a oicl;'iji:'i.oly interest inourcyta. My wifo and I watclic-l her. grave
and bcitutifut, mivutg thn.-ii(ih the rrxims, mooiring and retnrinnfr a huodrtd
treellntis, IvtioMiKto compliunurs. talking with this triend and that, with mv
lord s lordly nlsVtkios, with himse:f. b i whom she llstei e.1 ,lefcrenll»ily ; family
smllii.jr as be s|^Vo now mid again, rtolinj tho h.moni» of l,er ti other's lo«i-c "—
n< Xevtome., Foi. 5, Ola/.. It). Ix,ndon : Duncan lianson and Co., Jtl, llcffont
"COUVENIR DE GLUCK.'
O for the rUnofor;.. By CHAHI.KS
and Co., 2+1. Urgent-street, wl ire may l-o obtained
dca Cti snips Elyw>:s), by C. McKorkrll. rriee »s.
"Mr MeKorkell must lw praisol for his Us to in socking materials for an e;isy
tcAchinc plecc at one ol tl.o fonntalii-bcadB of melc-ly — the o|«ia« of Ohick.
"Amide' is full of Bowing exnnbalc time, from which the skllfnl n lapter has
se'ected some of tne :oo»t captivalli« passives, cmtiloyiag Ihem for his own |Nr>
|«.«» « itlkotil in any way ilnmaginK their intrinsic 1k.-.u:j-. Home more "fouic
nirs" of Obick Woiibl be welcome. Such healthy mnuic cannot be loo widely
dlsierr lnat. d. In every ineaJMe shape — provided alwa\slhe oilgir.al l.u :s suen
sympathetic and eongenhU trcumint as in tl.epic-cnt instance."— Meiki.l IIVf.f.
(Anuitle). — Arranged
McKOBKKt.U Dun can Daviaou
Joveuse" (Sotiven'r
VOCAL'.
rrilOU ART SO NEAR AND YET SO FAR tl\
A btst mlr nuh' und doeh so fero): I.l«d. 8ung by Herr Beichardt u m-
llowartl lilover's Conceit, at Drury Lane Theatre, and at the Crystad Pt*s^
cert", said
Sit,
enthusiastically euchred. Is published, price -Is., l.y D
it street IMpct Ge-..eral de la Malawi Brsnius d. Pa
Da visco auj C '
Paris,
1
•M NOT IN Ld¥K, REMEMBER. — BnlfeV N<-w S:.
l.yMadJIc V ctoiro B.ilfe and Miss I><ui.<a Vuit.ing, is ptibl »Lni p
2s. 6d , by Dunc.ui Davison aud Co- 2H. liegeiit-htieet, wlicr* Reicbardfs ^pw
Lied. "Thou *rt so near and yet so Car,' 3a, and
heart again," 2s, may be 1
Bolfe's "Oh. tsvks o^:
MERRILY, MERRILY SHINES THE MORS
(Tbs Skylark's SongX by Alice Fo»t«r. Sung by Medaoio Rude
and invariably encored. Is published, price ts-. by Duncb Davlso.,, 2K I
G.
A. MACFARRENS NEW SONG. — "TfiL
THOrcma OF VOOTH." Poetry by Longfcllo
imvlson, 214. Btg ut-e-roet.— Thawholoof Longfellow's
on a «o|»iate page of this edition.
cllow. Is Loolxi t-jic-.
de la
EW GALOP. — " SANS SOUCI GALOP," far u.-
riauo, by J. CreTkaski, pHcc 3s. Played every nMu at M ImtlmXi
tak: imnean Dnvkm and Co., -.'ti. R. Kent-strec-, dVpH r-
Branilits do Paris
s i
I .
! <
i #
nv vocix music.
" Yet rre I seel, a distiut shore." bdlad, by Lotus DMll
"T.»-Diorrow,"hillad. by C. J. Hat git t
"The Troubadonr'a Lament," by U-titsa Y.imold
" Quick arise, maiden mine," AlrSjtyrlen, by J. Desnuer
"The thoughts of youth, "' by (J. A. Macf.u-ren (poetry by Lonjjtc'lowj
" Sow the shades gtow deeper" ( Nun die Scbatten dunkcln !,
J. Benedict .. .. ..
" Weeds and Flowers," by Dr Jnmc* Pcch
"Oosit b^tbe summer soa. ' by Dr. E. 0 I
'("Hill, boatiteonsstranifir of tho grove"), by AdeUida
'(" I love the sunslilns"— Marf llowitt), by Adela da ..
Loudon : Duncan Davison ai-d Co , S4I, Keecot-streeU
.. t »
.. f •
.. » -
TO CHORAL SOCIETIES.— MEYERBEER'S SET.F-
NADK, "THIS HODSR TO LOVF. IS nOLT." surnj at tt« openhv .. ' v.
JaiuraV Uall. by Mr. Denpliet's Vocal Ass.r|atlon of .Vmi voice*, is pnLb«\«l :
vocal score, 4s., and separnbi vocal part*. M each, l-y Iruucan Davisoa arl t
iDep.jt Ge'ne'ral do la Maieon Brandiui, de I'sris), 244. Rcgcnt-s-.ieet, Txmda;.
rVHE LORD'S PRATER for four voice* (soprano, alto.
X tenor, tuvl bnns) and <>rg.ui, .id lib . w<tli Knnii»h mtd Ts-t tin text. &f£
M«iyfrlM)»r, I^-iro, in voc*d im-oto, S« ; Mciuratc \'»c;il nAitA 6dL c<*cb $*vu <
Nr. D«.od.cl'i( V<x-*l A*itociatiou. &C , Ac. Londmi : l>unaiu D.iv.*o:i kut
I'll, R>voitt-iitroot.
" Tills ouo or ihc fow r-cnxtitts oi rcliispotm mu»k, cfifH-ciidly c«>tnrm**d fcrii-'
ChuiN li, tluit wc have «cn fr. in the |win ut tlm HhiMhonn nitttor of tfc* sfV>».ir
Hut in tl« fine NttlBg vt lh« * U rd*H Trayer* w<r Iiavc |*roof tor.t,
dvv<t(».: hU attention t« - 1
ic'tginiu as or KCtjIari
WtttH nt act impediment An or*;an
any timo tbo voice* l **c a tendency t<» lower.' Tlic inoJudy, m Is f**{** ~ 1
comiK*>ition of tb ji iLiture, is =nn,»lc ; y«t it i» v'i>:antly UAnnotiiwI 'J^
InUrcfet ucvit C.aijii f ra riionnejit, aji.! bciico t!ie monotony an 1 oordnct^ »: ' •
coMiliUii.i*J of in iclif.-ic.-iia pU«> h williout a^C"m,<«u»mi:nl a?c cutirely tr^in
We cio U"t rctucnilicrany oonvj-asit on in wbUilt tho incKinlatioii". arc mortbad
th*ii in tlii i W(.rk of M Mcyi?rb*x r 'llio r»trr* of tlwj ptrt«v 111 lm.t.»tloii.
occur* toward* the mitl-tlc of tiic prayer, nulil not Liaro b«cn effected in * XV
manurly niAnntr. Indeed, tbnnii/bbiit the settings*. UiO hand of tx no n^xt.*-
haritKinlst — of a.-oinpo^er rich in .ill the rtnourcoa vfkti art — ia distinctly »i»
— itm.
NEW MUSIC FOR THE ORGAN. — Introtlur-
and fugue dedicated to his filcnd the Rev Krvdertc Tarry Uwirm I d
A'irarof Lyme Refs. Dorset, imd Fell w of Winchester Colliajo l. l>y Dr .3 -1
l'ccli. Price 3s. London : Duncan Davison and Co , '.'14, R«^cnt-strcil.
of the 'l/ rrts Prayer' we have pnx>f tost, «-Tv
o it, M. McrorlMcr would s-xoel cspially m the mu|. it. « •
-miiMc The 'Prayer' is vntien for f ur ordu ar> mi
cut An or.'iiti |art, however, has 1st en added, jit.-i
la»c a tctidei cy t» lower.' The tnoiudr. as at propyl
VT EW MUSICAL TOY. — The Scale with Movwi
1> Kates — A most Ingenious invention, cmiblninc instmctloD in the .-
comiv>«liic.n md amnsement Pries 12s. Including iDstmctmn Book. P-i ^
\ a^l^a V^'*, C* L,
Loudon :
LONDON :
DUNCAN DAVISON AND CO.,
(DEPOT GENERAL D E LA MAISON BRANDUS D E PARIS).
244, KEGENT-iSTUKET,
In the County of Middlesex, at the office of Booarv & Sons
Published by Joitn Moossv, of Castlcbsv-hlll, in tho parish of
by Hero, 15, JohD-street, Ureat PorUand-street ; Allix, Warwick-lane;
24t. Reeent-streot; Joitn Sbs™bjid, NewKate-street ; Uarrt Mat, 11,
for T
SRO
Ireland, n. Bvwxlu Dublin ; and'...
itsxl by Wiuaau Sriscxa Jonssow, "Nassau Steam
Saturday, December 2(1, ISM.
■ 00, St.
■ of Middlesex, atthcoffico of Booarv & Sosa, Si. Uolles^treet. 8c*; *
in the Omty o< MIsVfltsCT.-
of St.
mu-ths-Fields
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